1984年的电影,讲述了80年代初从黄山来北京做保姆的姑娘玲玲的故事,正值改革开放初期,第一代打工人还是极富冒险精神的。说到黄山,不得不提1979年7月,改革开放总设计师邓小平同志登临黄山并发表著名的“黄山谈话”开始,黄山掀开了崭新的一页,中国旅游业也融进了改革开放的大潮。第三个故事中的干部爷爷去黄山视察工作,也绘声绘色地说着黄山翻天覆地的变化。或许是改革
1984年的电影,讲述了80年代初从黄山来北京做保姆的姑娘玲玲的故事,正值改革开放初期,第一代打工人还是极富冒险精神的。说到黄山,不得不提1979年7月,改革开放总设计师邓小平同志登临黄山并发表著名的“黄山谈话”开始,黄山掀开了崭新的一页,中国旅游业也融进了改革开放的大潮。第三个故事中的干部爷爷去黄山视察工作,也绘声绘色地说着黄山翻天覆地的变化。或许是改革开放的春风率先吹到了黄山,主人公玲玲设置成从黄山来的姑娘。
很久前我看电视剧第一部的时候,出于兴趣就查了查后续,其中对第二部的故事,书粉也有很大争议的。至今书评里还有怀疑这一部是代写的。等到第二部电视剧上了,突然一大堆人说完全不符合人设,又有一部分人说完全是按原著拍的。抱着好奇的心里连夜看完小说第二本,得出一句结论
说不好看的,请您别冒充原著党了好吗?
大体看了看大家不满意的主要是药不然和黄烟烟的换人。抛去对魏晨没演技(事
很久前我看电视剧第一部的时候,出于兴趣就查了查后续,其中对第二部的故事,书粉也有很大争议的。至今书评里还有怀疑这一部是代写的。等到第二部电视剧上了,突然一大堆人说完全不符合人设,又有一部分人说完全是按原著拍的。抱着好奇的心里连夜看完小说第二本,得出一句结论
说不好看的,请您别冒充原著党了好吗?
大体看了看大家不满意的主要是药不然和黄烟烟的换人。抛去对魏晨没演技(事实并不是)以及看上去不如上一部好看的女主的外形上的偏见,我还真不知道所谓的装作原著党的人意见在哪?
如果单说乔振宇和魏晨俩个人,诚然乔振宇演技更加出色,但是要说还原原作药不然,分明是魏晨版的更好,第二部药不然出场比较晚,但是出场第一个特征描写就是吊儿郎当,其后数次出现嬉皮笑脸这个词。你能把第一部乔振宇穿西装大皮鞋一张嘴就知道海外归来的留学生影响和小说重合?哦,小说里为了突出药不然亡命之徒的形象,还有一把手枪,后期还有九龙枪战。反正这一系列作为我和第一部那个乔振宇的影响联想不到一起,反而魏晨演的小混混更符合形象
再说花灵小师妹,这个演员很新,新到我还记不住名字,至于长相只能说见仁见智了。第二部中烟烟的戏份本来就很少,但是拍电视剧怎么能没有女主,那就只能加戏。也有人说了,我第一部好冷的大小姐黄烟烟怎么就变成了第二部的小家碧玉,没办法,小说里第二部两三次仅有的出场,起码是对许愿,她就是变得小女人了。要说人设崩塌了,那你只能怪马亲王的代笔了
口说无凭,截取原文当证据吧
16岁时看了阿拉伯的劳伦斯几乎要放弃拍电影
And when the film was over, I wanted to not be a director anymore because the bar was too high.
It was the first time, seeing a movie, I realized that there are th
16岁时看了阿拉伯的劳伦斯几乎要放弃拍电影
And when the film was over, I wanted to not be a director anymore because the bar was too high.
It was the first time, seeing a movie, I realized that there are themes that aren't narrative story themes. There are themes that are character themes, that are personal themes. That David Lean created a portraiture, surrounded the portrait with a mural of scope and epic action, but at the heart and core of "Lawrence of Arabia" is "Who am I"?
I started making movies when I was a young kid, but I remember the time I almost gave up my dream of being a movie director. I must have been 16.
越对什么事情感到自信或确定无疑,成果就越少
The more I'm feeling confident and secure about something, the less I'm gonna put out. The more I'm feeling, "Uh-oh, this could be a major problem in getting the story told," I'm gonna work overtime to meet the challenge and get the job done. All right, that's done. I don't know if it's worth it.
Spielberg:And so, I hate the feeling of being nervous, but I need to feel in this moment I'm really not sure what I'm doing. And when that verges on panic, I get great ideas. The more I feel backed into a corner, the more rewarding it becomes when I figure my way out of the corner.
Just before I went off to make "Jaws," I got to meet Henry Hathaway. He was kind of a tough-guy director, and he said, "There's gonna be moments where you're gonna get to the set and you're not gonna know what the hell you're doing. It happens to all of us. You've gotta guard that secret with your life. Let no one see when you're unsure of yourself. Hide that from everybody, or you'll lose the respect of everyone."
未见到的潜在危险更让人恐惧,细腻的心理层面
I knew that it's gonna take three or four weeks to rebuild the shark, and so we'd have to make up something else that didn't exactly show the shark but gave the sense the shark was near.
The barrels were a godsend, because I didn't need to show the shark as long as those barrels were around. What you don't see is generally scarier than what you do see, and the script was filled with "shark." Shark here, shark there, shark everywhere. The movie doesn't have very much shark in it.
John Williams:If the shark had been available visually, it might have changed the whole psychology of the experience.
青少年时期的自我认知,摄像机就是笔
I didn't have a lot of high esteem for myself, you know, growing up. I just was a lonely guy.
The camera was my pen. I wrote my stories through the lens. And when I was able to say "action" and "cut," I wrested control of my life.
But I didn't know anything about whether I was gonna have a career or where this was gonna go. I just knew that it filled up the time and it gave me a tremendous amount of satisfaction. And the second I finished a movie, I wanted to start a new one because I felt good about myself when I was making a film. But when I had too much time to think, all those scary whispers would start-- start up. It was not fun to be me in between ideas or projects.
遇到伯乐
"If you sign with us, I will support you as strongly in failure as I will in success."
对镜头语言的掌控
Steven Bochco:Steven had a gear in his brain that automatically translated words into pictures almost without it being a conscious process for him. There was a unique visual voice there that you had to not only pay attention to, but you had to give somewhat of a free rein to.
