芝加哥電影台詞

⑴ 詢問電影<芝加哥>中的一段台詞

Velma Kelly: She stole my garters.

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Roxie: Jesus, Mary, and Joseph.
Matron Mama Morton: You're talking to the wrong people.

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Roxie: You're, THE Velma Kelly. I was there the night you got arrested.
Velma Kelly: Yeah? You and half of Chicago.

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Velma Kelly: [about Roxie] First she steals my publicity. Then she steals my lawyer, my trial date. And now she steals my goddamn garter.

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Liz: You know how some people have those habits that get you down? Like Bernie. Bernie liked to chew gum. No, not chew. POP. So I come home from work one night and I'm real irritated, and I'm looking for a little sympathy. And there's Bernie, lying on the couch, drinking a beer and chewin'. No, not chewin'. POPPIN'. So I said "If you pop that gum one more time...」 And he did. So I took the shotgun off the wall and fired two warning shots... into his head.

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Annie: I met Ezekiel Young from Salt Lake city about two years ago and he told me he was single and we hit it off right away. So, we started living together. He'd go to work, he'd come home, I'd fix him a drink, we'd have dinner. And then I found out. "Single" he told me. Single, my ass. Not only was he married... oh, no, he had six wives. One of those Mormons, you know. So that night, when he came home, I fixed him his drink as usual. You know, some guys just can't hold their arsenic.

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Billy Flynn: This trial... the whole world... it's all... show business.

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June: I'm standin' in the kitchen, carving up a chicken for dinner, minding my own business, when in storms my husband, Wilbur, in a jealous rage. "You've been screwing the milkman," he said. He was crazy, and he kept on screaming, "You've been screwing the milkman." And then he ran into my knife... he ran into my knife ten times.

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Billy Flynn: Give 'em a show that's so splendiferous, row after row will grow vociferous.

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Velma Kelly: [to Roxie] You wanted advice? Well here it is... straight from me to you... keep your paws off my underwear.

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Roxie: Oh, Miss Kelly, got your personals. freshly pressed by yours truly.
[Velma pulls some cash out of her shirt]
Roxie: No, no, it's my pleasure.
Velma Kelly: [Begins to walk away]
Roxie: Hey, can i ask you something?
[Velma turns around]
Roxie: You know that Harrison guy? Well he said what I done is a hangin' case and that he's prepared to ask for the maximum penalty.
Velma Kelly: Yea? So?
Roxie: So, I'm scared, I would really appreciate some advice, especially from someone I admire as much as you.You see, since I can remember, I have wanted to be on the stage.
[Smiles]
Velma Kelly: Oh really? What's your talent? Washin' and dryin'?
Roxie: [Smile fades] No, no, I danced in the chorus.
Velma Kelly: Oh.
Roxie: Well, that was before I met my husband, Amos...
Velma Kelly: Look, honey, you want some advice? Well, here it is, direct from me to you. Keep your paws off my underwear, 'kay?
Roxie: Yeah, okay. Thanks.
Roxie: [Once Velma is out of earshot] For nothin'

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Billy Flynn: Miss Kelly, do you know the meaning of perjury?
Velma Kelly: Yes, I do
Billy Flynn: You also know that it's a crime?
Velma Kelly: Yes
Billy Flynn: For example, if you knew this diary was a fake, I'd hate to see you rot away in prison especially since you just won your freedom...
Velma Kelly: Look, all I know is what I was told!
Billy Flynn: Oh, so you didn't find this diary in Roxie's cell?
Velma Kelly: No. Mama - Miss Morton gave it to me. She said someone sent it to her
Billy Flynn: Someone... did she have any idea who this mysterious benefactor could be?
Velma Kelly: [Irritated] No, she didn't know!

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Mona: I loved Al Lipshitz more than I could say. He was a real artistic type, a painter. He was always trying to find himself. He'd go out every night looking for himself. And on the way, he found Ruth. Gladys. Rosemary. And Irving. I guess you could say we broke up because of artistic differences. He saw himself as alive. And I saw him dead.

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Roxie: It'll never work.
Velma Kelly: Why not?
Roxie: Because I hate you.
Velma Kelly: There's only one business where that's no problem at all.

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Roxie: You want some advice, well here's a piece of advice from me to you, lay off the caramels.
[She winks]

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Billy Flynn: I don't mean to toot my own horn, but if Jesus Christ lived in Chicago today, and he had come to me and he had five thousand dollars, let's just say things would have turned out differently.

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Roxie: They LOVE me.
Billy Flynn: They'd love you a lot more if you were hanged. You know why? Because it would sell more papers... That's Chicago.

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[his last lines]
Billy Flynn: You're a free woman, Roxie Hart. And God save Illinois.

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Billy Flynn: Would you please tell the audience... err... the jury what happened?

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Roxie: Don't you wanna take my picture?

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Billy Flynn: Give 'em the old razzle dazzle. Razzle razzle 'em. Give 'em an act with lots of flash in it and the reaction will be passionate.

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Velma Kelly: My sister and I had an act that couldn't flop. My sister and I were headed straight for the top. My sister and I made a thou a week at least, but my sister is now unfortunately deceased. I know it's sad, of course, but a fact is still a fact. And now all that remains is the remains of a perfect double act.

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Velma Kelly: [Rising from the stage alone] 'C'mon Babe, why don't we paint the town... And all that Jazz. I'm gonna rouge my knees and roll my stockings down... And all Jazz. Start the car I know a whoopie spot... where the gin is cold and the piano's hot. It's just a noisy hall, where there's a nightly brawl... And all that Jazz.

