中国历史文化名人

中国历史文化名人

城堡，尤其是在英国，始终具有浪漫色彩。它们总是与民间传说，血腥战争和伟大而善良的故事联系在一起，一直是优秀作家们笔下的主题。城堡壮观的外形总能让它们显得卓尔不群，而它所扮演的角色，从垒石而建起，已经持续了数个世纪 - 从征服的利器逐步成为想象的空间。从征服者威廉到维多利亚女王，本系列片对英国城堡的故事和它们在历史、艺术和文学中独一无二的角色进行了追溯，为观众提供了关于城堡建筑以及它们在英国文化和精神中地位的有趣见解。

Britain, is an island. Surrounded by a cold and unforgiving sea. For centuries it protected us from attack. But to prosper and thrive, we would need to do more than hide behind her salt water shield. Britain needed brave men, willing to venture out into the unknown and she needed good boats to take them there. I've spent my life at sea. Now I'm going to take passage on six boats that together, tell the story of modern Britain. Built for exploration, war, fishing, industry and our very survival. These are the boats which built Britain, and changed the way we live - forever.

在坂下引发的骚动之后过了一年的某个夏日。雄二在为了升进的考核调查中，前往市谷的JB之处。在与她的面谈中，追求自己成长经历的雄二，开始了追寻记忆之旅。由于意外事故而去世的最爱的姐姐。如同追随她一般踏上旅途的双亲。收养了天涯孤独的他的最糟糕的男人。自幼年时到现在，自己所邂逅的，并一同度日的人物们的记忆，雄二淡然地诉说着这些。造就了“风见雄二”这一人格之物究竟是什么呢。这一谜题的答案，如今即将揭开。

在坂下引发的骚动之后过了一年的某个夏日。雄二在为了升进的考核调查中，前往市谷的JB之处。在与她的面谈中，追求自己成长经历的雄二，开始了追寻记忆之旅。由于意外事故而去世的最爱的姐姐。如同追随她一般踏上旅途的双亲。收养了天涯孤独的他的最糟糕的男人。自幼年时到现在，自己所邂逅的，并一同度日的人物们的记忆，雄二淡然地诉说着这些。造就了“风见雄二”这一人格之物究竟是什么呢。这一谜题的答案，如今即将揭开。

時は昭和17年。横浜・本牧の運河際に建つ福寿楼は、ひときわ目立つ洋館の遊郭である。この館は、血の匂いに満ちていた――。二人の少女がこの遊郭に売られてきて間もなく、次々と怪奇な殺人事件が発生した。謎につつまれたこの花園に何が起ころうとしているのか。犯人は誰か？その動機は？妖しくも華麗な花園が今、恐怖の迷宮となった。 　　第32回江戸川乱歩賞を受賞した山崎洋子の同名小説を映画化。「花いちもんめ。」でコンビを組んだ伊藤俊也監督と松田寛夫の脚本により、スリルとサスペンスとエロスに満ちた本格ミステリーがショッキングな映像美とともに描き出されていく。キャストは、主演の島田陽子をはじめ、工藤夕貴、野村真美、黒木瞳、江波杏子といった豪華多彩な女優陣に加え、内田裕也、名高達郎、伊武雅刀ら個性派男優陣が顔を揃えている。