Edelstein:Right off the bat, it was clear that no one moved the camera like Steven Spielberg. Other directors had a fantastic sense of space. Orson Welles, you name it, people who understood composition. But the way that Spielberg's camera moved through a shot and then ended up somewhere that completely shifted or intensified the emotion of the scene, that was just a natural gift he had. Who knows where that came from. Who-- but it was his own technique.没人象斯皮尔伯格一样移动摄像机。其他导演有很出色的空间感。随便说一个Orson Welles非常理解构图。但是斯皮尔伯格在一个镜头中对摄像机的移动,以及在某一处停下来,完全改变或强化了场景的情感,那是他的天分。
George Eckstein called me and said, "Network's really upset that the truck didn't blow up, so they're ordering us to go back to that cliff and blow the truck up." And I said, "I'm not gonna do it." The death of the truck is so agonizing. I said, "I made that truck die slowly." The oil, like blood, dripping off the steering wheel. The wheel slowly rolling to a stop. The fan still going, but the truck's dying. I mean, it's the death of the truck. That's what the audience wants to see. This criminal element paying-- you know, paying the price for what it did to this man. I wouldn't do it. I wouldn't blow up the truck.
对表达媒介的熟悉
Bochco:For Steven, the little screen was an interesting canvas, and obviously he painted on it very well, but he knew that this screen simply wasn't a large enough canvas.
Spielberg:For me, directing is camerawork, and so I'm very on the front line of that. I've gotta set up the shot, I've gotta block the actors, choreograph the movement of the scene, bring the camera into the choreography, figure out when the camera stops, how it moves, how far it moves, what the composition is, so I've always got my eye on the lens, and that's what I do. I even pick the lens I want.对我来说,导演就是摄像技术,因此我总是在摄像的前线。我需要设定镜头,隔离演员的因素,为镜头设计动作,将镜头带入到动作中,确定摄像机什么时候停止,怎样移动,移动多远,构图是什么样的,因此我的眼睛总是关注在镜头上,那就是我所做的。我甚至会自己挑选想要的镜头。
Scorsese:His strength is really the ability to be able to tell a story in pictures instinctively. I sometimes watch his pictures on TV without the sound just to see the pictures.
Edelstein:Pauline Kael, one of the most influential film critics of all time, wrote in "The New Yorker" that Steven Spielberg had made one of the most phenomenal debuts in the history of film. She compared him to Howard Hawks in terms of how natural his feel for the medium was. What Kael saw in Spielberg was someone with a real movie sense, but she also said she wasn't necessarily sure there was great depth to go with it. She didn't see a sign of an emerging film artist like Martin Scorsese. What she saw instead was the birth of a new generation Hollywood hand.
幸运的处于一个活跃的文化氛围中
Spielberg:We were very, very fortunate to be part of that time. The culture was converging. It was filmmakers, it was artists, musicians, performers. It was an incredible, fertile time.
未曾有意追求电影的精神内核,自己的精神层面会通过工作渗透到作品中
I don't search for films consciously that have a spiritual core. There's a spiritual part of myself that happens to bleed over into the work, and so I subconsciously, which is the only choice that's important, will find things that inherently have something of a belief system that's beyond our understanding, that's a little bit out there.
人与人之间的联结
Coyote:For many years I wondered about the universal appeal of this movie, and one day, it hit me. There are no two humans on Earth that are father apart than those humans and that alien creature. And if Elliott, and the mother, and the little girl, and the scientist, could all love and empathize and make a rapprochement and a rapport with this creature, so, too, can any two humans on Earth, and I think that was a subtext that bubbled up through the film and must have touched something, because you don't get many films that are universally loved and appreciated 40 years later. And it spoke to something. Some desire to be able to reach across boundaries and touch other people.
对儿童演员的特别关照
Spielberg:I think all of my movies that have dealt with young people and their stories are about the importance of empowering these children to take control of the story, at least take control of their lives.我所有的电影都与年轻人和他们的故事有关,使这些孩子们更强大,控制故事的呈现很重要,至少他们可以控制自己的生活。
二战喜剧片带来的失败与挫折
But it was like I committed a war crime by making "1941." Everyone was eviscerating it. I was really devastated. Just that feeling of failure, that cold emptiness, where every reminder of the movie, you get that sick feeling in the center of your stomach, and you just want to go dig a hole and stick your head in it. I mean, for the next year, I put my head in a lot of holes. And my friend George Lucas came to the rescue.
自身的成熟,期待电影在更本质更人性方面的变化
Spielberg:I was looking for a different perception of myself. And if I didn't want to consciously make a departure and prove something, not just to myself but to everyone else, I might not have chosen "Color Purple" as my next movie. But it was my first really mature film, which took on, you know, substantive, humanistic subject matter. I was turning 40 and I was looking at life perhaps less optimistically.
紫色中本可以有更深入的表达
Spielberg:I got in trouble with several critics who didn't like that I shied away from the love story between Shug and Celie. And the scene where Shug Avery shows Celie, with a mirror, her vagina, that that did not go into the movie, which would've really changed the entire nature and tone of the film. I just didn't go for the full monty the way the book did. I might've done that had I made the movie 10 years later. I was just timid. I was just a little embarrassed. I just wasn't the right guy to do that.
对自己犹太人身份从拒绝到接受
I certainly experienced being excluded and being picked on and discriminated against. All I wanted to do was fit in. And by being Jewish, there was no way I could fit into anything.
I began to deny my Jewishness, you know, began to deny everything that I had accepted as a child and was not willing to accept if it was going to make me a pariah. I was ashamed of myself. I still feel ashamed of myself even remembering that long stretch of my life where I didn't want to be Jewish anymore.
辛德勒名单的基调
I tried to do it with no fancy tricks, no fancy lenses, no big Hollywood sweeping cranes. I tried to take all the tools with which I made so many of my films and just chuck them out the window. I never handheld anything, but I wanted to handhold as much of "Schindler's List" as I possibly could. I just wanted to create for all of us the feeling that we were absolutely there at the time.
光影的隐喻
Neeson:Oskar Schindler was a gregarious man. He was a second-rate businessman. Bit of a shady character, you know? A man about town, loved the women, loved his booze. A bon vivant, that's what he was.
Spielberg:Everything we do in this medium is about light and shadow, how the cinematographer lights the actors, lights the set. If you look at "Schindler's List," Amon Goeth was always lit beautifully. He always had that beautiful front light. You know, the guy was very clear. There was no mystery in him. You don't have to enhance his evilness, if you may say, by lighting. Now, if you look at Oskar Schindler, that was a confused individual. He came to Poland to make money, so it's always glamorous, but always shadowy. And then as the movie's progressing, he gets more frontal light. The shadows disappear.身为导演的情感投入,以及电影之外的社会互动
It was, emotionally, the hardest movie I've ever made.