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Amos Hart: Cellophane. Mr. Cellophane shoulda been my name, Mr. Cellophane, 'cause you can look right through me, walk right by me and never know I'm there.

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Liz: Pop.
Annie: Six.
June: Squish.
Hunyack: Unh-uh.
Velma Kelly: Cicero.
Mona: Lipschitz.

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Bailiff: Do you promise to tell the truth, the whole truth, and nothing but the truth, so help you God?
Velma Kelly: And then some.
Bailiff: Take a seat.
Assistant District Attorney Martin Harrison: Would you state your name for the record, please?
Velma Kelly: Velma Kelly.
Assistant District Attorney Martin Harrison: Ms. Kelly, would you please tell the court if the object that I am holding is the one you happened to come across in the defendant's jail cell?
Velma Kelly: Yes, it is.
Assistant District Attorney Martin Harrison: I submit this as Exhibit X - Roxie Hart's diary!
Billy Flynn: I object! My client has never held a diary! And even if she did, this would be... invasion of privacy, and violation of the fourth amendment, and... and illegal search without a warrant!
Roxie Hart: Yeah, AND she broke the lock!

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Billy Flynn: Objection!
Judge: Sustained.
Assistant District Attorney Martin Harrison: Your Honor, I haven't even asked a question yet.

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Velma Kelly: My sister Veronica and I had this double act, and my husband Charlie traveled around with us. Now for the last number in our act we did these 20 acrobatic tricks in a row: one, two, three, four, five, splits, spread-eagles, back-flips, flip-flops, one right after the other. So this one night before the show we're at the hotel Cicero, the three of us boozin, having a few laughs, and we run out of ice, so I run out to get some. I come back, open the door, and there's Veronica and Charlie doing number 17, the spread-eagle. Well, I was in such a state of shock that I completely blacked out; I can't remember a thing. It wasn't until later, when I was washing the blood off my hands, I even knew they were dead.

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Roxie: [singing] With just one more brain what a half-wit he'd be...

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Bandleader: Mr. Billy Flynn and the press conference rag. Notice how his mouth never moves... almost.

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Velma Kelly: [singing] No I'm no one's wife, but oh, I love my life and all that jazz.

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Velma Kelly: Come on, babe, we're gonna brush the sky. I betcha Lucky Lindy never flew so high 'cause in the stratosphere how could he lend an ear to all that jazz.

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Roxie: God that's beautiful.
Billy Flynn: Cut out God. Stay where you're better acquainted.

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Roxie: You were mentioned in the paper today, in the back with the obituaries. 'Velma Kelly's trial has been post-poned indefinitely.' Seven words.

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Roxie: You can like the life you're living, you can live the life you like. You can even marry Harry, but mess around with Ike.

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Roxie: [singing] If they string me up, well, I'll know who brought the twine. That scummy, crummy, mmy hubby of mine.

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Roxie: [singing] He ain't no sheik, that's no great physique, and lord knows he ain't got the smarts.

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[after singing "Mr. Cellophane"]
Amos Hart: Hope I didn't take up too much of your time.

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Matron Mama Morton: [singing] Don't you know that this hand washes that one, too? When you're good to Mama, Mama's good to you.

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Roxie: [singing] I can't stand that sap.
Amos: What a sap I was.

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Assistant District Attorney Martin Harrison: You mean he was dead when you got home?
Amos Hart: She's got him covered in a sheet and she's telling me this cock-and-bull story about this burgular, and how I ought to say it was me 'cuz I was sure to get off. 'Help me Amos', she says, 'it's my Goddamn hour of need'.
[talking over Roxie's singing]
Amos Hart: That cheap little tramp. So she's been two-timing me, huh? Well I'm through protecting her; she can swing for all I care! Boy, I'm down at the garage working my butt off 14 hours a day and she's out there munching on bon-bons and tramping around like some Goddamn floozy! Thought she could pull the wool over my eyes? Well, I wasn't born yesterday. I tell ya there are some things a man just can't take, and this time she pushed me too far. That little chiseler. Boy what a sap I was!

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Matron Mama Morton: In this town, murder's a form of entertainment.

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Roxie: ...And Sophie Tucker will shit I know, to see her name get billed below... Roxie Hart.

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Velma Kelly: You know you're really pretty good.
Roxie: Yeah, that and a dime. What are you doing here?
Velma Kelly: I heard you been, uh, making the rounds.
Roxie: Yeah, well, if it was up to you I'd be swinging by now.
Velma Kelly: Come on, I always knew Billy'd get you off. You should learn how to put things behind you.
Roxie: Oh, thank you. I'll put that at the top of my list. Right after finding a job and an apartment with a john.

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Roxie: "Oooh, the audience loves me... and I love them. And they love me for loving them and I love them for loving me. And we love each other. And that's because none of us got enough love in our childhood. And that's showbiz... kid."

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Roxie: Mr. Flynn!
[pretends to faint]
Billy Flynn: Someone open this door immediately!
Ms. Sunshine: Oh, my God! Roxie! What is it, dear?
Roxie: Oh! Oh! Oh, no no no. Don't, don't worry about me. Oh, I only hope the fall didn't hurt the baby.
Matron Mama Morton: Baby?
Velma Kelly: Cheat!

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Roxie: [to Amos] you are a disloyal husband

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Bandleader: Miss Velma Kelly in an act... of desperation

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Roxie: [singing] And then he shot off his trap... man I can't stand that sap. Look at him go. Rattin on me.

