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八度影院

剑侠传奇
中国大陆汉语普通话2004
《三月三》 电视电影 电视频道节目中心2004年出品 编剧:巩向东 导演:黄祖权 主演:徐少强、陈龙、何美钿 故事梗概: 富家公子程元玉一生的理想只有两件事:读万卷书,行万里路。三十岁那年的三月三,程元玉带着家奴程忠借替父亲追讨债务的机会,来到大漠戈壁中一个叫白狼镇的地方。千里无人区中的白狼镇,真正的居民只有六个人,唯一的一条大街上最招眼的莫过于一家名叫“花花世界”的妓院。让程元玉没有想到的是,自这个三月三之后,他竟然成了白狼镇的第七个居民。 三月三这天,侠义心肠的程元玉在“花花世界”门前同时结识了妖艳风骚的妓女花无期、高深莫测的刀客龙四和武艺高强的侠女十一娘。在遭遇因镇边将军遇刺而被叛军搜查时,与十一娘的一面之缘让程元玉发现十一娘就是自己寻找的最美的一道风景,并誓死追随。 此后五年中的每一个三月三,程元玉都会在十一娘一个并不能确定是约定的诺言中回到距白狼镇二十里地的醉生梦死客栈。五年的苦等,程元玉发现了一个秘密。原来,客栈的掌柜真名叫左三多,是朝廷的一名镖爷。后来在护送一尊关系朝廷荣辱的金蟠龙时遭叛军抢劫后,难洗自身清白的左三多才化名老残蛰居这边关大漠。 终于工夫不负有心人。第五个年头的三月三,程元玉在左三多和乔装成刀客的叛军首领龙四为争夺金蟠龙的酣战中迎来了行踪不定的十一娘。十一娘也是朝廷派来的杀手。虽然十一娘的出现没有救左三多于不死,但十一娘终于斩杀了龙四,完成了多年没有完成的任务。酣战过后,痴心的程元玉终于感动了十一娘,并随十一娘消失在茫茫大漠之中。 精彩视点: 本片取材自《初刻拍案惊奇》之《程元玉店肆代偿钱 十一娘云冈纵谭侠》。影片由两个若即若离的故事组成,但主人翁至死不悔的爱情让两个故事浑然天成。单相思的美丽与酸涩,杀叛军的激越和酣畅都是影片煜煜生辉的精彩篇章。影片的主演、香港著名演员徐少强除了在《倚天屠龙记》塑造的“韦一笑”形象让人至今难忘外,在《异度空间》、《江湖》和早期的《何日君再来》等多部影片中都有他的那冷俊而坚毅的面孔。 9月15日 23:59 电影频道播出 燕子

八度影院

镜子的另一面:纽波特民歌艺术节1963~1965
美国英语0
"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.

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