芝加哥电影台词

⑴ 询问电影<芝加哥>中的一段台词

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 这句电影台词意思是什么

电影台词：你是我的例外。这句话的意思是，你对我来说很特别。与别人不一样的感觉。希望我的回答对你有用。

⑶ 电影芝加哥，台词，如果世界上所有问题都解决了，那么只有一件事可做，是什么意思

这个问题是一个大圈套，回答上来的人我不敢断定他们全都错了，但是我敢断定大部分都错了，谁能知道人生的后来？或许会发生很多事情改变我们的看法，最值得去做的，我只能说唯心而已

⑷ 《芝加哥》好看吗,

《芝加哥》不乏浓墨重彩,歌舞升腾。但是在一组组幽默的、搞笑的镜头后,依然发射出冷峻、犀利的锋芒。
影片中的情节设置和人物设置都赋予幽默和搞笑,以诙谐、游戏的态度反衬严肃的主题,以喜剧的形式表现悲剧的内容,让观众在轻松的剧情里思考着不轻松的主题。
首先,片中的剧情始终围绕着律师比利如何想方设法帮助罗克茜成为舞台上的明星。舞台是一个表演的空间,不同于真实的世界。舞台上表演的成功离不开台下的精心策划、反复演练。这就使得剧本中包装明星的一切造假活动得以顺理成章地展开。比利为了让罗克茜成为明星,首先是对罗克茜的身世、经历、作案动机重新编造,对她进行形象包装,然后他们不分昼夜地进行演练,直到罗克茜能把编造的台词背得滚瓜烂熟,脱口而出。接着,比利进行了精心的策划:一是罗克茜答记者问那场戏,借助新闻效应,罗克茜一夜成名,由一个杀人凶手摇身一变,成为一个受人同情的无辜的弱者;一是法庭上比利为罗克茜辩护的那场戏,罗克茜无罪释放。同样是借助新闻效应,罗克茜与凯莉成为舞台巨星,她们那精彩的双人舞赢得了观众雷鸣般的掌声。但给观众印象最深的却是台下比利那灿烂的微笑``````
舞台后的暗箱操作与舞台上的完美演出、罗克茜的谎话连篇与老百姓的信以为真、比利的惟利是图与法庭上的道貌岸然都构成了一组组强烈的对比,具有很强的讽刺性。其次,影片中的人物都表现出扭曲变形。人丧失了智性情感,不再高雅伟岸,温柔美丽,而变得猥琐渺小,滑稽可笑。从律师到“无辜的受害者”,从新闻记者到法庭审判官,从明星到追星族都成了揶揄调笑的对象。即使是忠厚善良的老实人汤马斯———罗克茜的丈夫也不例外。忠实的汤马斯,为了不让妻子入狱,强忍戴绿帽的耻辱,主动承认自己是杀人犯;为了给比利付5000 元律师费,汤马斯东拼西凑,倾家荡产也在所不惜。当听到妻子编造的怀孕日期时,老实人终于爆发出对妻子不忠的愤怒,但他并没有放弃对妻子的救赎。法庭上,众记者烟消云散后,只有他在那儿耐心地等待着妻子的归来。这反而让罗克茜觉得奇怪:“你要干什么?”“我想带你回家———你想要的,还有孩子。”“这不可能!”罗克茜尖叫起来“, 天啊! 你真的相信? 我没有孩子。”说完,罗克茜再也不关心丈夫的存在,只顾看着窗外,为自己不再受关注而百思不得其解。“没有?”可怜的汤马斯好象掉进了一团雾水里,独自一人悻悻地转身而去。
在影片中,诚实善良反而变得可笑,痛苦和不幸成了开玩笑的对象,人类的处境变得冷酷而荒谬。人们不再天真,不再有理想,不再有崇高感和悲剧感。面对自身这一现实处境,人们甚至没有愤怒,只有麻木,就象汤马斯一样。正如哈桑在《后现代转折》中所说:“后现代不再狂躁,他在冷漠的世界中,展示了后现代艺术家眼中那恐怖和卑琐的世界。”但在这种表面平静中,却蕴藏着内里的冷嘲、戏谑与解构。
“戏笑释一切”、“一切皆戏笑”是该片的特点,也是后现代电影共同的基调。但该片在镜头语言的使用上,有时过于强调后现代电影的拼贴意识———对故事的叙述采用无序的拼贴、画面与画面之间使用大量的跳接,这样有时会给观众带来视觉接受上的断裂,造成观众审美接受上的间断性、跳跃性。
尽管这样《, 芝加哥》依然是一部上乘之作,它的成功给我们带来很多的启示。首先,该片包含了成功的商业片所具备的多种元素。如该片具有很强的视觉冲击力,片中大量的歌舞表演都具有很强的时代性、观赏性。在那充满着动感诱惑与活力四射的歌舞表演中洋溢者浓浓的异域激情和个性张力。该片的好莱坞色彩也十分浓厚,造型、剪辑、声音的优质要求使得这部作品是一部符合好的工业标准的作品。此外,该片情节曲折,凶手与美女、嫉妒与阴谋的情节设置使得片中剧情环环相扣、层层深入。其次,该片还具有很强的现实批判性、艺术性。因为一部影片仅仅具有商业性还是不够的,有艺术性的电影才会有长久的生命力。《芝加哥》结构紧凑,人物个性鲜明,让观众在色香味俱佳的视觉拼盘中感悟那深层的社会内涵和强烈的批判意识。马赛尔·马尔丹曾说过:电影
是一种企业,也是一门艺术;是一种语言,也是一种存在。影片的商业性和艺术性并不矛盾。《芝加哥》就在电影的商业性与艺术性之间找到了一个很好的平衡点。