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[after Velma has testified against Roxie, Billy moves to discredit her]
Bandleader: And now, ladies and gentlemen, a tap dance.

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Roxie: This dress makes me look like a Woolworths lamp shade. I'm not wearing this dress.
Billy Flynn: You're wearing cause I tell you too.
Roxie: I'm not wearing it.

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Reporter: Would you like to give us a word or two?
Kitty Baxter: I'll give you three- GO TO HELL.

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[after Roxie finds out about Fred Casley]
Roxie: Yeah, I killed him and I would kill him again! I would kill him again!
Assistant District Attorney Martin Harrison: Once was enough, dearie. Take her downtown. Come on!

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Assistant District Attorney Martin Harrison: This is hanging case, and we're ready to go to in front of the jury tomorrow.
Roxie: Wha-Wha-What do you mean hanging?
Assistant District Attorney Martin Harrison: You're not so tough now, are you?
Roxie: What do ya mean hanging?

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[at the entrance to the jail cells]
Matron Mama Morton: Hey, you must be that Hart girl.
Roxie: Yes, m'am
Matron Mama Morton: Aren't you the pretty one.
Roxie: Thank you m'am
Matron Mama Morton: Call me mama. Now don't worry 'cause we're gonna take care of you. You'll be staying on E-block. "Murderess Row" we like to call it.
Roxie: Oh... Is that nicer?

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Roxie: He was trying to burgle me.
Assistant District Attorney Martin Harrison: From what I hear, he's been burgling you three times a week for the past month.

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Ms. Sunshine: As you know my paper is dry. Do you have any advice for girls who choose to avoid a life of jazz, and drink?

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Roxie: And then I started foolin' around... and then I started screwin' around, which is foolin' around without dinner.

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Nickie: Ever have Morton before? Oh... she's fine. As long as you keep her happy.

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Velma Kelly: [singing] Now you see me goin' through it. You may think there's nothin' to it. But I simply cannot do it alone.

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Velma Kelly: She'd say, "What's your sister like?" I'd say, "Men."

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Billy Flynn: My client feels that it was a combination of liquor and jazz that led to the downfall.

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Matron Mama Morton: [singing] Let's all stroke together, like the Princeton crew. When you're strokin' Mama, MAMA'S STROKIN' YOU!

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Matron Mama Morton: As you know I'm here to take care of you. Now if anything hurts you, or upsets you in any way... don't run your fat ass mouth off to me cause I don't give a shit. Now move out.

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Velma Kelly: You wanted my advice, right? Well here it is. Don't forget Billy Flynn's number one client is... Billy Flynn.
Roxie: What's that supposed to mean?
Velma Kelly: It means, don't let him hog the spot-light when you're the one they paid to see.

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[practicing for her interview]
Roxie: [Southern accent] I was born on a beautiful southern convent.
Matron Mama Morton: What?
Roxie: [Normal voice] Oh, holy shit! Oh, I'm never gonna get this straight.

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Velma Kelly: I just can't take it anymore. You can't go anywhere without hearing about that mb tomato!
[Mama sits up with her hair dyed blonde like Roxie's]
Velma Kelly: Oh no, Mama, not you, too.

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Roxie: In the Bed Department, Amos was... zero. I mean, he made love to me like he was fixing a carburetor or something.

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⑵ 這句電影台詞意思是什麼

電影台詞：你是我的例外。這句話的意思是，你對我來說很特別。與別人不一樣的感覺。希望我的回答對你有用。

⑶ 電影芝加哥，台詞，如果世界上所有問題都解決了，那麼只有一件事可做，是什麼意思

這個問題是一個大圈套，回答上來的人我不敢斷定他們全都錯了，但是我敢斷定大部分都錯了，誰能知道人生的後來？或許會發生很多事情改變我們的看法，最值得去做的，我只能說唯心而已

