天涯何处觅知音

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主演:沃伦·比蒂,娜塔莉·伍德,奥黛丽·克里斯蒂,帕特·亨格尔,芭芭拉·洛登,佐拉·兰帕特,弗雷德·斯图尔特,乔安娜·鲁斯,约翰·麦戈文,Jan Norris,马蒂娜·巴特利特,加里·洛克伍德,桑迪·丹尼斯,克丽丝特尔·菲尔德,玛拉·亚当斯

类型:电影地区:美国语言:英语年份:1961

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 非凡

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 剧照

天涯何处觅知音 剧照 NO.1天涯何处觅知音 剧照 NO.2天涯何处觅知音 剧照 NO.3天涯何处觅知音 剧照 NO.4天涯何处觅知音 剧照 NO.5天涯何处觅知音 剧照 NO.6天涯何处觅知音 剧照 NO.13天涯何处觅知音 剧照 NO.14天涯何处觅知音 剧照 NO.15天涯何处觅知音 剧照 NO.16天涯何处觅知音 剧照 NO.17天涯何处觅知音 剧照 NO.18天涯何处觅知音 剧照 NO.19天涯何处觅知音 剧照 NO.20

 剧情介绍

天涯何处觅知音电影免费高清在线观看全集。
  故事发生在堪萨斯州的南部小城中,巴德(沃伦·比蒂 Warren Beatty 饰)是一个满脑子都是奇思妙想的高中生,一次偶然中,他邂逅了名为蒂尼(娜塔利·伍德 Natalie Wood 饰)的女孩。蒂尼的美丽和温柔深深的吸引着巴德,令他坠入了情网,巴德甚至在内心里暗暗的 发誓,此生一定要将蒂尼娶回家。  然而,在民风保守的小镇上,这两个年轻人之间的恋情很快就遭到了双方家人的强烈反对,他们都对这两颗真挚的心嗤之以鼻。在一连串的波折和打击之下,自暴自弃的巴德竟然和蒂尼的同学(奥黛丽·克里斯蒂 Audrey Christie 饰)上了床。得知了此消息,蒂尼的精神崩溃了。狂蟒之灾艾玛辩护人猎毒人URARA迷路帖非常人贩:电视剧版第一季我想我是基续座头市物语水舞行尸走肉:达里尔·迪克森 第一季花悸天堂盛宴欢迎来到第2人生依然爱丽丝每天爱你8小时国语白蝴蝶圣战风云(粤语)灵魂刺杀令顽大少与外星人神迹2004背后的男人通灵之战 第十五季护照伪造者搅局专家生呀死呀父亲呀假如比尔街可以作证终极列车(国语版)休日季风婚宴我的干爹是个贼转折盲点第二季阿珠与阿花恋上黑天使真相急先锋飞虎神鹰粉红豹2女囚701之三:野兽部屋绝灭(原声版)

 长篇影评

 1 ) [Film Review] Splendor in the Grass (1961) 8.2/10

Two teenagers falling in love in Kansas 1928, Deanie and Bud (Wood and Beatty) are the ne plus ultra of high school sweethearts, he is a jockey born with a silver spoon, she is as lovely as a storybook princess, both parents are quite content with their pairing, then why, in Kazan’s SPLENDOR IN THE GRASS, apart from the fallout of the imminent and fateful Crash of 1929, their lives will be permanently scarred, and both opt for a settling-for-less middle ground.

As incisive as Kazan’s brand constantly boasts, here the bane is sexual repression and the bigotry from the moral majority, Bud is eager to marry Deanie as he can barely keep his libidinous urge in check, while Deanie, dinned into behaving like a “good girl” by her mother (Christie, giving the performance of her lifetime here, brings so much deeper pathos and affection from a conventional mother figure, and completely subverts our usual question: is she a good or bad mother? Her quiddities can be applied to more than a generation of women and then some, and her insularity is a sign of the times), is fretted by whether or not she should “go all the way” with the boy she madly loves. Also, the prevailing double standard between different sexes plays a crucial role to drive them apart, as a male, Bud has an easier solution to his problem, all he needs is the help of a different kind of girl, but his self-seeking conduct terminally disturbs Deanie, pushing herself to the extreme and she is sent away to a psychiatric institution.