⑸ i need you qnd you need me 这句台词出自哪部电影

你好，这部电影名字叫《爱情与灵药》。
《爱情与灵药》，美国影片，英文对白，由爱德华·兹威克执导。 安妮·海瑟薇在《爱情与灵药》饰演身患帕金森病的角色，本来想在病重之前“潇洒”过完一生，但却遇见了贩卖伟哥的药品贩子杰克·吉伦哈尔，二人为了伟哥还闹出不少笑话，剧情也由苦情戏变成浪漫喜剧片。影片反映了1997年以后美国医药行业的商业模式，描写了在商业环境下，人的逐利心态下的阴暗面和情感下的柔弱面的矛盾。
I need you and you need me.这句话是在两人分开后，杰克·吉伦哈尔在可以前往芝加哥，事业上更上一层楼的时候，他终究还是去追她了。他的一番话真的好感人啊。I need you and you need me。不管怎样，他都要和她在一起。

⑹ 我们总以为生命是一口永不干枯的井是哪个电影的台词

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

庇护天空

更多外文片名
The Sheltering Sky

Tè nel deserto, Il .....(Italy)

导演
贝纳尔多·贝托鲁奇Bernardo Bertolucci

编剧
Paul Bowles .....(book)
马克·派普罗Mark Peploe .....(screenplay) and
贝纳尔多·贝托鲁奇Bernardo Bertolucci .....(screenplay)

演员
德博拉·温格 Debra Winger .....Kit Moresby
约翰·马尔科维奇 John Malkovich .....Port Moresby
坎贝尔·斯科特 Campbell Scott .....George Tunner
Jill Bennett .....Mrs. Lyle
蒂莫西·斯波 Timothy Spall .....Eric Lyle

制作人
William Aldrich .....executive procer
杰瑞米·托马斯 Jeremy Thomas .....procer

影片类型
剧情

片长
138分钟/阿根廷:139分钟

国家/地区
英国 意大利

对白语言
阿拉伯语 英语 法语

色彩
彩色

混音
70 mm 6-Track

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

制作发行

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

发行公司
Argentina Video Home (AVH) [阿根廷] ..... (Argentina) (video)
CBS/Fox Video Ltd. [英国] ..... (1991) (UK) (VHS)
华纳兄弟公司 Warner Bros. [阿根廷] ..... (Argentina)
华纳兄弟公司 Warner Bros. [美国] ..... (Argentina)