⑷ 《芝加哥》好看嗎,

《芝加哥》不乏濃墨重彩,歌舞升騰。但是在一組組幽默的、搞笑的鏡頭後,依然發射出冷峻、犀利的鋒芒。
影片中的情節設置和人物設置都賦予幽默和搞笑,以詼諧、游戲的態度反襯嚴肅的主題,以喜劇的形式表現悲劇的內容,讓觀眾在輕松的劇情里思考著不輕松的主題。
首先,片中的劇情始終圍繞著律師比利如何想方設法幫助羅克茜成為舞台上的明星。舞台是一個表演的空間,不同於真實的世界。舞台上表演的成功離不開台下的精心策劃、反復演練。這就使得劇本中包裝明星的一切造假活動得以順理成章地展開。比利為了讓羅克茜成為明星,首先是對羅克茜的身世、經歷、作案動機重新編造,對她進行形象包裝,然後他們不分晝夜地進行演練,直到羅克茜能把編造的台詞背得滾瓜爛熟,脫口而出。接著,比利進行了精心的策劃:一是羅克茜答記者問那場戲,藉助新聞效應,羅克茜一夜成名,由一個殺人兇手搖身一變,成為一個受人同情的無辜的弱者;一是法庭上比利為羅克茜辯護的那場戲,羅克茜無罪釋放。同樣是藉助新聞效應,羅克茜與凱莉成為舞台巨星,她們那精彩的雙人舞贏得了觀眾雷鳴般的掌聲。但給觀眾印象最深的卻是台下比利那燦爛的微笑``````
舞台後的暗箱操作與舞台上的完美演出、羅克茜的謊話連篇與老百姓的信以為真、比利的惟利是圖與法庭上的道貌岸然都構成了一組組強烈的對比,具有很強的諷刺性。其次,影片中的人物都表現出扭曲變形。人喪失了智性情感,不再高雅偉岸,溫柔美麗,而變得猥瑣渺小,滑稽可笑。從律師到「無辜的受害者」,從新聞記者到法庭審判官,從明星到追星族都成了揶揄調笑的對象。即使是忠厚善良的老實人湯馬斯———羅克茜的丈夫也不例外。忠實的湯馬斯,為了不讓妻子入獄,強忍戴綠帽的恥辱,主動承認自己是殺人犯;為了給比利付5000 元律師費,湯馬斯東拼西湊,傾家盪產也在所不惜。當聽到妻子編造的懷孕日期時,老實人終於爆發出對妻子不忠的憤怒,但他並沒有放棄對妻子的救贖。法庭上,眾記者煙消雲散後,只有他在那兒耐心地等待著妻子的歸來。這反而讓羅克茜覺得奇怪:「你要干什麼?」「我想帶你回家———你想要的,還有孩子。」「這不可能!」羅克茜尖叫起來「, 天啊! 你真的相信? 我沒有孩子。」說完,羅克茜再也不關心丈夫的存在,只顧看著窗外,為自己不再受關注而百思不得其解。「沒有?」可憐的湯馬斯好象掉進了一團霧水裡,獨自一人悻悻地轉身而去。
在影片中,誠實善良反而變得可笑,痛苦和不幸成了開玩笑的對象,人類的處境變得冷酷而荒謬。人們不再天真,不再有理想,不再有崇高感和悲劇感。面對自身這一現實處境,人們甚至沒有憤怒,只有麻木,就象湯馬斯一樣。正如哈桑在《後現代轉折》中所說:「後現代不再狂躁,他在冷漠的世界中,展示了後現代藝術家眼中那恐怖和卑瑣的世界。」但在這種表面平靜中,卻蘊藏著內里的冷嘲、戲謔與解構。
「戲笑釋一切」、「一切皆戲笑」是該片的特點,也是後現代電影共同的基調。但該片在鏡頭語言的使用上,有時過於強調後現代電影的拼貼意識———對故事的敘述採用無序的拼貼、畫面與畫面之間使用大量的跳接,這樣有時會給觀眾帶來視覺接受上的斷裂,造成觀眾審美接受上的間斷性、跳躍性。
盡管這樣《, 芝加哥》依然是一部上乘之作,它的成功給我們帶來很多的啟示。首先,該片包含了成功的商業片所具備的多種元素。如該片具有很強的視覺沖擊力,片中大量的歌舞表演都具有很強的時代性、觀賞性。在那充滿著動感誘惑與活力四射的歌舞表演中洋溢者濃濃的異域激情和個性張力。該片的好萊塢色彩也十分濃厚,造型、剪輯、聲音的優質要求使得這部作品是一部符合好的工業標準的作品。此外,該片情節曲折,兇手與美女、嫉妒與陰謀的情節設置使得片中劇情環環相扣、層層深入。其次,該片還具有很強的現實批判性、藝術性。因為一部影片僅僅具有商業性還是不夠的,有藝術性的電影才會有長久的生命力。《芝加哥》結構緊湊,人物個性鮮明,讓觀眾在色香味俱佳的視覺拼盤中感悟那深層的社會內涵和強烈的批判意識。馬賽爾·馬爾丹曾說過:電影
是一種企業,也是一門藝術;是一種語言,也是一種存在。影片的商業性和藝術性並不矛盾。《芝加哥》就在電影的商業性與藝術性之間找到了一個很好的平衡點。

⑸ i need you qnd you need me 這句台詞出自哪部電影

你好，這部電影名字叫《愛情與靈葯》。
《愛情與靈葯》，美國影片，英文對白，由愛德華·茲威克執導。 安妮·海瑟薇在《愛情與靈葯》飾演身患帕金森病的角色，本來想在病重之前「瀟灑」過完一生，但卻遇見了販賣偉哥的葯品販子傑克·吉倫哈爾，二人為了偉哥還鬧出不少笑話，劇情也由苦情戲變成浪漫喜劇片。影片反映了1997年以後美國醫葯行業的商業模式，描寫了在商業環境下，人的逐利心態下的陰暗面和情感下的柔弱面的矛盾。
I need you and you need me.這句話是在兩人分開後，傑克·吉倫哈爾在可以前往芝加哥，事業上更上一層樓的時候，他終究還是去追她了。他的一番話真的好感人啊。I need you and you need me。不管怎樣，他都要和她在一起。

⑹ 我們總以為生命是一口永不幹枯的井是哪個電影的台詞

遮蔽的天空

基本信息

中文片名
遮蔽的天空

英文片名
The Shetering Sky

更多中文片名
沙漠之茶

情陷撒哈拉

庇護天空

更多外文片名
The Sheltering Sky

Tè nel deserto, Il .....(Italy)

導演
貝納爾多·貝托魯奇Bernardo Bertolucci

編劇
Paul Bowles .....(book)
馬克·派普羅Mark Peploe .....(screenplay) and
貝納爾多·貝托魯奇Bernardo Bertolucci .....(screenplay)

演員
德博拉·溫格 Debra Winger .....Kit Moresby
約翰·馬爾科維奇 John Malkovich .....Port Moresby
坎貝爾·斯科特 Campbell Scott .....George Tunner
Jill Bennett .....Mrs. Lyle
蒂莫西·斯波 Timothy Spall .....Eric Lyle

