解放(fàng )战争未期，北大(dà )荒某地(👍)。已(yǐ )转业(🎍)(yè )的老战(🏒)（崔(cuī )嵬(🚙) 饰(shì )）响应国家号召(zhào )，来(lái )到黑龙(lóng )江开(kāi )荒建农场，和他一起来的(🈺)还有过(guò(📗) )去的(de )通信(🕰)员小冬(dō(🖍)ng )子（孙永平 饰）和周(zhōu )清和（顾也(yě )鲁 饰(shì )）。小冬子热情(qíng )活泼，周(🕝)清(qīng )和则(🍐)(zé )对荒无(🙌)人烟的北(🛷)大荒心存畏惧。老战(zhàn )在一个(gè )废弃(qì )的碉堡中建立筹备处(chù )，他对北(🆓)大(dà )荒的(🍕)(de )未来充满(🧠)信心。不断(🕵)涌来的(de )垦荒(huāng )大军和农业(yè )机械(xiè )让老战满心欢喜(xǐ )，在(zài )和副场(chǎ(🚦)ng )长赵(zhào )松(⚽)筠（韩涛(🐡) 饰）进行(🍟)一番争论后(hòu )，坚(jiān )持播下一万(wàn )亩冬小麦，以期来年(nián )夏收。一天(tiān )，残(🕜)(cán )存的国(🦁)民党匪兵(😎)(bīng )偷袭了(🌹)附近(jìn )村庄(zhuāng )，老战闻讯，组织农场人员前去(qù )剿匪(fěi )，帮百(bǎi )姓夺(duó )回(😿)了被抢走(🍴)的粮食，百(🚿)姓们深受(♋)(shòu )感动(dòng )。当夏收时，收割机不够用(yòng )，当(dāng )地百姓自发(fā )帮农(nóng )场割麦(🤽)子，“虎(hǔ )口(🏤)”夺粮的(de )壮(🔩)举(jǔ )深深(🦆)感动了农场职工，而老战也(yě )面临(lín )接受新的任(rèn )务...... “男孩”是影片发(fā(🐧) )生当地意(⚾)重(chóng )搞笑(🌶)(xiào )的说法(🤭)，并不同(tóng )于好莱坞拍(pāi )的那(nà )些俗套电影，这部电影纯粹是搞(gǎo )笑在(🏦)(zài )加上一(🤓)(yī )点点(diǎ(🦌)n )犯罪意味(🎠)效果。每周(zhōu )一晚上， 经(jīng )常光(guāng )顾“男孩”酒吧的人们，都(dōu )会将(jiāng )生活中(📍)所有(yǒu )的(💆)烦(fán )恼抛(🔳)在脑后，然(⏱)(rán )后穿(chuān )戴齐整(zhěng )，步(bù )入冰场，痛痛快快地打一场冰球(qiú )。他(tā )们的教(🍙)练斯(sī )坦(💻)是酒吧的(🌶)老板，所(suǒ(⛴) )有的人去打(dǎ )冰球(qiú )只是为了好玩。在冰球场上(shàng )，他(tā )们会忘记他们(🌎)的年龄、(🎡)不如意的(😻)(de )工作(zuò )、(🕯)繁杂(zá )的家(jiā )务等等。他们打比赛(sài )仅仅是因为(wéi )喜欢(huān )，但即将来临(💺)的一场比(🌜)赛将(jiāng )使(😱)他(tā )们的(🍇)心态发(fā )生一(yī )些细微的变化。 贝蒂(dì )·戴维(wéi )丝官(guān )司败诉重回华(🦒)纳，却争取(🕖)到一定(dì(🦑)ng )范围(wéi )内(🤝)选角权利(lì )。此时华纳将制片重(chóng )责交给新作(zuò )风的(de )赫尔·华和斯，开(😄)始“高成(ché(🏯)ng )本、精制(🔚)作”的路线(🚮)。贝蒂在此情况(kuàng )下感(gǎn )到如鱼(yú )得水(shuǐ )，很快演出了另一部(bù )再度获(🐇)得金(jīn )像(👞)奖(jiǎng )最佳(🐴)女主角奖(🎇)的代表作《红(hóng )衫泪(lèi )痕》：以南(nán )北战(zhàn )争时期美国南方(fāng )为背(bèi )景(🍳)，描(miáo )述一(🎹)(yī )名个性(🥋)倔强的美(🚫)女在任性地失去(qù )她的(de )男友之后，再想尽办法将已经找(zhǎo )为有妇之夫(🎖)(fū )的他(tā(📈) )抢回来。此(💆)片在(zài )划(😑)时代的《乱世(shì )佳人》出现之前年面世受到好评(píng )。贝(bèi )蒂跟导(dǎo )演威(wē(😊)i )廉·怀勒(🆔)连续合作(😟)了(le )三部影(🐦)片，确立(lì )了贝蒂的超级女星地位。事(shì )实上(shàng )1937年起，贝薷(rú )连续(xù )十年(🐭)赢得“票房(🔆)(fáng )皇后(hò(🍀)u )”的美(měi )誉(🍶)，被推为“美国国影坛第一夫人”，这(zhè )种殊荣在影(yǐng )坛上相当罕见。假如(rú(🌮) )对贝蒂的(🌳)银(yín )幕形(🔴)(xíng )象细心(👝)观察，可(kě )发现她鲜少(shǎo )扮演(yǎn )善待其它女人的(de )角色，通常是跟(gēn )别人(🌪)(rén )怨对、(🏫)抗争(zhēng )，甚(🐖)至发生激(❓)烈的争(zhēng )执，充份显(xiǎn )示出(chū )“同性相斥”的强烈排挤色(sè )彩。同时，贝蒂(dì(📈) )的角(jiǎo )色(💻)也证明了(😓)女人(rén )一(💿)样(yàng )可以强(qiáng )悍无(wú )情、咄咄逼人，甚至可以剥夺了(le )一向(xiàng )被视为男(👐)性(xìng )的特(🏔)权，使男人(🗡)反要(yào )吃(🤱)女人的亏(kuī )，可(kě )说是首位“女性(xìng )电影”的诠(quán )释者(zhě )。 妮可尔（莎朗(lǎ(🌘)ng )·斯通 Sharon Stone 饰(🔷)）和米(mǐ(👟) )娅（伊莎(🐋)贝(bèi )尔·阿佳妮 Isabelle Adjani 饰）可能是这(zhè )个世界上关(guān )系最(zuì )密切的两个女(💙)人了，然而(🍹)，她们(men )不是(👋)朋友却(què(🏛) )是敌(dí )人，因为两人共(gòng )同侍(shì )奉着同(tóng )一个(gè )男人，那就是米娅的丈(🕒)夫盖伊（(💶)查兹(zī )·(☝)帕尔明特(🥛)(tè )瑞 Chazz Palminteri 饰）。 