Kennedy:That was a pivotal moment in Steven's life. He recognized he couldn't take any of the profits from the film. He wanted to give something back, so he started what became the Shoah Foundation, documenting that oral history and capturing history in a way that allowed people not to forget.
多面手
Robert Zemeckis:For a filmmaker, you can't have a better producer than one of the greatest directors in the world. He really nurtures young talent coming up. It's a pretty amazing roster. He's also a major figure in the television business. He started a restaurant. Dive! Submarine sandwiches. The man was, like, doing 27 things at once and being perfectly unselfconscious about it.
Geffen:I don't think Steven really fears anything. He's always ready to go and do something new.
拯救大兵瑞恩中镜头距离与观众心理感觉的关系,声效,应变能力
Spielberg:I tried very, very hard to put the audience as close to the experience as I possibly knew how to do so there wouldn't ever be a safe feeling in the audience. And when you narrow that distance-- if you're successful in narrowing the distance, then the audience really becomes those characters.
Edelstein:In "Saving Private Ryan," Spielberg understood the expressionistic possibilities of sound.
And if you're not Steven, if you don't have this lifetime of cinematic language in your head, that's a different kind of day. But because his eye is so connected to his brain and every movie that he's ever seen and every movie that he's ever made, he just went out and said, "Here's how we're gonna do this, and that's it." Incredible.
自身的情感挫折与电影作为治疗方法
It was complex for me for a long time, but at least I had a art form that I could filter it through. At least I had that. If movies did anything for me, it-- I've avoided therapy because movies are my therapy.
“无论怎样都要争取自由”的电影主题,爱国主义与理想主义
Insdorf:There are people struggling in one way or another for freedom in these movies. Give... us free. He doesn't take freedom for granted.
Spielberg:I really believe in this country, and I always have. And it just resonated throughout my work-- wanting to tell American stories, wanting to tell stories about principled, ethical people who, against all advice and against most everyone else's better judgment, just proceed to do the right thing. I'm sure that sounds like I'm this kind of, you know, idealist or some sort of a patriot, but I am a patriot. And I'm somewhat of an idealist, too.
讲故事的方法
Steven worked a long time to find where the story was to tell it.斯蒂芬会花很长时间去找在哪里讲故事。
保持中立
Spielberg:I felt I could not make this one-sided. And so, I knew it would be controversial from the very get-go.
Daniel Craig:This movie was trying to affect and turn on a debate. Is vengeance the answer? Does it actually solve anything? If you continue the cycle of violence and cycle of blood, then... that's what they'll be and nothing else. Steven was very keen to tell a human story, that these were men and not superheroes. Their indecision and their mistakes and their-- is the reality of what happened, you know? Life isn't a "James Bond" movie.复仇是否就是答案
叙事的方法
Kushner:You're in the hands of somebody who will always show you what you need to see in order to understand, on a narrative level, what's happening. And you'll also see a lot of things that will help you understand on deeper levels as well. And that sort of narrative device
电影带出的不确定性
Hoberman:The movie was perceived to be suffering from a sense of moral equivalence, which is really the bravest thing about the movie. It's looking for aspects of humanity on both sides of this conflict. Ambiguity is something that you don't normally associate with Spielberg's films, and "Munich" is the film where he went the furthest in the bluntness and the ferocity with which he approached that subject.
家庭,分离与重聚
Spielberg:Family is a big element in my life, which is why so many of my stories are about separation and then reunification. Even "Lincoln" is about separation and reunification.
工作团队的稳定,与他人合作,激励同伴
Williams:He understands that people and can serve him and how to synchronize his wishes with your own. He would've made a great general.
在看电影中不断学习
Kennedy:Steven looks at movies constantly and over and over and over again, referencing shots and framing and ideas. That's something Steven does all the time.Spielberg:Great filmmakers' works live on to create tremendous moments of inspiration. And so, one of the films I still see every year is "Lawrence of Arabia." The shots, the sheer vistas, and the portrait of such a complex character, it's pure moviemaking. 伟大的电影导演的工作是创造巨大的启发性时刻。自我审视中的过去,成长
Spielberg:Many years ago, Pauline Kael gave me a really great review on "Sugarland Express," but she said, "Whatever's on the surface might be all that is there. There may be nothing behind that." And she was absolutely right. I hadn't grown up yet through the movies. That was going to come in time.
到现在为止的评论
Maslin:Take a look at what he's done over close to 50 years. There's certainly a lot of variety. There are some things he's done that haven't worked, but there is absolutely nobody like him and no film career trajectory that is anything like his in the history of film. He speaks cinema as if it's his native language. He is so fluent in it that he does things that nobody else would dare to do and they are instantly recognizable as things that are purely his.