製作人
William Aldrich .....executive procer
傑瑞米·托馬斯 Jeremy Thomas .....procer

影片類型
劇情

片長
138分鍾/阿根廷:139分鍾

國家/地區
英國 義大利

對白語言
阿拉伯語 英語 法語

色彩
彩色

混音
70 mm 6-Track

級別
Argentina:13 Australia:M Finland:K-12 Sweden:11 France:U USA:R UK:18 Germany:12 South Korea:18 Portugal:M/16

製作發行

製作公司
Aldrich Group
Film Trustees Ltd.
Recorded Picture Company (RPC) [英國]
Sahara Company
TAO Film

發行公司
Argentina Video Home (AVH) [阿根廷] ..... (Argentina) (video)
CBS/Fox Video Ltd. [英國] ..... (1991) (UK) (VHS)
華納兄弟公司 Warner Bros. [阿根廷] ..... (Argentina)
華納兄弟公司 Warner Bros. [美國] ..... (Argentina)

其它公司
Corbett & Keene Ltd. [英國] ..... publicity consultants

上映日期
法國
France
1990年11月21日

荷蘭
Netherlands
1990年11月30日

美國
USA
1990年12月12日

瑞典
Sweden
1990年12月21日

芬蘭
Finland
1991年1月11日

阿根廷
Argentina
1991年2月7日

澳大利亞
Australia
1991年5月9日

劇情介紹

一對結婚十年的美國夫婦，波特和姬特，丈夫是作曲家，妻子是作家。二戰結束後，夫婦倆和友人雷納一起來到北非撒哈拉旅行。波特對雷納很警惕，姬特則因為雷納的俊美熱情有一種出軌的預感。到達北非的那天，波特說，我們是旅行者，不是遊客。雷納問，這有什麼區別嗎？

姬特說，遊客是觀光後回家的人，旅行者就可能再也回不去了。

一語成讖。波特死在了撒哈拉，死於霍亂。

在此之前，婚姻里危機四伏的波特和姬特各自出軌，波特嫖妓，姬特和雷納上了床。在兩人重新走近、親密、確定彼此是自己的愛後，波特撒手而去。姬特因劇痛而神智恍惚，跟著一隊駱駝幫走進了撒哈拉沙漠的深處，成為幫主的女人；後脫離駱駝幫流浪在非洲集鎮上，淪為乞丐。最後被美國大使館找到。人還是那個人，但靈魂已經脫竅了。

波特和姬特都把自己留在了撒哈拉。

相關評論

小說原著是如此的完美、深刻和獨立，以至於它將電影排斥在外；貝托魯奇展示的僅僅是表象，而一個沒有看過原著的人會問這部電影究竟講的什麼。

——芝加哥太陽時報

那些沒有看過小說的人會對電影感到迷惑。

——綜藝

這是保羅·鮑爾斯（Paul Bowles）1949年荒涼陰冷的存在主義式小說和導演貝爾納多·貝托魯奇的狂想闡述版之間的碰撞。

——華盛頓郵報

從本質上看這是部用力失衡的影片，它的許多弱點沖淡了它的力度；電影的起點很高，但拍得很糟，但即使是對它的缺點你也不得不表現敬意。

——阿波羅電影導報

幕後製作

關於電影

義大利導演貝納爾多·貝托魯奇起用《末代皇帝》的原班人馬紮根北非，拍攝出了根據保羅·鮑爾斯（Paul Bowles）1949年的經典小說Too Far form Home改編的電影，這部充滿了不確定性的曖昧影片在西方評論家那裡惡評如潮。貝托魯奇在《遮蔽的天空》中強烈地展現出他慣常的主旨手法，即在某一特定的歷史時空中追索人性的真相以及生命的態度，透露出貝托魯奇內心濃厚的生命關懷。

貝托魯奇藉用男女主人公相愛太深而不自知，延續而出的迷失與彷徨，再配合北非撒哈拉的壯闊視覺，一點一滴地訴說了人如何在困境與迷失中撥開遮蔽的雲霧，進而尋索到真相。主人公波特和凱特將自己定義為「旅行者」而不是「遊客」，他們力圖使自己進入北非的文化和氛圍，以品嘗異國情調和那些對他們來說是禁忌的東西。他們確實找到了稱之為異國情調的東西。沙漠的陽光使他們頭昏眼花，他們被城市迷宮般街道的黑暗所誘惑，他們面對的是一個肉慾橫流的世界，在這里他們喪失了作為文明美國人的根。城市對於這些過客而言成了囚籠，沙漠在召喚著他們，他們被沙漠的純凈、美麗和嚴峻所吸引，正如另一個著名的旅行者T. E. Lawrence一樣。他們被自由所陶醉，以此釋放出囚禁於自身的激情。

這部電影聳人聽聞的戲劇情節能滿足任何以情節為重的此類電影。確實，出版商也為這個表面駭人聽聞的故事寫了如下宣傳語：「命中註定的情人……他們的巨大激情同撒哈拉沙漠一樣廣大。」諸如此類的語言，但這個故事裡並沒有發生什麼了不得的事情，所有重大的變化都發生在角色的內心。可以確定的是，這部電影講的並不是旅行者和宿命的情人以及他們平行發展的命運，而是有教養的、學究氣的厭倦的美國知識分子面對他們所無法理解的巨大經驗時所表現的困惑。這是文明同無法解答的冷漠自然的對抗。同此片類似的是《印度之行》和《懸崖下的野餐——講的都是傳統歐洲人發現自身並迷失於古老大陸的神秘之中。《懸崖下的野餐》是關於野餐的人在澳大利亞的一處地質奇觀——吊石坡（Hanging Rock）失蹤的事；而《印度之行》則是關於一個神秘的洞穴--馬拉巴古洞，在這個洞穴里無論對著虛空發出什麼聲音，回聲總是空洞的、無意義的。在《遮蔽的天空》里，沙漠扮演著一個類似的角色，但要簡單的多。置身於其中的人以自己的方式對神秘進行理解。

