□本□□家永井□🖕□荷风□津川雅彦 饰)出身名门,但他生活□□,最终(🤨)被哥哥□(🧚)出家门。欧洲学□归□的他依然□改□💋)浪荡秉□□成日□周旋于□色女人中间,耽□描绘底层艺□🍒)妓的□活,被同行□□齿。 57岁的永井某□感到□思和肉体的□□匮□,于是外出来到玉□,在此□逅了因阪神地震□落至此的私娼雪□□墨田雪 □)。永井从雪子身上找回信□,并为之单(□)纯的□🥇)性格□吸引,而□子亦□心委身于(🎌)永井。两人相(🤵)约成婚,永井却□(□)当天失约。两人从此失散□至死未再重逢…□It□has bee□ said th□t most great twenti□□h c□n□ury novels include scenes □n a hotel, a symptom of t□e va□□ uprooting that has□occurred in □he last c□n□u□y: Ja□es Ivory begins Q□a□tet with a m□nta□e □f□t□e hotels o□ Mont□ar□asse, a□quie□ □relude b□fo□□ our int□oduction to the violently l□st sou□s who in□□bit them. □(🚷)□dap□ed □rom the 192□ autobiogr□ph□cal□novel □y □□an Rhys, Quart□t is th□ story□of a lo□□ quad□angl□ betwe□n a comp□icated young□West□Ind□a□ woman name□□Mar□□ (□layed by□Isabel□e Adjani), □er husband Stefan (Anthony□Higgins), □ manipulati□□□□nglish□□rt pat□on named H□i□l□r (A□□n □ate□), and his painter wife□Lois (M□gg□e □mith).□Th□ f□lm □s □et i□ the Go□den Age of□Paris, Hem□ngway□#39;s□"□movea□le f□ast" of cafe□cu□□ure an□ extravagant□nig□tlife□ g□itt□r and lit□r□ti:□yet underneath is th□□ou□l□ne□□f somethi□g □in□ster □eneath th□ poli□hed bras□es □nd□brass□ries. When Mar□□&□39;s husband□is put □n a P□r□s p□ison on charges of□selling □to□en a□t works, she is □e□t in□igent and is tak□□ i□ by □eid□er and h□s wife: the □redato□y E□gl□shman (whose character Rhy□ bases □n th□ nov□list For□ Madox F□rd) i□ quick □o take advantage of the ne□□living arrang□ment, and □ar□a finds herself in a strangl□hold bet□een hus□□nd an□ wife. Lo□ers al□er□ately gravitate toward an□ a□e r□pe□led by each other, now professi□g□their love, now confess□ng□□heir brutal i□difference --□all t□e w□ile keeping □□ appearance□. The □il□ expl□□es□□he v□st territory between □he "nice□quot; and the "good,&q□ot;□betw□en□out□ar□ re□i□ement and i□ner dark□ess: □ft□r one□□iol□nt episode□ Lois asks Marya not to sp□ak □f it □□ the Paris c□owd□ "□Is □hat all y□u'□e wo□□□ed about?□quot; □emands a□ o□traged□□arya. &quo□;Ye□,&qu□t;□Lois repli□s with icy □andor, "as a□matter of fact.&q□ot□ (👻)□Adjani□w□n the B□st A□tress aw□□□□a□□Cannes for□her per□o□mances □n Qua□tet: □er Ma□□a is a volat□□e□com□□un□ of French schoo□girl and scorned mistr□ss, vee□ing betwe□n tremulou□ jo□ and □ysterical outburst. □mith□□□in□s i□ one of h□r m□st □emor□□□e role□: she i□b□es Lois wit□□a Kathe□ine-o□-Aragon impo□ent rage, as □u□ili□□ed□□s s□e i□ powe□□ess in□the face □□ h□r□husband□□s choice□. Her interac□i□ns w□th Bates a□e □ce□es from□□ □arriage that□has m□ved fr□m disillusio□ment □□ p□le acc□p□□n□e□□ Ruth Praw□r Jhabv□la and James□Ivory□#39;s scr□enplay □ses □hys'□ novel as a foundation fr□m whic□ it□c□n□tructs a□worl□ t□at is both true to t□e n□vel and distinctive □n i□s own right, □ainting□a □o□iety□that has l□□t its□in□ibiti□ns and inadverte□tly lost i□s □oul. □e are t□k□n □o m□rrored□caf□s, then move □hroug□□the looki□g glass□ Mar□a□ in□one □c□ne, i□ o□fer□d a job as□□ mode□ and then finds□□erself in a□sado□asochis□i□ porn□grapher□#3□;s□studio. The f□lm, as photog□aphed by P□err□ Lhomme, cre□tes thoroughl□ cinema□ic moment□ that Rhy□□39;s □ovel could□not have attempt□□: in o□e of the □v□ry's mos□ memor□bl□ sce□e□, a b□ack Amer□can□chant□us□ (extr□o□dinaril□ play□d by Armel□a□McQuee□) ent□rtains P□risian patrons□with a bi□ and bra□□y □azz□s□ng, n□□ther□subtle □or elegant.□I□ory□keeps the camer□ o□□th□ □i□ger□#39;s act: t□□re□□s someth□ng in her unguard□d□s□□le t□at makes t□e□da□ge□ beneat□ Montparn□□□e manne□s seem more ac□te.林(🏝)夕□了一口气,对着车下说道:□□□大哥□别再为□我们□我们真有□(🔠)事,□然,□定让你们先上车。□
□下□几本□荐的完结的反套路小说(□)□
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