Scorsese:He has a dynamic sense of real filmmaking. I'm talking about filmmaking of--in the great narrative tradition of American cinema. 真正的电影制作的动态感
Coppola:Steven was blessed in that he could be commercial and he could do art.That's why I always compare him to a kind of George Gershwin, because Gershwin could write a Broadway show or he could write "Concerto in F." He could both, and very few people can do both. And Steven can do both. And that's a talent you have to be born with. 商业与艺术
该剧主要讲述了少年时期的张君宝与秦思容、明道红、凌雪雁之间的情感纠葛,以及易继风、易天行等人之间的江湖道义,对战最后成长为一代宗师张三丰的传奇故事。李冰冰扮演的秦思容,自幼被神秘组织训练成誓死效忠的死士为秦桧卖命,被派往在营救岳飞行动中做卧底,遇上易天行及其患难之交张君宝,及后更发展一段纠缠不清的三角关系,而她杀亲手了张君宝的父亲,令她日后无法面对张君宝。严屹宽饰演的易继风是个悲剧性的人物,
该剧主要讲述了少年时期的张君宝与秦思容、明道红、凌雪雁之间的情感纠葛,以及易继风、易天行等人之间的江湖道义,对战最后成长为一代宗师张三丰的传奇故事。李冰冰扮演的秦思容,自幼被神秘组织训练成誓死效忠的死士为秦桧卖命,被派往在营救岳飞行动中做卧底,遇上易天行及其患难之交张君宝,及后更发展一段纠缠不清的三角关系,而她杀亲手了张君宝的父亲,令她日后无法面对张君宝。严屹宽饰演的易继风是个悲剧性的人物,他是名剑山庄少庄主,少林寺一战输给张君宝改变了他的一生,重振名剑山庄声誉等一切对于他来说实在太过沉重,为了给心爱的人报仇,忍辱负重,收齐四把宝剑并苦练,最终练成“名剑八式”,决战逍遥王,不敌逍遥王被杀。李小璐饰演的明道红,差点被张君宝已届六十高龄的父亲为妾,后来认定君宝为真命天子,不惜为他付上性命,和张君宝是欢喜冤家。当年明道红死的时候感动了很多人,剧的结局也非常虐心,片尾曲《孤独不苦》也是传唱度颇高。
《狗咬狗》个人观影随笔,欢迎理性讨论,不喜勿喷
导演,我知道你想拍的很酷,但是我们不能为了酷而酷,因为酷过头了,就不是真正的酷,而是装酷
电影整体的风格是比较暗黑压抑的,大部分的场景都是黑漆漆的,故事也讲的磕磕绊绊,所有人都跟疯了一样,好像只有冠希哥一人是正常的,因为他演的本来就是一个癫狂的人,警察们不理性,一言不合就杀人,逻辑上的我没办法融入剧情,太刻意了,但是也能
《狗咬狗》个人观影随笔,欢迎理性讨论,不喜勿喷
导演,我知道你想拍的很酷,但是我们不能为了酷而酷,因为酷过头了,就不是真正的酷,而是装酷
电影整体的风格是比较暗黑压抑的,大部分的场景都是黑漆漆的,故事也讲的磕磕绊绊,所有人都跟疯了一样,好像只有冠希哥一人是正常的,因为他演的本来就是一个癫狂的人,警察们不理性,一言不合就杀人,逻辑上的我没办法融入剧情,太刻意了,但是也能理解,毕竟电影的名字就可以解释一切不合理!
《狗咬狗》这个名字很尖锐,而且配乐也特别有意思,每次冠希哥出手的时候总是伴随着恶犬的狂吠声,原来这是个癫狂的动物世界,人跟狗一样互相撕咬,人性泯灭,唯有生存,不要跟我讲道理,也不要跟我谈逻辑,从这个角度去欣赏,可能会容易理解的多.
很多人说冠希哥在里面的表演炸裂,我不知道这种炸裂感是怎么表现的,他没有什么台词,只是靠一些肢体动作和眼神,我的感受,有融入角色,也能挑起主演的戏份,最后的部分还是有一点青涩,但绝对谈不上炸裂,可能他们的理解,只要歇斯底里,够凶残,够狠够酷够拽就是炸裂,我们的理解有偏差,而且我非常讨厌这个词.
PS.我倒是觉得李灿森演的不错,还有最后的结局很好,虽然跟前面的衔接有点脱节,但那个孩子出现的时候,还是看到了一些希望,并没有一黑到底....不然就真的太压抑了.
有些人就是为舞台而生的,他喜欢站在舞台上的感觉,就像有的人从小的志愿是当一位人民教师,讲台就是她的舞台。民谣的歌词有时听起来挺虚无的,比如“黄河水干了,我的心碎了”,口口相传中彼此有呼应却又好像在自述。
近乡心更怯,黄河入海流。
有一个路人坐在路边看一本书《道家做事,儒家做人,佛家修心》,我查了下还真有这本书,原来不是道具。
蓝天里冒着烟的烟囱真好看。
有些人就是为舞台而生的,他喜欢站在舞台上的感觉,就像有的人从小的志愿是当一位人民教师,讲台就是她的舞台。民谣的歌词有时听起来挺虚无的,比如“黄河水干了,我的心碎了”,口口相传中彼此有呼应却又好像在自述。
近乡心更怯,黄河入海流。
有一个路人坐在路边看一本书《道家做事,儒家做人,佛家修心》,我查了下还真有这本书,原来不是道具。
蓝天里冒着烟的烟囱真好看。
我有一个外号叫民谣流窜犯,哈哈哈哈哈哈哈,一年103场演出,不热爱怎么撑得住。
从北方到南方
从西部到沿海
我却说不清楚
为什么要来这些地方
我们村里原先有一个三兄妹,父母在去镇上买年会的途中出车祸走了,姐姐就变成了最小的妹妹的妈妈,小时候我们老取笑妹妹,她不是你的妈妈是你的姐姐。后来妹妹出嫁了,姐姐那天特别高兴,在父母的坟头哭了很久,再后来我们才发现,姐姐在坟前去世了。
最后落幕的字幕在左右两侧有加分。
今天看完mixitie-voltaire和drole (笑闯巴黎)完全是意外之喜。如果对stand up comedy感兴趣或者曾经生活在法国过的,裂墙推荐笑闯巴黎。Netflix制作,6集,笑点满满。
关于Mixitie,我的记忆定格在学生们为庆祝暑假的到来而疯狂起舞,年轻的荷尔蒙和躁动的青春在暖橘色的镜头下跃动。
今天看完mixitie-voltaire和drole (笑闯巴黎)完全是意外之喜。如果对stand up comedy感兴趣或者曾经生活在法国过的,裂墙推荐笑闯巴黎。Netflix制作,6集,笑点满满。
关于Mixitie,我的记忆定格在学生们为庆祝暑假的到来而疯狂起舞,年轻的荷尔蒙和躁动的青春在暖橘色的镜头下跃动。
青春什么时候散场呢?
此间少年是不需要知道的,他们大笑、大哭、表白、暧昧,为终结的爱情醉酒痛哭又如何,酒醒之后再爱过就是.
为女神没把自己放心上失落又怎样,转眼又跳入音乐的海洋中跳起舞,在伙伴欢呼声中被抛起、扔到半空,肆意欢笑、尖叫。
他们年轻,年轻到让我妒忌。
我14、5岁的时候也曾经是为赋新词强说愁,恨不得一夜间长大成人,再也不用被当作小孩子被管头管脚.