貝托魯奇在這部電影里幾乎做了一切，除了傳達主題。他的兩個主要演員，扮演波特（Porter）的約翰·馬爾科維奇（John Malkovich）和扮演凱特（Kit）的德博拉·溫格（Debra Winger），他們看起來僅僅是在做著正確的事情--聰明、厭倦、疲憊、對彼此都很了解，對他們知道的事情不會感到恐懼。溫格似乎對她所扮演的角色缺乏交流，以至於使一些本該充滿張力的戲劇場面平淡無奇。雖然她不停地換衣服，但她看上去還是僵硬而羞怯，似乎無所事事。約翰·馬爾科維奇至少在若干場景中賦予了波特一些不安，而凱特則永遠存在於優柔寡斷之中，直到波特以生病解決了自己為止。而馬爾科維奇雖然傳達出人物內心的掙扎，但卻似乎總有點心不在焉。

貝托魯奇的著名攝影師Vittorio Storaro和他另類的同伴坂本龍一不會浪費貝托魯奇提供給他的這一絕好的機會。他們在影片中創造了一些美麗而激動人心的場景：接連不斷的帳篷、手勢、面罩後的眼睛、塵土飛揚的道路和令人感動的天空。電影提供了一出視覺奇觀。拍出了沙漠美麗的黃昏光線，這些難以置信的場景因為其純粹而難以忘懷。

小說與電影

保羅·鮑爾斯的小說Too Far form Home將這個故事的時空背景設定在第二次世界大戰之以後。小說里，波特和凱特間的關系僅僅是眾多即將來臨的不詳之兆的因素之一，在戲劇沖突中融入了超現實主義的手法。書中充滿了對生活、愛情、旅行、其他文化以及撒哈拉的真知灼見。要將這些硬骨頭都照搬上銀幕是不討好的，貝托魯奇盡可能地忠實於小說原著，捨去了大多數的暗示性描寫。

這是部帶政治覺悟的電影，是貝托魯奇的「回歸」。在小說里，凱特是自甘墮落的，耽於性慾的白日夢。而同Mark Peploe合寫劇本的貝托魯奇對這種敘述角度並不滿意，他將凱特和她的柏柏爾情人的相遇描繪得並不下流，而是通過性，凱特凈化了作為西方觀念中的所謂獨立和個性，從而進入一種更原始的公社式意識中（影片的後半部分所著力刻畫的）。

這又是部關於旅行和轉變的電影。在小說里，鮑爾斯以隱晦的方式表達個人的性幻想，而貝托魯奇則在電影里表達他的文化覺醒，及渴望擺脫西方影響的願望。雖然改編自小說，電影卻同馬克思存在主義版本的凱文·科斯特納的《與狼共舞》更為相似。這兩部電影都是關於「黑暗之心」的救贖，通過揭示陌生文化、回歸自然的方式來獲得。貝托魯奇和科斯特納的電影最後都獲得了一種圓滿，不同的是支撐著科斯特納電影的是理想主義，而貝托魯奇的則更像一個知識分子的手淫式練習。

精彩花絮

·小說原著作者保羅·鮑爾斯在電影中擔任了敘述者一角，當時他已79歲高齡。

·這部電影根據保羅·鮑爾斯的自傳體小說改編，他曾說過這樣的話：「這部小說從來就不該被改編成電影，結尾就像白痴，其餘的部分非常糟糕。」

·電影全部在非洲實地拍攝。

·根據選角導演朱麗葉·泰勒的說法，影片中最初三個主演的人選是威廉·赫特、梅蘭尼·格里菲斯和丹尼斯·奎德，但因為預算的原因換成了現在的演員。

·約翰·馬爾科維奇扮演的波特·莫斯比同巴布亞紐幾內亞的首府一個名字。

·影片耗資五千萬美元，歷時兩年才拍攝完成。

·影片獲得英國電影電視學院獎最佳攝影獎和金球獎最佳電影原聲獎。

精彩對白

Kit Moresby: Champagne yes, philosophy no.

凱特·莫斯比：要香檳，不要哲學。

________________________________________

Tunner: You've been to North Africa before, Port. Kit and I will just follow your plan.

特納：波特，你以前來過北非，凱特和我會緊隨你的計劃。

Port Moresby: My only plan is, I have no plan.

波特·莫斯比：我惟一的計劃就是，我沒有計劃。

________________________________________

Tunner: We're probably the first tourists they've had since the war.

特納：我們或許是自戰爭以來的第一批遊客。

Kit Moresby: Tunner, we're not tourists. We're travelers.

凱特·莫斯比：特納，我們不是遊客，我們是旅行者。

Tunner: Oh. What's the difference?

特納：哦，有什麼分別？

Port Moresby: A tourist is someone who thinks about going home the moment they arrive, Tunner.

波特·莫斯比：特納，一個遊客總會在他們抵達的時候想到回家。

Kit Moresby: Whereas a traveler might not come back at all.

凱特·莫斯比：而旅行者或許根本就不會回去。

Tunner: You mean I'm a tourist.

特納：你的意思是我是一個遊客。

Kit Moresby: Yes, Tunner. And I'm half and half.

