《嫋嫋夕陽情》劇情簡介
該片講述了一個充滿生命情趣的教師內田毅然辭去大學教書職務,一心在家從事寫作之後發生的一連串生活趣事。內田深受學生們的愛戴,學生們每年都會為老師舉辦生日會。每年的生日會上,學生們都會問老師“準備好了嗎?”,而內田的回答則永遠是“還沒”。內田對生死的豁達也深深地影響著自己的學生們,時刻提醒著學生們要有一個健康積極的心態。教授的貓丟了一直哭,學生們趕緊去看望他,為他到處找貓,還到學校等地方發傳單,在報紙上登啟事,希望能夠幫助老師找回貓咪,重拾笑顏。濃厚的師生情貫穿全片。影片結尾,內田在生日宴後入睡,外麵學生在暢飲交談,他已近暮年的夢裏是孩童時在稻草堆裏捉迷藏的場景,一大堆孩子連連喊著藏好沒,他連連回答“還沒還沒”。
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1938 劇情簡介: Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor -
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