可真的被岁月无情拍打到脸上后,如今27岁的我只是一个很尴尬的成年人。感情空白,唯唯诺诺,总是害怕受伤,总是把自己裹在层层盔甲里;事业毫无起色,一份不温不火的闲职做着,钱少活少,一个月工资连半平米的房子都付不起。
我一脸姨母笑地看到屏幕里的少年少女青春着、热恋着,说一点也不羡慕是假的,可活到现在也能明白每个人的人生都有不容易的地方。
这部剧的主题是男女合校而不是青春期男女的困惑,若是后者,那就该拍成60年代版本的skam了。
Michelle的家庭对儿子寄予厚望,对她并没多少期望,从父母、哥哥那里都得不到多少关爱。她总是被要求帮家里的肉铺干活,而哥哥就可以穿着得体被称为我们的希望,一定会出人头地的。也不奇怪她会讲她很想早点结婚,然后就能离开家里。
Simone父母都在阿尔及利亚,只能寄宿在姑姑家,结合年代背景,她法裔阿尔及利亚人的身份还是不是会受到如Michelle爸妈之流的轻视。S说过许多次她很久没见爸妈了,她很想他们,而和她“浓情蜜意”的Jean-pierre竟然完全不记得她爸妈不在法国。后来想哄她和好时买了本阿尔及利亚的书,我看到这里时简直要笑疯了,他对S的了解还能再少一点吗?就只剩下知道她来自阿尔及利亚。
Annick聪明好学,镜头几次给到她妈妈,总是和闲言碎语联系到一起。她风韵犹存的妈像是恋爱脑,对女儿的学习并不怎么放在心上,一心只有自己的爱情。那个承诺拍了她照片就离开她母亲的别有用心大叔在片尾又回来了,很难想象生活在这种环境中的A是怎么照顾自己长大的。
Alain更是不用说,收养他的农场主简直是把他当作免费劳动力在用,在考试前还能让他干完活才可以离开。Annick告诫他,你需要文凭,这是唯一的机会,不要浪费它。Alain说M是爱他的,如果换做是其他十几岁的孩子说这话,我大概会说young man, you know nothing about love, you are too damn young.可对于早早尝遍人情冷暖,知道如果有人衣服被偷他会第一个被怀疑的alain,我想他很清楚,像M这样什么都不要,只是一腔热血对他好的人,他之前遇不到,之后也未必会有。正因为如此,M的爱对他来说是珍贵的,是不会轻易被舍弃辜负的。他不是Jean-Pierre,有慈爱的父母双亲呵护着,能随意把女孩的心扔到路边。
对于M和A的私奔,如果换做是以前,我一定会说她才15岁,她什么都不懂。
什么爱不爱的,过一段时间都会变淡的,就像高中我们班上爱得死去活来像连体婴一样的,最后都没走下去。
像他们两个十五岁的孩子,没学历、没钱财跑到巴黎去,我不知道他们的未来也经历多少难以预料的艰难。
可结尾,在看到她和alain坐在大巴最后一排,夕阳照在他们脸上,michelle握着熟睡中Alain的手,她的神情笃定而从容。我希望那辆车开往巴黎,可以载着两个少年走向一个美好的未来。就像校务主人说的,他们选择了幸福,我也真心希望这两个孩子可以幸福。
Simone那段我最痛心的是她的流产,还好护士舅妈和英文老师帮她隐瞒没有告诉家人,不然很难想象她将要面临什么。
一直以来我很反感男性对女性的身体指手画脚,发表没人想听、也没人邀请他们发表的言论。女性的性权力和生育权从始至终只该属于女性,那个给simone做刮宫手术时言辞刻薄说,张开大腿,我相信这对你来说很容易,这话真是诛心。
随着我越来越靠近所谓的最佳受孕年龄,我越发反感这个词。它起初应该只是一个建议,后来成为了一个束缚。对我而言,生育权是权力,而不是义务,我希望那些喜欢向别人建议赶紧当妈的男士能管管自己的嘴,没人在乎你的意见。Je fais ce que je veux avec mon corps.(我的身体,轮不到你指手画脚)
Simone对JP开始的热情如火,后来轻松释然,甚至几次和他讲话都是为了和M和好,女性的友谊在她眼里,显然比JP这个不靠谱又没把她放在心上的家伙可靠。
其实Jean-pierre也不是坏人,我甚至不会给他扣上渣男的帽子。他只是在父权社会下长大的一个被宠坏的小孩,哪怕他比S大2岁,他的心理年龄似乎比S还要稚嫩些。
从第一次和S做爱时,他谎称自己有经验,实在是太符合刻板印象里,男性对缺乏性经验的耻感。有趣的是东亚文化里,对女性缺乏性经验却是满满的褒义,等同于纯洁无暇之类的。
S说因为我把第一次给了你,所以我会永远记得你。其实我相信以她拿得起放得下的性格,她在若干年后一样会有人让她去爱,也有人愿意毫无保留地去爱她,那时候她想起这段夏日浪漫,估计也只会笑笑,并见得这段往事有几两重。
某些方面来说我是羡慕S的,和她的爱情无关,我对男模身材的JP毫无感觉,这性格委实让我喜欢不起来。我羡慕的是她对爱的洒脱和大胆,想追求什么就一往无前冲上去,不掩饰、不欲盖弥彰、不为此莫名羞耻或害羞。
如果是感情的话,我最喜欢的反而是小胖和Annick。小胖同学虽然外表在一众环肥燕瘦的美少年里并不算出众,但他的性格真的让人很舒服。
无论是他对一个毫无敌意地向女生们打招呼,还是在A没有自行车后贴心地给她准备,包括提到的条件也是让她不要再脱衣服了,他对A的尊重和关怀让我很感动。
我曾经和一个朋友开玩笑,为什么男人永远不明白,给一个女人披上衣服要比给她脱下衣服要更性感,更让人感动。
朋友回答说,也许不是人家不懂,只是他想要从你这里得到的,并不是感动。
另一个让我印象深刻的点是护士jeanne。在今天的法国lgbt+已经是可以公开讨论,我认识的几个法国学生中对自己的性取向和性伴侣向来都是毫无掩饰,对他们来说早就没人在乎你的取向。随着同性婚姻合法化和同性家庭领养孩子合法化,Jeanne所遭遇的,在今日的法国应该很少会有人再遭遇了。
文/小关平
目录:第一章:开篇第二章:齐桓公文/小关平