凱特·莫斯比：是這樣的，特納。而我一半是遊客一半是旅行者。

________________________________________

Port Moresby: You know, if Tunner didn't take such long siestas, I'd never be alone with you. I think he's in love with you.

波特·莫斯比：你知道嘛，如果特納不睡這么長的一個午覺，我不會單獨同你在一起。我想他是愛上你了。

Kit Moresby: Port, don't be silly.

凱特·莫斯比：波特，別傻了。

Port Moresby: Sillier things have happened. The way he hangs around making inane conversation, the way he looks at you when he fingers his DDT can...

波特·莫斯比：更傻的事已經發生了。當他繞著彎子談論空洞的話題，在他撥弄DDT罐頭時他盯著你的方式……

Kit Moresby: What else?

凱特·莫斯比：還有其他的嗎？

Port Moresby: Oh, the ferocity with which he counts your luggage.

波特·莫斯比：哦，還有他數你行李箱的殘暴行為。

Kit Moresby: Oh, he counts yours too.

凱特·莫斯比：哦，他也數了你的。

Port Moresby: It's not the same.

波特·莫斯比：那不一樣。

________________________________________

Narrator: Because we don't know when we will die, we get to think of life as an inexhaustible well, yet everything happens only a certain number of times, and a very small number, really. How many more times will you remember a certain afternoon of your childhood, some afternoon that's so deeply a part of your being that you can't even conceive of your life without it? Perhaps four or five times more, perhaps not even that. How many more times will you watch the full moon rise? Perhaps twenty. And yet it all seems limitless.

敘述者：因為我們不知道何時生命將盡，所以我們總以為生命是一個永不幹枯的井。有許多事一再發生，但真的，你記得了多少？童年某一個特別的午後，有的下午在你生命中如此重要，重要的是你回顧一生也忽略了不少。也許你記得不到五個，也許你記得更多。有幾次你仔細看過滿月上升？也許二十次吧？然而現在一切都沒有止盡了。

穿幫鏡頭

·劇組人員或道具穿幫：凱特下床的時候劇組人員的影子投射到了鏡子里。

·劇組人員或道具穿幫：在波特咬他的舌頭以前，劇組人員的影子投射到公共汽車的窗戶上。

⑺ 揭露了美國「上流社會」丑態，《芝加哥》當年為什麼能獲高票房

《芝加哥》能在歌舞劇逐漸衰落的大趨勢下脫穎而出，主要原因在於實現了歌舞劇和犯罪片的完美融合，在深度和格局上也有重大提升，並以此順利擺脫了人們對歌舞劇的固定認知。當然，這部電影的精彩之處絕不只是如此。

在監獄里，羅克西意外地遇到了偶像凱莉，她因為殺了自己的丈夫和妹妹而鋃鐺入獄。電影中，每一個關鍵人物出場時都會配有一場介紹他們的獨有歌舞表演。在介紹比利時，比利的歌舞台詞多以「不愛鑽石財物，只有愛能將我打動」為主，但卻在和羅克西的第一次見面中便要求五千美金的傭金。這種言與行的截然不同形成了巧妙地諷刺，而這正是整部電影絕妙設計的縮影。

