剧情简介
《四重奏》讲述的是什么故事？
《四重奏》 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.
一、《四重奏》是哪一年上映的？
《四重奏》是詹姆斯·伊沃里于1981年拍摄的一部经典爱情片。此片开创法国当代爱情片的先河，《四重奏》上映时票房稳坐前三，创下当年纪录。当时阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯均为最佳主角，以精彩演技和突出形象，奠定在法国影坛地位。詹姆斯·伊沃里之前曾被人怀疑其能力，而《四重奏》却奠定了其爱情片风格。
二、被称为爱情片的开先河之作的《四重奏》，是詹姆斯·伊沃里最好的作品吗?
从詹姆斯·伊沃里斩获爱情片最佳导演，我就觉得这部《四重奏》是他最好的爱情片。虽然詹姆斯·伊沃里后来还拍出来了评价特别好的爱情片，但是《四重奏》是他爱情片的代表作品。
三、《四重奏》为什么可以成为经典？
提起法国，人们就肯定会说出《四重奏》的名字。这部由詹姆斯·伊沃里导演，阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯主演的《四重奏》，在当时，真的是成为了一匹黑马，杀出了一条血路，创造了一个奇迹。正是这样的失意感和强烈的自尊心，他们在爱情片中投入的热情，是我们难以想象的，其实《四重奏》中的人物心理历程和感人的剧情，何尝不是现实中他们的真实写照呢？所以，他们怀着一腔心有不甘的英雄气，用他们的实力和人情成就了这部经典爱情片，也成就了他们自己！
四、如何评价《四重奏》?
《四重奏》口碑非常好深受广大观众喜爱，一经播放立刻引来无数人点赞，不仅阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯演的好而且该爱情片故事情节也非常紧凑，宅男影院（6stone.com.cn）观看起来特别流畅同时还能扣人心弦，虽然目前《四重奏》收视率一般但是该片目前受欢迎程度已经名列前茅。
五、《四重奏》爱情片的主要内容
《四重奏》是一部爱情片，由导演：詹姆斯·伊沃里执导，主演：阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯
《四重奏》 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.