目录:第一章:开篇第二章:齐桓公第三章:晋文公第四章:秦穆公第五章:楚庄王第六章:宋襄公、吴阖闾、吴夫差、越勾践第七章:管仲、孙武、范蠡第八章:结语————
△开篇
9691737 陈眠2020/4/24 12:24:07连肝三集,这个重生后宫番才是今年的王者啊!12536172 放学后别走2014/11/18 10:14:25史上最烂,没有之一我是在电影院看完《秘术》后,实在是忍无可忍,特意注册了豆瓣来骂街的。我就想问下剧照是不是特意补拍的为骗钱的,算不算欺诈,整部电影能跟我解释一下跟盗墓有半毛钱关系?就出现了盗墓的工具,还有一本秘籍,从头到尾就是两孤儿寻亲的故事,男主还寻亲给寻得变态了,玩起了扮鬼和绑架。前半段将女主到一个房子里见了一个老婆婆,发现了自己身世的线索,然后半夜被灵异事件吓到,后半段女主和老婆婆就被男主绑架了,然后男主解释我是在电影院看完《秘术》后,实在是忍无可忍,特意注册了豆瓣来骂街的。我就想问下剧照是不是特意补拍的为骗钱的,算不算欺诈,整部电影能跟我解释一下跟盗墓有半毛钱关系?就出现了盗墓的工具,还有一本秘籍,从头到尾就是两孤儿寻亲的故事,男主还寻亲给寻得变态了,玩起了扮鬼和绑架。前半段将女主到一个房子里见了一个老婆婆,发现了自己身世的线索,然后半夜被灵异事件吓到,后半段女主和老婆婆就被男主绑架了,然后男主解释了自己是如何扮鬼吓唬人的。然后那个队长我就不懂了,这个人物的出现是想说明什么?还有就是郭德纲领衔主演,我想请人解释解释领衔主演的字面意思是什么?到底我语文是体育老师教的还是导演语文是体育老师教的,从头到尾郭德纲出镜能有五分钟吗?郭老师您这节操也是无所谓了,什么片都接啊。我当晚特地给剧组烧了两斤纸,不够我再烧点。【详细】
想骗钱干哪行不能骗啊,非要干电影,这尼玛逼着人爆粗口啊。这片子估计除了演员和工作人员薪酬以外还花什么钱了,就尼玛全程都在一件屋里啊,次奥!这尼玛编剧和导演是猴子请来的吧。7196445 浅蓝 丶2021/12/15 2:45:48势力分布图,让你看完不迷路。可以直接看最后面势力分布。这篇影评可能有剧透 1、市政城市开发科长文哲浩介绍江南地区,中央情报部部长金正奎(阴谋家)认为地势很好,可以开发成南首尔 2、2个相依为命的孤儿钟大、勇奇在贫民窟还被强拆 3、徐议员带领3个黑道帮派:张德才、杨起哲、南顺哲介绍给朴议员,朴议员说只要搞坏对面的政党,还说自己有生意,如果...这篇影评可能有剧透 1、市政城市开发科长文哲浩介绍江南地区,中央情报部部长金正奎(阴谋家)认为地势很好,可以开发成南首尔 2、2个相依为命的孤儿钟大、勇奇在贫民窟还被强拆 3、徐议员带领3个黑道帮派:张德才、杨起哲、南顺哲介绍给朴议员,朴议员说只要搞坏对面的政党,还说自己有生意,如果... (展开)【详细】14067256 Karuto2019/12/26 19:02:50毁掉了星战新三部曲的,是我们粉丝。所有人都在批评情节:哪个人物太突兀,哪段结局不完美,哪件麦高芬更魔幻……我想讨论的,是更本质的一个问题——毁掉了星战重启三部曲的,是我们粉丝。
如今回望,这个三部曲简直是一场粉圈里的社会学实验。古往今来,从没哪个现象级 IP,会和今天的星战一样,被它的粉丝舆论绑架到这种程度。而又能怪谁呢?正是这个新三
所有人都在批评情节:哪个人物太突兀,哪段结局不完美,哪件麦高芬更魔幻……我想讨论的,是更本质的一个问题——毁掉了星战重启三部曲的,是我们粉丝。
如今回望,这个三部曲简直是一场粉圈里的社会学实验。古往今来,从没哪个现象级 IP,会和今天的星战一样,被它的粉丝舆论绑架到这种程度。而又能怪谁呢?正是这个新三部曲,让星战的粉丝群体激化得如此水火不容,棋错一招,全盘皆输。这么一想,没有冒险精神的迪士尼接手这盘棋,一塌糊涂是必然的结局。因为当棋盘充满着火药味时,早已连平庸都容不下了。
曾经开创了粉圈文化的元祖级 IP,后来是如何被粉圈内部的分裂而搅得一败涂地的——对于我们普通创作者来说,这才是星战用砸掉的招牌和血泪换来的最大警示。
12123577 熊要要2020/5/4 23:48:53刘海镇你好难噢挺好看的,想象力不错,交替的生活,成就了互相的爱情,也让彼此的生活有了巨大的改变,应了那一句类似人挪活的寓意(好像比喻不太对,哈哈哈)刘海镇的演技很棒,有趣的灵魂说的就是他了,只不过无法理解为啥韩剧里总会有那么一个不懂道理不明场合就撒泼或者不顾他人所处环境... (展开)挺好看的,想象力不错,交替的生活,成就了互相的爱情,也让彼此的生活有了巨大的改变,应了那一句类似人挪活的寓意(好像比喻不太对,哈哈哈)刘海镇的演技很棒,有趣的灵魂说的就是他了,只不过无法理解为啥韩剧里总会有那么一个不懂道理不明场合就撒泼或者不顾他人所处环境... (展开)【详细】12566214 CydenyLau2017/8/7 1:24:22【C+影评】黑暗塔:索尼滚粗电影圈?作为当代最重要的小说家之一,斯蒂芬·金的作品中自然不会缺乏野心——尤其是在《黑暗塔》上。一套八部的系列主体,编织着史诗般的正邪战争,整个宇宙已知和未知的命运命悬一线。这样一个体量庞大的奇幻世界,甚至是能够比肩《指环王》《基地》的伟大著作。而这也是此类文学作品大多被认为是“改编不能”的原因之一——仅在《黑暗塔》这个项目上,在过去的十多年里,就有不少好莱坞电影制作人想把它搬上大银幕,其中不乏J·
