It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them. Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries. When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact." Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance. Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.飞飞影院为您提供詹姆斯·伊沃里 执导的《四重奏》完整版免费在线观看,四重奏1981上映由阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯 等主演。《四重奏》在线观看地址:https://www.feifei.pro/vod/23862.html 欢迎把《四重奏》网址推荐分享给身边的好友谢谢!
- 1、《四重奏》是哪些演员主演的?
- 网友乐享:阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯
- 2、《四重奏》好不好看?
- 时光网爱好者:还行吧,个人看过后如果评分的话给个7.1分但是每个人欣赏影视不同我认为好看的你不一定认为好看。具体自己看后再感受!
- 3、《四重奏》的影评
- 四重奏里面的反派角色合演的真的是好让人看了非常恨如果你讨厌一个反派角色那么证明他的演技非常成功。结局总是让人意外惊喜挺喜欢詹姆斯·伊沃里的作品的!
- 4、《四重奏》的观后感
- 在线观看完四重奏完整版不吹不黑槽点是有的,和一些喜欢看电影的朋友给出的评论相比,我有一些不同的看法,四重奏电影展示出来的东西,虽然比本身更精彩吧,但是最后我还是没有打高分。再此感谢评论中一起讨论的朋友,不管我们意见相同或者相左,谢谢大家。