三宝闹深圳
2.0 |06月21日 |HD
简介:

  阿礼(郭锋 饰)是一名香港的广告设计师,他驱车外出办事时遭遇了一名劫匪,劫匪将一包装有珍贵项链的皮包丢在了阿礼的车里,并抢走了阿礼的皮包。由于失去了设计图纸,阿礼被老板解雇。这个珍贵的项链是用恐龙骨制成的,原本富商傅格林打算将其捐献给国家,但遭到了抢劫。傅格林请来了私家侦探来寻找失踪的项链,同时香港的黑社会头子也雇用了杜财来寻回项链。
  阿礼失业后,他陷入绝望,但在一次自杀未遂后,他结识了从深圳来港考察的女建筑师阿圆(刘晓庆 饰),二人渐生情愫。阿礼将项链送给了阿圆,并一起前往深圳。私家侦探和杜财也前来深圳,开始合作偷取项链。在项链上的图腾古刻上,阿圆和阿礼得到了启发,他们一起设计了一个古代与现代相结合的度假村,得到了领导的赞赏。

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简介:Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.
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