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蘑菇影视

荣耀六十年1938
英国英语1938
  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

蘑菇影视

妙探
大陆其它1991
  在海军某部队当侦察兵的妙探复员回到。母亲兴高采烈地杀鸡宰鱼,准备给儿子接风洗尘,不料,一只未被杀死的鸡从她手中挣脱,飞进了邻居家,妙探一头撞了进去,把正在冲澡的夏士莲姑娘吓坏了,惊恐的呼声惊动了四邻、引来了警察,妙探费尽口舌才算消除误会。妙探发现姐姐妙兰近日来总是神情忧虑,一问方知姐夫在工作中经常与一位女性接触,姐姐担心姐夫经受不住“诱惑”,因而忧心忡忡。妙探痛快地接受了帮助姐姐调查姐夫行踪的“任务”。第二天一大早,妙探就到姐夫的工作单位——“咪咪”玩具开发公司“执行任务”。好奇的夏士莲也暗暗地跟踪着妙探,但很快被妙探发觉。两个年轻人从此相识,并成了朋友。几天下来,妙探果然掌握了姐夫佟心与女助手薄云“相好”的“确凿证据”。妙兰顿时泼翻了醋罐,要到玩具公司去大闹一场。妙探拼命阻拦,却被姐姐锁在屋里。妙探不得已只得爬墙、跳楼,却不料被警察带进了公安局。原来,公安局的侦察员早就注意七他,认为他具备一个公安人员的素质,准备吸收他为刑警队员。妙探从局长吃面条的动作和声音中悟出了自己那“确凿证据”的来由,拔腿向外跑去。他先姐姐一步赶到玩具公司,找到佟心,告知原委。这时,妙兰赶到,妙探忙把姐姐骗进了电梯。这时,薄云听到有人提及自己的名字,从屋里走出来,热情地邀请妙探参观公司。正在这时,电梯门开了,妙兰一把将薄云拽进电梯。妙探一看薄云被劫,急忙拉着佟心去追。妙兰一心要问个明白,就把薄云拉进公司的仓库并关上了大门。这下可急坏了仓库保管员,喊来许多人并动用了救护车、消防车、吊车准备组织抢救。妙探急中生智,从天窗钻进仓库,向姐姐和薄云说明了真相,二人消除了误会。大家在真诚、友善的笑声中加深了理解,增进了友谊。

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