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

上映日期
法国
France
1990年11月21日

荷兰
Netherlands
1990年11月30日

美国
USA
1990年12月12日

瑞典
Sweden
1990年12月21日

芬兰
Finland
1991年1月11日

阿根廷
Argentina
1991年2月7日

澳大利亚
Australia
1991年5月9日

剧情介绍

一对结婚十年的美国夫妇，波特和姬特，丈夫是作曲家，妻子是作家。二战结束后，夫妇俩和友人雷纳一起来到北非撒哈拉旅行。波特对雷纳很警惕，姬特则因为雷纳的俊美热情有一种出轨的预感。到达北非的那天，波特说，我们是旅行者，不是游客。雷纳问，这有什么区别吗？

姬特说，游客是观光后回家的人，旅行者就可能再也回不去了。

一语成谶。波特死在了撒哈拉，死于霍乱。

在此之前，婚姻里危机四伏的波特和姬特各自出轨，波特嫖妓，姬特和雷纳上了床。在两人重新走近、亲密、确定彼此是自己的爱后，波特撒手而去。姬特因剧痛而神智恍惚，跟着一队骆驼帮走进了撒哈拉沙漠的深处，成为帮主的女人；后脱离骆驼帮流浪在非洲集镇上，沦为乞丐。最后被美国大使馆找到。人还是那个人，但灵魂已经脱窍了。

波特和姬特都把自己留在了撒哈拉。

相关评论

小说原著是如此的完美、深刻和独立，以至于它将电影排斥在外；贝托鲁奇展示的仅仅是表象，而一个没有看过原著的人会问这部电影究竟讲的什么。

——芝加哥太阳时报

那些没有看过小说的人会对电影感到迷惑。

——综艺

这是保罗·鲍尔斯（Paul Bowles）1949年荒凉阴冷的存在主义式小说和导演贝尔纳多·贝托鲁奇的狂想阐述版之间的碰撞。

——华盛顿邮报

从本质上看这是部用力失衡的影片，它的许多弱点冲淡了它的力度；电影的起点很高，但拍得很糟，但即使是对它的缺点你也不得不表现敬意。

——阿波罗电影导报

幕后制作

关于电影

意大利导演贝纳尔多·贝托鲁奇起用《末代皇帝》的原班人马扎根北非，拍摄出了根据保罗·鲍尔斯（Paul Bowles）1949年的经典小说Too Far form Home改编的电影，这部充满了不确定性的暧昧影片在西方评论家那里恶评如潮。贝托鲁奇在《遮蔽的天空》中强烈地展现出他惯常的主旨手法，即在某一特定的历史时空中追索人性的真相以及生命的态度，透露出贝托鲁奇内心浓厚的生命关怀。

贝托鲁奇藉用男女主人公相爱太深而不自知，延续而出的迷失与彷徨，再配合北非撒哈拉的壮阔视觉，一点一滴地诉说了人如何在困境与迷失中拨开遮蔽的云雾，进而寻索到真相。主人公波特和凯特将自己定义为“旅行者”而不是“游客”，他们力图使自己进入北非的文化和氛围，以品尝异国情调和那些对他们来说是禁忌的东西。他们确实找到了称之为异国情调的东西。沙漠的阳光使他们头昏眼花，他们被城市迷宫般街道的黑暗所诱惑，他们面对的是一个肉欲横流的世界，在这里他们丧失了作为文明美国人的根。城市对于这些过客而言成了囚笼，沙漠在召唤着他们，他们被沙漠的纯净、美丽和严峻所吸引，正如另一个著名的旅行者T. E. Lawrence一样。他们被自由所陶醉，以此释放出囚禁于自身的激情。