作为当代最重要的小说家之一,斯蒂芬·金的作品中自然不会缺乏野心——尤其是在《黑暗塔》上。一套八部的系列主体,编织着史诗般的正邪战争,整个宇宙已知和未知的命运命悬一线。这样一个体量庞大的奇幻世界,甚至是能够比肩《指环王》《基地》的伟大著作。而这也是此类文学作品大多被认为是“改编不能”的原因之一——仅在《黑暗塔》这个项目上,在过去的十多年里,就有不少好莱坞电影制作人想把它搬上大银幕,其中不乏J·J·艾布拉姆斯和朗·霍华德这样的顶尖人物。而随着电影终于制作完成,我们也真正地意识到,诞生过《指环王》甚至是《哈利波特》的21世纪初,编剧的力量实在是太过强悍了。将海量的素材整理出适合影视化的层次,并且在敢于大胆重塑的同时,而不破坏作品的魅力所在,这是一项具有非常挑战性的任务。而对于《黑暗塔》这样繁杂的作品,《权力的游戏》式的电视化处理,才是更好的改编方式。而当电影项目已经尘埃落定,又没有办法获得足够强大的剧本支持时,最可行的方法是半原创——这大概也是丹麦导演尼柯莱·阿塞尔所选择的方式:从浩若烟海的《黑暗塔》材料中,将作品的代表元素编织到新的故事中,以使其能够满足一个半小时的叙事要求。尽管这样做难以满足原著读者的需求,但对于普通观众来说,显然要更容易消化。然而真的是这样吗?《黑暗塔》纷繁复杂的世界设计,恰恰是这一系列最诱人的元素之一。而这一要素的简化和砍掉,远要比《指环王》放弃迈雅和第三纪元的设定,《权力的游戏》放弃石心夫人要更为严重——因为没有了这些内容,电影版的《黑暗塔》就不再是《黑暗塔》,而是任何一部涉及多元宇宙时空穿梭超能力大战的冒险大片了。这显然不是我们想要的《黑暗塔》。一部改编电影没有了其原著的精神,甚至没有了能与其他同类电影加以区分的独特之处,还能算得上是一部好电影吗?显然不能。文学改编电影在任何一个国家的电影市场中都屡见不鲜,但如何将文学这种艺术形式转化为影像,又如何在改编过程中兼顾艺术与商业,才是真正应该重新学习和体会的地方。《黑暗塔》电影谈不上老司机翻车:伊德瑞斯·艾尔巴和马修·麦康纳的表现没有问题,叙事和节奏上也没有什么问题,但世界构建的失败,模式化的情节和特效表现,显然是配不上《黑暗塔》,或者任何一个有着续集开发潜力的系列首作的。要知道,这已经是索尼影业在半个月内第二部让人感到失望的院线电影了。《表情奇幻冒险》高度公式化的故事让人提不起精神,严重创意缺乏的视觉设计昏昏欲睡,更不用提丧心病狂的app植入:首当其冲的竟然还是微信气泡狗。索尼动画部门奇葩的美学设计已经不是一朝一夕的事情了,而真人电影死磕低俗喜剧和烂俗大片的taste,要更加令人发指。一言蔽之,真正值得怀疑的不应该是索尼的制作能力,而是审美和品位。我们感谢索尼在喜剧创作上的坚持不懈(这也是索尼系喜剧唯一有价值的地方了),但在陈旧的电影语言备受观众摈弃的今天,索尼急需开发新的吸引点,而不是剑走偏锋和怪锋,妄图投机取巧。在索尼的身上,我们看到的是多年来观众和片方对电影创作的共同纵容,放弃了电影的内洽与合理性,怎么舒服怎么来,怎么爽怎么整,在这种唯利是图的思维影响下,产出的结果自然是极具破坏性的,也断然是难以取得除了商业利益以外的任何价值的。电影除了艺术属性,的确有着商品属性。但只有建立在艺术属性上的商品化,才是电影百年的源源动力。知其然而不知其所以然,知其所以然而偏不为之,哪个更可怕,不言自明。
87301576 KL2021/8/8 9:24:20《X特遣队》漫画彩蛋与人物起源全攻略哈莉·奎恩/Harley Quinn 哈莉的红黑造型来源于2011年的游戏《蝙蝠侠:阿卡姆之城》的形象。 她的皮夹克背面还有关于小丑的小彩蛋——"Live Fast Die Clown"。 哈莉后背的纹身也是她离开小丑后走出情伤的标志,上面写着"Property of No One",而在2016年阿耶版《自杀小队》中,...哈莉·奎恩/Harley Quinn 哈莉的红黑造型来源于2011年的游戏《蝙蝠侠:阿卡姆之城》的形象。 她的皮夹克背面还有关于小丑的小彩蛋——"Live Fast Die Clown"。 哈莉后背的纹身也是她离开小丑后走出情伤的标志,上面写着"Property of No One",而在2016年阿耶版《自杀小队》中,... (展开)【详细】13737247 我们都在树上2020/6/26 9:22:52人与自然,和谐相处5.0 动画片看得总是比真人电影解压,这部也不例外。电影的核心命题是“人与自然,和谐相处”,简介已经介绍得明明白白。——所以尽管这部电影快结束几十分钟,我一直在干别的事情。影片当然是大团圆结局,我现在越发不喜欢这样的结局,大概是悲剧心理在作祟。按动画片的标准来看,质量非常优秀。“当真人电影观影体验不顺时,看动画片是最好的解闷方式。”
5.0 动画片看得总是比真人电影解压,这部也不例外。电影的核心命题是“人与自然,和谐相处”,简介已经介绍得明明白白。——所以尽管这部电影快结束几十分钟,我一直在干别的事情。影片当然是大团圆结局,我现在越发不喜欢这样的结局,大概是悲剧心理在作祟。按动画片的标准来看,质量非常优秀。“当真人电影观影体验不顺时,看动画片是最好的解闷方式。”
12685354 薄荷糖2022/1/4 0:37:54剧情有些失语的地方,但很喜欢一些运动番群像?男主水球比赛获得地区第一的当天出车祸成植物人,一年后醒来,忘掉了初中三年的记忆,勉强上了高中(因为三年初中的知识也忘记了??),一些波折后,重新开始水球运动【阶段A】队伍刚有点起色,又受刺激失去了车祸醒来后的记忆+恢复了初中三年的记忆,割裂感可想而知:昨天还是第一,今天就要面对状态全面下降的自己,前队友锐不可当,现队友水平不够【阶段B】但我作为观众还在表示同情的时候,他已经开始新的努力,既狗
【详细】男主水球比赛获得地区第一的当天出车祸成植物人,一年后醒来,忘掉了初中三年的记忆,勉强上了高中(因为三年初中的知识也忘记了??),一些波折后,重新开始水球运动【阶段A】队伍刚有点起色,又受刺激失去了车祸醒来后的记忆+恢复了初中三年的记忆,割裂感可想而知:昨天还是第一,今天就要面对状态全面下降的自己,前队友锐不可当,现队友水平不够【阶段B】但我作为观众还在表示同情的时候,他已经开始新的努力,既狗血又励志。编剧有在强调阶段A对阶段B的影响,致使主角有种莫名的水仙感光盘是全剧的神奇道具??女主(暂时不知道是什么定位?)个人故事没讲好,人物行为就显得诡异,一个生硬的推动故事进程的工具人,没有她男主不可能重新开始水球,同时她也是男主恢复记忆和再度失忆的诱因(阶段A到阶段B,男主听了她的一顿指责受了刺激而恢复记忆,后来心神不宁地雨天骑车出事故再次失忆??),结尾又因为见证男主的变化开始学着改变,挺奇怪的
