杀回归家路

　　唯一由默片拍到現在的導演，迪‧奧利菲拉可說是活動電影博物館了。大師一百歲又生猛出招啦！這一招是個完美無瑕的道德故事，玩卡夫卡式的寓言不止，更曲筆擺出華麗古典版布紐爾格局。倒楣的馬加里奧一見鍾情對窗金髮女，但當美人被追到手，情卻隔了幾重山：叔父的反對、經濟的拮据，最後竟是金髮女的問題。生命果然是個謎。最精彩的是爐火純青的畫面，伺機同你暢遊葡萄牙文化藝術，文學金句、音樂、名畫……讓你飽覽而回。
　　O incansável Manoel de Oliveira, com mais de 100 anos, começou a sua carreira no tempo do cinema mudo. O seu filme mais recente, uma adaptação de um conto do século XIX, é, sem dúvida, um dos mais interessantes dos últimos anos. A premissa é simples: num comboio, um homem conta a sua história de amor e desilusão a uma atenta dama de meia-idade. O seu objecto de desejo? A rapariga loura que dá o nome ao filme. Embora em estilo de fábula, breve e divertida, o significado intelectual torna esta surpreendente estória tão moderna quanto anacrónica.
　　The tireless Manoel de Oliveira, now over 100 years old, can trace his directorial career back to the silent era. His newest film, an adaptation of a 19th century short story, is easily one of his most enjoyable in recent times. The premise is simple: while on the train, a man recounts his tale of love and woe to a receptive middle-aged lady. His object of desire? The titular blond-haired girl. Though fable-like, droll and brief, the intellectual heft makes this surprising tale both modern and anachronistic.

　　Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.
　　Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)
　　As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.
　　The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).
　　Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.

　　因为太子在“朝鲜之役”上所表现出的高瞻远瞩的智慧，万历对太子的态度大大改观，率众人到太子府看望自己的皇长孙。宴席之上，三皇子主动要求速速离开京城，到洛阳就封，众人大感疑惑。辞行宴上三皇子早早酒醉，原来是想借此机会带姚芊芊私奔，不想被金碧瑶破坏。知道三皇子和姚芊芊私情的王恭妃决定有所行动。王恭妃设计让金碧瑶假怀孕，姚芊芊在郑贵妃的胁迫下打算除掉金碧瑶腹中骨肉，却掉入王恭妃的陷阱。王恭妃以“善妒”为由，废掉了姚芊芊的太子妃。而一时间关于太子妃红杏出墙的传闻又弥漫京城，万历要王恭妃彻查此事，王恭妃巧妙的将太极推给了郑贵妃，姚芊芊命悬一线，而郑贵妃面对王恭妃步步为营的反攻，已回天乏术，她打算弃车保帅……姚芊芊驾鹤西去，三皇子悲伤不已。郑贵妃准备杖毙朱由桦。兰心为了保孩子周全，不惜与太子吵架。太子生气之下和梅儿一夜缠绵，认为梅儿是最懂他的人。