这部电影耸人听闻的戏剧情节能满足任何以情节为重的此类电影。确实，出版商也为这个表面骇人听闻的故事写了如下宣传语：“命中注定的情人……他们的巨大激情同撒哈拉沙漠一样广大。”诸如此类的语言，但这个故事里并没有发生什么了不得的事情，所有重大的变化都发生在角色的内心。可以确定的是，这部电影讲的并不是旅行者和宿命的情人以及他们平行发展的命运，而是有教养的、学究气的厌倦的美国知识分子面对他们所无法理解的巨大经验时所表现的困惑。这是文明同无法解答的冷漠自然的对抗。同此片类似的是《印度之行》和《悬崖下的野餐——讲的都是传统欧洲人发现自身并迷失于古老大陆的神秘之中。《悬崖下的野餐》是关于野餐的人在澳大利亚的一处地质奇观——吊石坡（Hanging Rock）失踪的事；而《印度之行》则是关于一个神秘的洞穴--马拉巴古洞，在这个洞穴里无论对着虚空发出什么声音，回声总是空洞的、无意义的。在《遮蔽的天空》里，沙漠扮演着一个类似的角色，但要简单的多。置身于其中的人以自己的方式对神秘进行理解。

贝托鲁奇在这部电影里几乎做了一切，除了传达主题。他的两个主要演员，扮演波特（Porter）的约翰·马尔科维奇（John Malkovich）和扮演凯特（Kit）的德博拉·温格（Debra Winger），他们看起来仅仅是在做着正确的事情--聪明、厌倦、疲惫、对彼此都很了解，对他们知道的事情不会感到恐惧。温格似乎对她所扮演的角色缺乏交流，以至于使一些本该充满张力的戏剧场面平淡无奇。虽然她不停地换衣服，但她看上去还是僵硬而羞怯，似乎无所事事。约翰·马尔科维奇至少在若干场景中赋予了波特一些不安，而凯特则永远存在于优柔寡断之中，直到波特以生病解决了自己为止。而马尔科维奇虽然传达出人物内心的挣扎，但却似乎总有点心不在焉。

贝托鲁奇的著名摄影师Vittorio Storaro和他另类的同伴坂本龙一不会浪费贝托鲁奇提供给他的这一绝好的机会。他们在影片中创造了一些美丽而激动人心的场景：接连不断的帐篷、手势、面罩后的眼睛、尘土飞扬的道路和令人感动的天空。电影提供了一出视觉奇观。拍出了沙漠美丽的黄昏光线，这些难以置信的场景因为其纯粹而难以忘怀。

小说与电影

保罗·鲍尔斯的小说Too Far form Home将这个故事的时空背景设定在第二次世界大战之以后。小说里，波特和凯特间的关系仅仅是众多即将来临的不详之兆的因素之一，在戏剧冲突中融入了超现实主义的手法。书中充满了对生活、爱情、旅行、其他文化以及撒哈拉的真知灼见。要将这些硬骨头都照搬上银幕是不讨好的，贝托鲁奇尽可能地忠实于小说原著，舍去了大多数的暗示性描写。

这是部带政治觉悟的电影，是贝托鲁奇的“回归”。在小说里，凯特是自甘堕落的，耽于性欲的白日梦。而同Mark Peploe合写剧本的贝托鲁奇对这种叙述角度并不满意，他将凯特和她的柏柏尔情人的相遇描绘得并不下流，而是通过性，凯特净化了作为西方观念中的所谓独立和个性，从而进入一种更原始的公社式意识中（影片的后半部分所着力刻画的）。

这又是部关于旅行和转变的电影。在小说里，鲍尔斯以隐晦的方式表达个人的性幻想，而贝托鲁奇则在电影里表达他的文化觉醒，及渴望摆脱西方影响的愿望。虽然改编自小说，电影却同马克思存在主义版本的凯文·科斯特纳的《与狼共舞》更为相似。这两部电影都是关于“黑暗之心”的救赎，通过揭示陌生文化、回归自然的方式来获得。贝托鲁奇和科斯特纳的电影最后都获得了一种圆满，不同的是支撑着科斯特纳电影的是理想主义，而贝托鲁奇的则更像一个知识分子的手淫式练习。