⑻ 電影《2010世界末日》裡面的10句經典台詞，中文加英文

Dad:你好 Son:爸爸 Dad:艾德瑞安 Son:記得我跟你說過的那個中國項目嗎? Dad:記得 Son:時候到了，爸爸，如果他們知道我跟你說，會殺了我 Dad:沒人會殺你，兒子，他們需要你 Son:總統已經下令要清空白宮 Dad:是時候收拾殘局的時候了 Son:你在哪兒，爸爸，創世紀號具體航線是什麼 Dad:正常，艾德瑞安，不用為你老爸擔心，你有更重要的事，你和媽媽和我這輩子過得很精彩。最精彩的是我們有一個很出色的孩子，聽我說，創世紀號，是條很大的船，別以為你老爸走投無路，不能丟下托尼，沒有我，那傢伙唱歌總跑調 Son:我愛你，爸爸 Dad:我也愛你，兒子，上帝為證 無論是誰，不分種族，不分國家，不分信仰 不論你是窮還是富，身體是否健康 明天我們都沒有區別 飛吧，小鳥，飛吧，這是你的孩子 演出開始了 太美了，我要留下來 這是美利堅合眾國的最後一天 明天全人類將面臨滅頂之災 我正看著地球在眼前土崩瓦解 超級火山揚起的火上會首先籠罩拉斯維加斯 然後是聖路易斯，然後芝加哥 最後華盛頓特區的燈光將會熄滅 我都起雞皮疙瘩了 諸位真希望你們能看到，我眼前的景象 真希望你們此刻和我在一起，快來吧，千萬要記住 諸位是查理，最先告訴你們的 President:你見過我太太羅西嗎？ 艾德瑞安:沒有，先生，我沒那福分 President:她去世前一會清醒，一會昏迷，在她彌留之際，她拉著我的手說：我認為你應該讓大家抽獎，每個人都有上船的機會，也許我們該這么做，我將是美利堅合眾國最後一位總統，你知道我是什麼感覺嗎？ 艾德瑞安:誰都不能拯救美國，先生，但我想也許人們有知情權 President:別擔心，我會處理的，你走吧 艾德瑞安:我不會丟下你的，總統 President:快上飛機，孩子，你要去的是個勇敢的新世界，你個年輕的科學家抵得上20個老政客 Daughter:你在哪兒 Dad:如果我告訴你，我不會上飛機了 Daughter:但你說過，你會來的 Dad:只要我知道你能活著，就會給我很大的鼓舞。我現在唯一要做的，就是把真相告訴美國人民，至少他們知道後可以和家人告別。 你准備好了，就開始 President:美國同胞們，這是我最後一次對你們講話，災難將要降臨，而我們的國家和整個世界將要滅亡，真希望我能告訴你們，我們有能力來抵禦這場災難，可是我們沒有，今天......我們將一家人共同步入黑暗，雖然我們可能信仰不同，但我相信我的話能夠代表所有人的想法，願上天保佑我們，我會...... 師傅:不要相信你聽到的那些傳聞，尼瑪 徒弟:但是師傅，天欽是我哥哥，他在造大船的隧道里工作，如果天欽說的沒錯，在師傅偉大智慧能看出那是什麼？如果世界末日真的來了？你會怎樣，已經滿了，別倒了，師傅 師傅:像這杯子，你的內心充滿了恐懼和猜疑，要想看到智慧之光，你必須清空杯子，注意離合器，它老掛不上 艾德瑞安:勞拉，我可以進來嗎？ 勞拉:恐怕我的心情不好，博士 艾德瑞安:請叫我艾德瑞安 勞拉:沒上飛船的人必死無疑對嗎？ 艾德瑞安:凡事都順其自然，人各有命，對嗎，就像你只收藏那些偉大的藝術品，只要我們活著，我們的文明就不會滅亡 勞拉:算了，我都幹了些什麼，達芬奇，畢加索會很安全，無名小卒就該死嗎？艾德瑞安:不一定，聽說過柯蒂斯.傑克遜嗎？他寫的"Farewell Atlantis"你覺得這個只賣出500本書的小作家，能上船的幾率有多大 勞拉:我沒明白 艾德瑞安:說機遇也好，命運也好，都無所謂，這本書已經成為人類文化遺產的一部分了，因為我在讀 勞拉:牙刷都不帶，只帶書 艾德瑞安:我小時候，爸爸經常出差，他總是給我留下一箱子書，每晚打電話考我，讀完一本書，我會得到一個冰淇淋，所以小時候我很胖 勞拉:我不相信這是真的 艾德瑞安:是真的，我的高中生活是兩千本書，沒有女朋友 勞拉:我也是上了大學才談戀愛，他們很怕我爸爸 艾德瑞安:要保證各國元首上船，安胡瑟先生！必須停止外面的悲劇，讓其他人能看到我 安胡瑟:你想干什麼？ 艾德瑞安:我知道我在干嗎？打開吧。女士們，先生們我是艾德瑞安博士，已故總統威爾遜的首席科技顧問 你能開大聲點嗎，霍夫曼先生 艾德瑞安:為了保全人類文明我們必須做出困難的抉擇，但作為人類就意味著要相互關心，所謂文明，是共同努力創造更美好的生活，如果是這樣，那我們的行為就不文明 安胡瑟:艾德瑞安博士的激情值得欣賞，可我要提醒你們，資源有限，時間更有限 艾德瑞安:捫心自問，我們真的能看著這些人去死嗎？兩天前，我看到一句話，作者現在可能已經死了，他說如果不為他人的權益斗爭，是沒有人性的表現 安胡瑟:為了拯救全人類，我們有義務遵照計劃行事，而此項計劃是各國都簽字同意的 艾德瑞安:我們必須讓這些人上來 安胡瑟:他們該聽天由命，你把那個關上，這是命令，關掉 別動那按鈕，年輕人 安胡瑟:你們是不是都瘋了，看看錶，還有15分鍾，你想整個人類滅絕嗎？你能負責嗎？ 艾德瑞安:我們還能在這，歸功於一位印度天體物理學家 安胡瑟:算了吧 艾德瑞安:他把所有的發現告訴了我，是他救了我們，我剛得知他在印度的海嘯中和家人一起喪生，他是我的朋友，白白地死了，跟那裡許多人一起白白地死了，如果我們不顧別人死活開始新的生活，我們怎麼向孩子交代？我們怎麼向自己的孩子交代？ 勞拉:如果我父親在這兒，他會打開門 俄羅斯，中國，以及日本同意打開門 英國，西班牙，法國，加拿大，德國......還有我可以代表義大利總理聲明，我們投票同意開門 艾德瑞安:邁克爾船長，請開門 船長:我是船長，我們將會開門，讓大家進來，請先後退，不要擁堵站台

⑼ 國外一部電影台詞是吃人腦,因為痛苦是什麼電影

活死人歸來TheReturnoftheLivingDead(1985)

導演:DanO'Bannon

編劇:丹·歐班農/JohnA.Russo/RudyRicci/RussellStreiner

主演:CluGulager/JamesKaren/DonCalfa/ThomMathews/BeverlyRandolph

類型:喜劇/恐怖

製片國家/地區:美國

語言:英語

上映日期:1985-05-15

片長:91分鍾

又名:芝加哥打鬼

樓下如有雷同純屬復制粘貼樓主明鑒~還請樓主注意首發正確回答時間！！！

樓主同意的話請點選下面的選為最佳答案，謝謝~

請您順便點擊一下答案旁的「小手」，贊同我一票吧!

⑽ 找一部電影，一個芭蕾舞演員，丈夫被槍殺，自己也被陷害入獄。開頭的台詞是，you promisei promise.

這部電影叫 亡命刺客/白天鵝
英文叫Assassins Run/White Swan
http://ke..com/view/10453970.htm
這個電影是13年新上映的，前幾個月看過，但是忘了名字，費力點盡才找到~
這個電影可能有點小眾