Dan Bellows finds former stage star Joyce Heath a penniless drunk and takes her to his Connecticut home for rehabilitation. Unaware that she is married to Gordon, he asks his fiancée Gail to free him and offers to sponsor Joyce in a play. When Gordon refuses to give Joyce a divorce, she runs the car into a tree crippling him for life. Joyce urges Dan return to Gail, opens her play, and begs Gordon for forgiveness. 意大利西(xī )部片宗师瑟(sè )吉欧(ōu )·莱昂的传世经(jīng )典之(❄)作，继(jì )与(🚶)克(kè )林伊(⤵)斯威特合(🧜)作(zuò )「镖客三系列」之后(hòu )，瑟吉(jí )欧·莱昂这部近三个小时(shí )的长(🈴)篇钜作(zuò(😏) )，被(bèi )称之(🥢)为影史上(🔅)最伟大的西部(bù )片。 在未来的世(shì )界中(zhōng )，因一场毁灭性(xìng )的生(shēng )化浩(🖤)劫(jié )，造(zà(💘)o )成地球上(🛍)的男性人(👫)口几乎灭绝殆(dài )尽，剩下的女性(xìng )人口认为男性有与生(shēng )俱来的暴力(🦔)(lì )本能(né(🔧)ng )，因而决定(🙌)只生(shēng )育(🔨)女性后代(dài )。然(rán )而，一位独来独(dú )往的年轻女科学(xué )家（Julie Bowen）却创(chuàng )造(🌯)出(chū )一位(🐷)完全不具(🛋)暴力特(tè(😍) )质的新男性(xìng )--亚当(dāng )（Paul Francis (II)），这位划时代的"新男性(xìng )"会为(wéi )女人当家的(💚)(de )未来(lái )世(📶)界带来什(🍝)么样(yàng )的(🔟)冲(chōng )击？ 故(gù )事发(fā )生在1938年5月6日，这个日子无论是对(duì )罗马(mǎ )人民或(🕔)是对(duì )平(🥍)凡的家庭(🌰)主妇安东(🕸)(dōng )尼泰（索菲(fēi )娅·罗兰 Sophia Loren 饰）来说，都是不平凡(fán )的一(yī )天。当日，独裁(🛥)(cái )者希特(🍘)勒和墨索(👦)(suǒ )里尼(ní(🔱) )来到罗(luó )马参(cān )加高峰会议，无限吹(chuī )捧他们奉行(háng )的法(fǎ )西斯主义(🦓)，在慷慨激(🔶)昂的讲(jiǎ(😯)ng )话的(de )蛊惑(🌭)人心的(de )词语(yǔ )之中，整个城市(shì )陷入(rù )了一片(piàn )疯狂(kuáng )的躁动。 暮暮从(⏭)魔镜回到(🔯)了小马(mǎ(🏅) )国，不过…(🖤)…镜(jìng )子那边的世界，故事(shì )没有结束。 This is a fascinating, colorful and very-well made film that looks like an epic and is in fact an intelligent drama about sculptor-painter- architect-poet Michelangelo Buonarrotti. Here portrayed by the much taller Charlton Heston, and admirably, he is presented as a man who want only to create beauty, a man without "people skills" or interest in much of anything else--not women, nor war not the dynastic dreams of men--only the Renaissance idea of utilizing one's abilities. He even pays attention to religion only because the world interests him, and he equates his heaven with what men can achieve--and Earth with the same sort of place he expects to find as an afterlife. Carol Reed directed and produced this fascinating look at the Renaissance, with its warrior priests, its worldly dreamers and its subtle change toward a politics of gunpowder, secular pursuits and worldly morality. Philp Dunne, author of "David and Bathsheba" wrote this thoughtful spectacle film as well. In the cast besides Heston are Rex Harrison as Pope Julius, close-fisted patron, admirer and nemesis, Harry