精彩花絮

·小说原著作者保罗·鲍尔斯在电影中担任了叙述者一角，当时他已79岁高龄。

·这部电影根据保罗·鲍尔斯的自传体小说改编，他曾说过这样的话：“这部小说从来就不该被改编成电影，结尾就像白痴，其余的部分非常糟糕。”

·电影全部在非洲实地拍摄。

·根据选角导演朱丽叶·泰勒的说法，影片中最初三个主演的人选是威廉·赫特、梅兰尼·格里菲斯和丹尼斯·奎德，但因为预算的原因换成了现在的演员。

·约翰·马尔科维奇扮演的波特·莫斯比同巴布亚新几内亚的首府一个名字。

·影片耗资五千万美元，历时两年才拍摄完成。

·影片获得英国电影电视学院奖最佳摄影奖和金球奖最佳电影原声奖。

精彩对白

Kit Moresby: Champagne yes, philosophy no.

凯特·莫斯比：要香槟，不要哲学。

________________________________________

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

特纳：波特，你以前来过北非，凯特和我会紧随你的计划。

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

波特·莫斯比：我惟一的计划就是，我没有计划。

________________________________________

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

特纳：我们或许是自战争以来的第一批游客。

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

凯特·莫斯比：特纳，我们不是游客，我们是旅行者。

Tunner: Oh. What's the difference?

特纳：哦，有什么分别？

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

波特·莫斯比：特纳，一个游客总会在他们抵达的时候想到回家。

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

凯特·莫斯比：而旅行者或许根本就不会回去。

Tunner: You mean I'm a tourist.

特纳：你的意思是我是一个游客。

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

凯特·莫斯比：是这样的，特纳。而我一半是游客一半是旅行者。

________________________________________

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，如果特纳不睡这么长的一个午觉，我不会单独同你在一起。我想他是爱上你了。

Kit Moresby: Port, don't be silly.

凯特·莫斯比：波特，别傻了。

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：更傻的事已经发生了。当他绕着弯子谈论空洞的话题，在他拨弄DDT罐头时他盯着你的方式……

Kit Moresby: What else?

凯特·莫斯比：还有其他的吗？

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

波特·莫斯比：哦，还有他数你行李箱的残暴行为。

Kit Moresby: Oh, he counts yours too.

凯特·莫斯比：哦，他也数了你的。

Port Moresby: It's not the same.

波特·莫斯比：那不一样。

________________________________________

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.

叙述者：因为我们不知道何时生命将尽，所以我们总以为生命是一个永不干枯的井。有许多事一再发生，但真的，你记得了多少？童年某一个特别的午后，有的下午在你生命中如此重要，重要的是你回顾一生也忽略了不少。也许你记得不到五个，也许你记得更多。有几次你仔细看过满月上升？也许二十次吧？然而现在一切都没有止尽了。

穿帮镜头

·剧组人员或道具穿帮：凯特下床的时候剧组人员的影子投射到了镜子里。

·剧组人员或道具穿帮：在波特咬他的舌头以前，剧组人员的影子投射到公共汽车的窗户上。

⑺ 揭露了美国“上流社会”丑态，《芝加哥》当年为什么能获高票房

《芝加哥》能在歌舞剧逐渐衰落的大趋势下脱颖而出，主要原因在于实现了歌舞剧和犯罪片的完美融合，在深度和格局上也有重大提升，并以此顺利摆脱了人们对歌舞剧的固定认知。当然，这部电影的精彩之处绝不只是如此。

在监狱里，罗克西意外地遇到了偶像凯莉，她因为杀了自己的丈夫和妹妹而锒铛入狱。电影中，每一个关键人物出场时都会配有一场介绍他们的独有歌舞表演。在介绍比利时，比利的歌舞台词多以“不爱钻石财物，只有爱能将我打动”为主，但却在和罗克西的第一次见面中便要求五千美金的佣金。这种言与行的截然不同形成了巧妙地讽刺，而这正是整部电影绝妙设计的缩影。