期待第二季,如果有的话
14116425 RSJing2020/3/15 18:32:37爱情里的share有多重要致命女人里哈士奇的电影 讲述她糟糕的一天然后坐飞机时被升至头等舱 在飞机颠簸时她以为要空难 对着旁边的总裁说出了很多幼稚可笑但令人喜欢的肺腑之言
后来才知道他是公司的股东 两人恋爱后遇到的最大问题就是信任 她觉得他什么都不告诉她
电影最后是happy ending
纽约的街景很美
她喜欢的歌我也喜欢
PS有些最佳损友般的闺蜜 记得要
【详细】致命女人里哈士奇的电影 讲述她糟糕的一天然后坐飞机时被升至头等舱 在飞机颠簸时她以为要空难 对着旁边的总裁说出了很多幼稚可笑但令人喜欢的肺腑之言
后来才知道他是公司的股东 两人恋爱后遇到的最大问题就是信任 她觉得他什么都不告诉她
电影最后是happy ending
纽约的街景很美
她喜欢的歌我也喜欢
PS有些最佳损友般的闺蜜 记得要远离
一贯评分 三分
12390220 JoeyLu陆柏宇2014/3/27 14:01:39影评:生不逢时的惊悚片?绝命航班?,这片上映日期真是生不逢时,实际上本片故事根本与现在的事件毫无半毛钱关系。虽然3D效果很合格,但故事差不多跟泰国恐怖片有所相似。要说片中的演员,除了外国机长演的有模有样,但其他的中国演员虽然看着都很卖力在演戏,其实细看演技都很空洞,看着都很有种不适应感。总之,爱看不看。?绝命航班?,这片上映日期真是生不逢时,实际上本片故事根本与现在的事件毫无半毛钱关系。虽然3D效果很合格,但故事差不多跟泰国恐怖片有所相似。要说片中的演员,除了外国机长演的有模有样,但其他的中国演员虽然看着都很卖力在演戏,其实细看演技都很空洞,看着都很有种不适应感。总之,爱看不看。【详细】6607141 linda2010/4/12 12:53:27冲着苏有朋去的4月6号,在北京看的首映,我觉得那个首映礼的意义对于我而言,超过了这部电影。
我不是学这方面的,电影的专业术语也不会说,但是谈几处我的感受吧
1.感觉情节很奇怪,不知道怎么,苏有朋和颜丹晨就对上眼儿了,似乎没有什么特别明确的火花之处,就好上了...看完了还是觉得费解。
2.剪辑确实有问题,就是颜丹晨边哭边跑的时候,怎么看怎么别扭....
3.感觉好多配角人物4月6号,在北京看的首映,我觉得那个首映礼的意义对于我而言,超过了这部电影。【详细】
我不是学这方面的,电影的专业术语也不会说,但是谈几处我的感受吧
1.感觉情节很奇怪,不知道怎么,苏有朋和颜丹晨就对上眼儿了,似乎没有什么特别明确的火花之处,就好上了...看完了还是觉得费解。
2.剪辑确实有问题,就是颜丹晨边哭边跑的时候,怎么看怎么别扭....
3.感觉好多配角人物的情节,设计的生硬之极。不太协调
优点:
有的地方比较搞笑,大团圆结局
范明的表演,很不错,首映当天也非常礼貌的,介绍了四个孩子的母亲
但是感觉有点被媒体影迷忽略
建议,早场或者优惠的时候去看看,实惠点儿3160325 张萌萌2018/4/29 15:07:04有关制敌之道的讨论从2017年秋季剧的《夜班医生》和《黑色警报》结束以来,一直都没找到什么好看的医疗剧。结果一不小心和帅气、后台超硬、还不走寻常路的Dr. Hawkins相遇了,这位帅哥之前也是长驻《傲骨贤妻》饰演女主Alicia的助手-拍档-合伙人Cary的帅气小哥哥。有阳光的加州范,又有邪魅的笑容,这么棒的颜怎么能不追。
从2017年秋季剧的《夜班医生》和《黑色警报》结束以来,一直都没找到什么好看的医疗剧。结果一不小心和帅气、后台超硬、还不走寻常路的Dr. Hawkins相遇了,这位帅哥之前也是长驻《傲骨贤妻》饰演女主Alicia的助手-拍档-合伙人Cary的帅气小哥哥。有阳光的加州范,又有邪魅的笑容,这么棒的颜怎么能不追。
9329335 月如影2021/5/9 8:34:40忍不住说说真的,一部剧好看不好看,服化道真的是次要的。剧情是王道,剧情是关键。看看,这个动漫人物建模不是很惊艳,看很多人说还不如魔道祖师2d的,我也有同感。但丑丑的看看也就顺眼了。而且人物动作也挺僵硬的。但是,架不住剧情顺滑有趣啊,沈清秋的人设太好玩了,沙雕有木有,一... (展开)真的,一部剧好看不好看,服化道真的是次要的。剧情是王道,剧情是关键。看看,这个动漫人物建模不是很惊艳,看很多人说还不如魔道祖师2d的,我也有同感。但丑丑的看看也就顺眼了。而且人物动作也挺僵硬的。但是,架不住剧情顺滑有趣啊,沈清秋的人设太好玩了,沙雕有木有,一... (展开)【详细】13535215 冶尘2016/7/5 19:22:00第五集中所谓“战斗”的吐槽这篇剧评可能有剧透 实在无法理解为什么同为医生的两个人可以这么随便拿一个病人的生命做赌注,仅仅是因为个人恩怨就能这么随便,我也是不明白当初在他们在医学院读希波克拉地誓言宣誓有何意义,走个形式吗?没有把病人放在首位,而是把病人当成他们利用的物品,这样的医生再有医术,也算不上一个...这篇剧评可能有剧透 实在无法理解为什么同为医生的两个人可以这么随便拿一个病人的生命做赌注,仅仅是因为个人恩怨就能这么随便,我也是不明白当初在他们在医学院读希波克拉地誓言宣誓有何意义,走个形式吗?没有把病人放在首位,而是把病人当成他们利用的物品,这样的医生再有医术,也算不上一个... (展开)【详细】7965252