Andrews as his rival Bramante, Diane Cilento as the woman who would like to love him, Alberto Lupo, Adolfo Celli, Fausto Tozzi and a narration by Marvin Miller. The opportunity to see the real landscapes in which Michelangelo was born, worked and became inspired is a wonderful one for the viewer; the entire Carrara marble quarry section is stunningly beautiful. The film has battle scenes able done by Robert D. Webb, Leon Shamroy's cinematography, a prelude by Jerrald Goldsmith and sterling music by Alex North, production design by John Cuir and Jack Martin Smith and memorable costumes by Vittorio Nino Novarese. The basic thrust of the storyline is twofold; against the wars conducted by vigorous and all-too-worldly Pope Julius, the war to win secular hegemony for his Papal rule, the counter-current is Michelangelo's desire to further his career in Rome by obtaining a commission from the Pope. He does, an assignment to refurbish the Sistine Chapel for him. But after an attempt at some saints, he leaves Rome, and flees to his beloved Carrara. There, surrounded by mountains, he has a vision at sunset and suddenly knows what he must do. Obtaining Julius's reluctant permission, he sets to work covering that modest ceiling with tremendous figures, a bearded Jehovah, a recumbent Adam touched to life by a divine spark, the world's most famous fresco painted from a homemade scaffolding; in spite of illness, missed meals, filth, deprivation, cold, an injury that nearly costs him his eye and more, including the Pope's indifference to his intense passion for his art, Michelangelo endures. "When will you make an end?" Julius cries. "When I have done," the artist insists. And at the end, Julius, beaten on the field of battle, admits he may also have been wrong about the ceiling...that his fostering of Michelangelo's work may be the most important thing he has ever done. Of course the puritans of the era object to the nakedness the artist has depicted, but Michelangelo says he painted people as God made them. The movie, based on the biography "The Agony and the Ecstacy" by Irving Stone here concentrates on a seminal moment in the great artist's career. He may be a sculptor as he insists; but after seeing this moving and fascinating film, no one can doubt that he is also a stubborn and single-minded man--and a painter of genius. Most underrated; often fascinating fictionalized biography. Heston and Harrison are good, everyone else good as well. Worth seeing many times, if only for Dunne's dialogue and the scenery.