⑻ 电影《2010世界末日》里面的10句经典台词，中文加英文

Dad:你好 Son:爸爸 Dad:艾德瑞安 Son:记得我跟你说过的那个中国项目吗? Dad:记得 Son:时候到了，爸爸，如果他们知道我跟你说，会杀了我 Dad:没人会杀你，儿子，他们需要你 Son:总统已经下令要清空白宫 Dad:是时候收拾残局的时候了 Son:你在哪儿，爸爸，创世纪号具体航线是什么 Dad:正常，艾德瑞安，不用为你老爸担心，你有更重要的事，你和妈妈和我这辈子过得很精彩。最精彩的是我们有一个很出色的孩子，听我说，创世纪号，是条很大的船，别以为你老爸走投无路，不能丢下托尼，没有我，那家伙唱歌总跑调 Son:我爱你，爸爸 Dad:我也爱你，儿子，上帝为证 无论是谁，不分种族，不分国家，不分信仰 不论你是穷还是富，身体是否健康 明天我们都没有区别 飞吧，小鸟，飞吧，这是你的孩子 演出开始了 太美了，我要留下来 这是美利坚合众国的最后一天 明天全人类将面临灭顶之灾 我正看着地球在眼前土崩瓦解 超级火山扬起的火上会首先笼罩拉斯维加斯 然后是圣路易斯，然后芝加哥 最后华盛顿特区的灯光将会熄灭 我都起鸡皮疙瘩了 诸位真希望你们能看到，我眼前的景象 真希望你们此刻和我在一起，快来吧，千万要记住 诸位是查理，最先告诉你们的 President:你见过我太太罗西吗？ 艾德瑞安:没有，先生，我没那福分 President:她去世前一会清醒，一会昏迷，在她弥留之际，她拉着我的手说：我认为你应该让大家抽奖，每个人都有上船的机会，也许我们该这么做，我将是美利坚合众国最后一位总统，你知道我是什么感觉吗？ 艾德瑞安:谁都不能拯救美国，先生，但我想也许人们有知情权 President:别担心，我会处理的，你走吧 艾德瑞安:我不会丢下你的，总统 President:快上飞机，孩子，你要去的是个勇敢的新世界，你个年轻的科学家抵得上20个老政客 Daughter:你在哪儿 Dad:如果我告诉你，我不会上飞机了 Daughter:但你说过，你会来的 Dad:只要我知道你能活着，就会给我很大的鼓舞。我现在唯一要做的，就是把真相告诉美国人民，至少他们知道后可以和家人告别。 你准备好了，就开始 President:美国同胞们，这是我最后一次对你们讲话，灾难将要降临，而我们的国家和整个世界将要灭亡，真希望我能告诉你们，我们有能力来抵御这场灾难，可是我们没有，今天......我们将一家人共同步入黑暗，虽然我们可能信仰不同，但我相信我的话能够代表所有人的想法，愿上天保佑我们，我会...... 师傅:不要相信你听到的那些传闻，尼玛 徒弟:但是师傅，天钦是我哥哥，他在造大船的隧道里工作，如果天钦说的没错，在师傅伟大智慧能看出那是什么？如果世界末日真的来了？你会怎样，已经满了，别倒了，师傅 师傅:像这杯子，你的内心充满了恐惧和猜疑，要想看到智慧之光，你必须清空杯子，注意离合器，它老挂不上 艾德瑞安:劳拉，我可以进来吗？ 劳拉:恐怕我的心情不好，博士 艾德瑞安:请叫我艾德瑞安 劳拉:没上飞船的人必死无疑对吗？ 艾德瑞安:凡事都顺其自然，人各有命，对吗，就像你只收藏那些伟大的艺术品，只要我们活着，我们的文明就不会灭亡 劳拉:算了，我都干了些什么，达芬奇，毕加索会很安全，无名小卒就该死吗？艾德瑞安:不一定，听说过柯蒂斯.杰克逊吗？