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四重奏剧情简介
《四重奏》是一部法国电影，它以一种诗意的方式探讨了爱情、欲望和自我发现的主题。影片通过四个角色的故事交织在一起，展现了一幅复杂而深刻的情感画卷。豆瓣内容: 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.在本片中，我们有四位主要演员：阿兰·贝茨、玛吉·史密斯、伊莎贝尔·阿佳妮和安东尼·希金斯。他们各自演绎了影片中不同层次的角色，通过对话与行动，推动着整个故事的发展。阿兰·贝茨饰演的角色，在一次偶然的机会下遇见了玛吉·史密斯饰演的女子，他深情地对她说：“你的眼睛里有着我从未见过的世界。”这句话不仅揭示了他对她的第一印象，也预示了两人之间即将展开的情感纠葛。玛吉·史密斯则以其精湛的演技，完美诠释了一个复杂多面的角色。在一次与阿兰·贝茨的对话中，她如是说道：“爱情就像是在无尽的迷宫中寻找出口，每一次尝试都可能让我们更接近，也可能让我们迷失得更深。”这句话不仅反映了她角色内心深处的矛盾与挣扎，也道出了爱情探索过程中的不确定性和挑战。伊莎贝尔·阿佳妮扮演的角色与安东尼·希金斯所饰演的角色之间存在着微妙的关系。在一次激烈的争执之后，她对着他轻轻地说：“有时候，我们需要的不是理解，而是勇气去接受对方的不完美。”这句台词体现了她角色对于爱情的理解，以及面对感情时的独立思考与成长。《四重奏》通过这四位演员的精彩演绎，构建了一个关于爱、欲望与自我认知的复杂故事。每一个角色的台词，都如同一颗颗珍珠，串联起整个电影的主题与情感脉络，让观众在欣赏的同时，也能深入思考爱情的本质与意义。
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