暂无剧情简介

暂无剧情简介

The films of Michael Curtiz have come to symbolize Warner Brothers Studios of the 1930s and 1940s. Curtiz directed many favorites from that era, including Captain Blood, The Charge of the Light Brigade, The Sea Hawk, Yankee Doodle Dandy, Twenty Thousand Years in Sing Sing, and Mildred Pierce. He helped guide Bette Davis as her popularity rose in the 1930s, and helped establish Errol Flynn as the symbol of the swashbuckling hero. James Cagney (Yankee Doodle Dandy) and Joan Crawford (Mildred Pierce) both won Oscars under Curtiz's direction. His long career and directorial strengths benefitted from the constant work available in the studios of the 1930s and 1940s. Most observers, however, note a precipitous decline in the quality of Curtiz's films after World War II. 　　Surely Curtiz's most famous creation for today's audience is Casablanca, the only film for which he received an Oscar for Best Director. This cult favorite now has achieved a life of its own and established Bogart and Bergman as modern folk heroes. Conversely, director Curtiz has been lost in the shuffle with the passage of time. The anti-auteurist argument seems to be that this particular film represents a happy "accident" of the studio system, and that its enduring popularity should not be credited to its director. What is lost in this analysis is the fact that Casablanca was a major hit of 1943 (finishing among the top grossing films of the year), won three Academy Awards (Best Picture, Director, and Screenplay), and earned Curtiz several awards as the year's best director. Critics of the day recognized Curtiz's input. Certainly today we should give proper credit to the director of a film that was popular upon release, continues to be popular today, and has influenced countless other works. 　　Curtiz has been difficult for film historians to deal with because of the length and breadth of his career. Usually overlooked is the time he spent in Europe; Curtiz did not begin with Warner Brothers until he came to the United States at the age of thirty-eight. His career began in Hungary, where he participated in the beginning of the Hungarian film industry, usually receiving credit for directing that country's first feature film. 　　Curtiz remained active until the outbreak of the First World War. After the war he moved to Vienna where he directed several important films, including the epic Sodom and Gomorrah. Scholars know little else about this part of Curtiz's career, however. Accounts of other activities lead only to contradictions; no wholly reliable list of credits exists. Sadly, historians have written off the first two decades of Curtiz's career. We know a great deal of the work of other emigrés, such as Fritz Lang and F.W. Murnau, but virtually nothing of Curtiz. 　　Not unexpectedly there exist several versions of why and how Warner Brothers contacted Curtiz and brought him to the United States. Regardless, from 1926 Curtiz became intertwined with all the innovations of the Warner Brothers studio. In the mid-1920s he was thrust into Warner attempts to innovate sound. His Tenderloin and Noah's Ark were two-part talkies that achieved considerable popularity and garnered millions in box-office revenues. In a key transitional year, 1930, Curtiz directed no less than six Warner Brothers talkies. In that same year Warner Brothers tried to introduce color, but with none of the success associated with the studio's efforts with sound. Curtiz's Mammy, one of Jolson's follow-ups to The Jazz Singer and The Singing Fool, had color sequences. In 1933 he directed the well-regarded, all-color horror film, The Mystery of the Wax Museum. Curtiz's record during the transition to sound elevated him to the top echelon of contract directors at Warner Brothers. Unlike others, Curtiz seemed not to utilize this success to push for greater freedom and independence. Instead, he seemed content to take what was assigned, executing his work in a classic style. He produced crisp flowing narratives, seeking efficiency of method. He was a conservative director, adapting, borrowing, and ultimately utilizing all the dominant codes of the Hollywood system. Stylistic innovations were left to others. Today critics praise the film noir look of Mildred Pierce, but this film was never thought of as one of the forerunners of that style when it was initially released. After Mildred Pierce, Curtiz moved on to Night and Day, the fictionalized life of Cole Porter starring Cary Grant, and Life with Father, a nostalgic, light family romance starring William Powell and Irene Dunne. Both of these latter features took in a great deal of money and earned considerable critical praise, once again demonstrating how well Curtiz could operate when called upon by his employer. 　　If there is a way to get a handle on the enormous output of Curtiz's career, it is through genre analysis. In the early 1930s Curtiz stuck to formula melodramas. His limited participation in Warner Brothers's social realism cycles came with films like Black Fury, which looked at strikebreaking. Curtiz seemed to hit his stride with Warner Brothers's Errol Flynn pirate cycle of the late 1930s. Captain Blood and The Sea Hawk stand as lasting symbols of Hollywood's ability to capture the sweep of romantic adventure. Warner Brothers also sent director Curtiz and star Flynn to the Old West in Dodge City and Virginia City. In the early 1940s the Warner studio returned to the musical, establishing its niche with the biographical film. Curtiz participated, directing Yankee Doodle Dandy (which depicted George M. Cohan's life), This Is the Army (Irving Berlin), and the aforementioned Night and Day (Cole Porter). Yankee Doodle Dandy demonstrated how well this European emigré had taken to the United States. Curtiz would continue to deal with Americana in his films during the 1940s. For example, he touched deep American ideological strains with Casablanca, while Mildred Pierce examined the dark side of the American family. Feminist critics have noted how the portrait of a strong woman in the latter film mirrors the freedom women achieved during World War II—a freedom withdrawn after the war when the men returned home. The family in Mildred Pierce is constructed in an odd, bitter way, contrasting with Curtiz's affectionate portrait in Life with Father. Genre analysis is helpful, but in the end it still tells us too little of what we want to know about this important director. As critics and historians continue to go through his films and utilize the records now available at the University of Wisconsin, University of Southern California, and Princeton, more insights will come to light about Curtiz's participation in the Hollywood studio system. In the meantime, Curtiz's films will live on for the fans with continual re-screenings of Casablanca, Mildred Pierce, and The Adventures of Robin Hood.