Since then, their paths only converge in the end, and Inge’s Oscar-winning script considerately conceives a more auspicious direction for Deanie, albeit the mental distress, she recovers and finally can make her peace with Bud, and her family fares much better in the aftermath of the financial catastrophe than Bud’s. Also Wood unequivocally delivers her best performance ever, Deanie’s vulnerability and anguish are elicited to an electrifying effect through her all-pouring commitment, though Wood still feels insecure to deglamorize her screen persona, however, under the tutelage of Kazan, that sense of insecurity becomes a bonanza which pointedly characterizes Deanie’s own plight. Wood looks particularly heartbreaking during the treacherous drowning scenes, we all know her blamed tragedy, that really casts a pall here.

Beatty, in his film debut, already struts his stuffs which will make him a movie star, his Bud is virile, seductive, but also unpretentious, a quality soon will desert him as he matures and his star is rising. Here, Beatty’s most astounding act is actually neither with Deanie, nor with Bud’s overbearing and paternalistic father (played by a gimpy Hingle blasting every line into our cochlea with maximal volume, a pyrrhic victory of acting for my money, though I would appreciate someone who could be less forceful), but the dramatic charge between Bud and his promiscuous sister Ginny (Loden), the black sheep of the family, who rebels in the most radical, tactless, self-destructive way. But being the member of the weaker sex, Ginny can never win, she is the victim of a phallocratic society, which makes the scene where she slaps Bud in the face such an instance of emotion-packed effusion, Loden, who was romantically involved with Kazan at that time, is also uncompromisingly baring it all to audience’s utter amazement.

Festooned by David Amram’s richly boisterous jazz soundtrack, and albeit the eye-rolling adults-playing-teens factitiousness, Kazan’s SPLENDOR IN THE GRASS is a searing social drama full of hearts, theatrics and delectation, it potently reminds us the fight against human bigotry, sexism and paternalism is a never-ending battle, and we shall never let up.

referential entries: Kazan’s WILD RIVER (1960, 7.5/10); Robert Mulligan’s LOVE WITH THE PROPER STRANGER (1963, 7.7/10).

 2 ) 有时候出路就在一转身

这是一个献给濒临绝望的人的一个励志的礼物。可能是失恋,可能是人际的矛盾,可能是事业的危机。。。都没有关系,有的时候人不需要硬走上前与困难搏斗,有时候出路就在一转身。电影情节富有张力,更有价值的是寓意,已经超出了励志的范围,提供了一种哲学范畴的人生难题的解决方案。

 3 ) Splendor in the Grass

 “Though nothing can bring back the hour
  Of splendor in the grass, of glory in the flower
  We will grieve not, but rather find
  Strength in what remains behind.”

 4 ) Splendor in the Grass

It works wonders when beautiful verses are weaved in with plots, especially as motifs. It struck you time and time again and made an ever so strong echo in your mind and heart.

William Wordsworth is probably my favorite poet in the English literature. I love his "I Wondered Lonely". The lines where the title of this movie comes from are also impressively beautiful, making the movie as poignant as possible.

Natalie Wood is so convincing as the tormented, love-sick young girl brought up to be good. And the debut of Warren Beatty is quite successful.

Natalie's portrait of madness is not over the top, thank goodness.

The movie ends on a good note, maybe still too good to be true. People sent to a mental institute do no usually turn out that normal due to the medical conditions at that time. Still, it's Hollywood and it got to end that way.

Bravos to the writer, the director and the crew.

Pitch perfect.


 5 ) 华兹华斯的诗

《To Eternity》(william wordsworth 华兹华斯) What though the radiance which was once so bright Be now for ever taken from my sight, Though nothing can bring back the hour Of splendor in the grass, of glory in the flower We will grieve not, but rather find Strength in what remains behind. 曾经那么辉煌美丽的景色 从我的眼前永远地消失 再也没有灿烂的阳光 壮美的草原, 和艳丽的花朵 没有悲伤, 我们会从 现有的一切汲取力量。

 6 ) 很多年前在电视上看过,以为忘记了……

隔了多年,却在一个夏日自责的午后想起。。。。
那时的我还看不懂这部电影,却莫名其妙地哭,为那淡淡的青春的哀伤。
记得虽然这部电影有一些细节处理得比较突兀,但整部片子的调调还是非常感动我。。。

 短评

Though nothing can bring back the hour of splendor in the grass,of glory in the flower, we'll grieve not,rather find strength in what remains behind.

4分钟前
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9分钟前
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14分钟前
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15分钟前
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17分钟前
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22分钟前
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27分钟前
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32分钟前
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47分钟前
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第34届奥斯卡金像奖最佳女主角提名

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