他写的"Farewell Atlantis"你觉得这个只卖出500本书的小作家，能上船的几率有多大 劳拉:我没明白 艾德瑞安:说机遇也好，命运也好，都无所谓，这本书已经成为人类文化遗产的一部分了，因为我在读 劳拉:牙刷都不带，只带书 艾德瑞安:我小时候，爸爸经常出差，他总是给我留下一箱子书，每晚打电话考我，读完一本书，我会得到一个冰淇淋，所以小时候我很胖 劳拉:我不相信这是真的 艾德瑞安:是真的，我的高中生活是两千本书，没有女朋友 劳拉:我也是上了大学才谈恋爱，他们很怕我爸爸 艾德瑞安:要保证各国元首上船，安胡瑟先生！必须停止外面的悲剧，让其他人能看到我 安胡瑟:你想干什么？ 艾德瑞安:我知道我在干吗？打开吧。女士们，先生们我是艾德瑞安博士，已故总统威尔逊的首席科技顾问 你能开大声点吗，霍夫曼先生 艾德瑞安:为了保全人类文明我们必须做出困难的抉择，但作为人类就意味着要相互关心，所谓文明，是共同努力创造更美好的生活，如果是这样，那我们的行为就不文明 安胡瑟:艾德瑞安博士的激情值得欣赏，可我要提醒你们，资源有限，时间更有限 艾德瑞安:扪心自问，我们真的能看着这些人去死吗？两天前，我看到一句话，作者现在可能已经死了，他说如果不为他人的权益斗争，是没有人性的表现 安胡瑟:为了拯救全人类，我们有义务遵照计划行事，而此项计划是各国都签字同意的 艾德瑞安:我们必须让这些人上来 安胡瑟:他们该听天由命，你把那个关上，这是命令，关掉 别动那按钮，年轻人 安胡瑟:你们是不是都疯了，看看表，还有15分钟，你想整个人类灭绝吗？你能负责吗？ 艾德瑞安:我们还能在这，归功于一位印度天体物理学家 安胡瑟:算了吧 艾德瑞安:他把所有的发现告诉了我，是他救了我们，我刚得知他在印度的海啸中和家人一起丧生，他是我的朋友，白白地死了，跟那里许多人一起白白地死了，如果我们不顾别人死活开始新的生活，我们怎么向孩子交代？我们怎么向自己的孩子交代？ 劳拉:如果我父亲在这儿，他会打开门 俄罗斯，中国，以及日本同意打开门 英国，西班牙，法国，加拿大，德国......还有我可以代表意大利总理声明，我们投票同意开门 艾德瑞安:迈克尔船长，请开门 船长:我是船长，我们将会开门，让大家进来，请先后退，不要拥堵站台

⑼ 国外一部电影台词是吃人脑,因为痛苦是什么电影

活死人归来TheReturnoftheLivingDead(1985)

导演:DanO'Bannon

编剧:丹·欧班农/JohnA.Russo/RudyRicci/RussellStreiner

主演:CluGulager/JamesKaren/DonCalfa/ThomMathews/BeverlyRandolph

类型:喜剧/恐怖

制片国家/地区:美国

语言:英语

上映日期:1985-05-15

片长:91分钟

又名:芝加哥打鬼

楼下如有雷同纯属复制粘贴楼主明鉴~还请楼主注意首发正确回答时间！！！

楼主同意的话请点选下面的选为最佳答案，谢谢~

请您顺便点击一下答案旁的“小手”，赞同我一票吧!

⑽ 找一部电影，一个芭蕾舞演员，丈夫被枪杀，自己也被陷害入狱。开头的台词是，you promisei promise.

这部电影叫 亡命刺客/白天鹅
英文叫Assassins Run/White Swan
http://ke..com/view/10453970.htm
这个电影是13年新上映的，前几个月看过，但是忘了名字，费力点尽才找到~
这个电影可能有点小众