来自德国的丹尼尔·布鲁赫与西班牙的老牌影星路易斯·霍马、午夜年轻帅哥米格尔·安格·希尔维斯特共同出演大制作影片《赌王家族》，午夜被导演Eduard Cortés称为“梦幻阵容”。影片改编自真实故事，讲述了西班牙加泰罗尼亚地区赫赫有名的Pelayo家族的故事。他们曾在阿姆斯特丹、拉斯维加斯、澳大利亚、巴黎、马德里、澳门等地的赌场里用合法的手段赢取了大量的财富，发家之后在西班牙各地建立起产业，很多赌场都用他们家族的名字命名。片中，路易斯·霍马扮演家族的父亲，已经多次出演过西班牙电影的布鲁赫是他的的儿子。《赌王家族》将在欧洲最豪华的赌场取景，此前背景设置在澳门的一场戏更征集了200多名的华人演员。
松隆子
回复 :We are in East Berlin, 1978. It’s summer, three years after Wassilly’s death. Nelly’s boyfriend and Alexei’s father died in a car accident in Russia. Since he is dead, Nelly wants to leave too. Away from the GDR, to leave the grief and the memories behind. To get a fresh start. That should be possible in the West, or so Nelly believes.
李玲玉
回复 :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
陈辉阳
回复 :마흔다섯살의 역사 선생님 진태는 자신이 가르치는 남학생 중 한 명이 나체로 보이는 환각에 시달린다.
