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蘑菇影视

孙子兵法与三十六计
大陆国语2000
  战国时期,世外奇人鬼谷子有两个得意弟子,一个是孙子,另一个是庞涓。庞涓先于孙膑出山,鬼谷子将失传的《孙子兵法》独传于孙膑。庞涓率魏国大军在方城与楚国军队相持不下。孙膑引用《孙子兵法》献"上屋抽梯"之计,庞涓大败楚军。  庞涓嫉妒孙膑的才能,"笑里藏刀"栽赃孙膑,孙膑被处以膑刑。庞涓的谋士公孙阅为得到美女钟离秋,把庞涓阴谋告诉了孙膑。孙膑"假疾不癫",将抄录的兵法全部烧毁。钟离秋盼望孙膑不是真疯,向孙膑倾吐真情,孙膑仍疯癫不已,暗中监视孙膑的宠涓因此信以为真。  钟离秋的姐姐钟离春得知孙膑装疯的真情后只身来到孙膑的家乡齐国,请求齐国大将 军田忌解救孙膑。田忌派门客禽滑前往魏国,孙膑在禽滑的帮助下,"金蝉脱壳"逃离魏国。  田忌爱马,下重赌和齐王赛马,孙膑用"李代桃僵"之计使田忌获胜。田忌将孙膑的计策告诉了齐威王,齐威王重用孙膑。孙膑指挥齐国军队,"围魏救赵","擒贼擒王","以逸待劳"三败庞涓。  庞涓派公孙阅潜入齐国,公孙阅利用邹忌"无中生有",使田忌和孙膑失去兵权;然后,"借刀杀人",田忌、孙膑险些丧命楚国。庞涓"趁火打劫"逼孙膑抄录《孙子兵法》;孙膑在钟离春的帮助下,"瞒天过海"回到齐国。庞涓和楚王联合逼齐国交出孙膑,禽滑"偷梁换柱"协助孙膑和钟离春经楚国逃往韩国。  庞涓邀请韩国在成周会盟,"假途伐虢",乘韩国不备,占领韩国北京战略重镇成皋。孙膑"声东击西"夺回成皋;然后用"空城计"诈退增援成皋的魏国先头部队。庞涓围困成皋,迫孙膑就范,韩军"树上开花",虚张声势,打破庞涓的围困。庞涓意欲与韩军一战决胜负,孙膑"抛砖引玉",重创魏军,庞涓被迫撤军回国。  齐威王临终前悔恨错待田忌和孙膑,嘱咐太子一定请回孙膑。公孙阅挑拨公子效师争夺王位,举失叛乱。庞涓"混水摸鱼",占领了齐国的数座城池。太子继位,是为宣王,齐宣王请孙膑回国,韩王不放孙膑,孙膑"暗渡陈仓",为韩王攻克上党,然后经赵国,返回齐国。  公孙阅用"美人计"迷惑齐宣王,宣王不理朝政,朝中大夫一时不知所措。钟离春装做女仆进宫,用了隐语劝说齐王。齐王欲娶钟离春为后,钟离春为了齐国,不得不暂时抛弃自己和孙膑多年的情感,"反客为主"做了齐国王后。宫中美女不甘心自己的失宠,采取种种手段引诱宣王,钟离春"指桑骂槐",杀美女,整治后宫。孙膑借此用"连环计"先除掉公孙阅,然后逼邹忌辞去相国。  孙膑"远交近攻"联络秦国,夺回边城。"调虎离山""欲擒故纵"除掉公子郊师。庞涓"借尸还魂",让一个貌似郊师的人,借郊师之名,纠集余党,东山再起。孙膑"釜底抽薪""顺手牵羊""关门捉贼",活捉假郊师,平息叛乱。  庞涓为调孙膑到魏国决战,率大军进攻韩国。孙膑"隔岸观火",派禽滑将出兵救韩的消息告诉韩王。韩国拼命抗敌,魏韩两国一时相持不下。孙膑率齐军直逼魏国国都大梁。庞涓率军回国,迎击齐军。深入魏国腹地的孙膑,在撤退途中,逐渐养活做饭的军灶。庞涓以为齐军惧怕魏军,逃兵数量增多,带精兵日夜兼程追赶孙膑,在马陵道中了孙膑的埋伏。万箭这下,庞涓无路可逃,自杀身亡。孙膑所用的最后的一计便是"走为上计"。  孙膑打败庞涓,悄然离去,留下两部兵法,一部是《孙子兵法》,另一部是他自己写的《孙膑兵法》。  《孙子兵法与三十六计》,一计一集,计计相扣,在展现中国古代兵法和东方智试想文化的同时,浓彩重墨描绘出一幅二千年前中国战国时期政治、军事与各阶层不同的人物情感相交融的历史画卷。

蘑菇影视

不安分的年轻人们
法国法语1958
  Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy...    Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time.    Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958.    Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading.    Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.

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