星辰影院_更多免费好看视频尽在星辰电影网
星辰影院_更多免费好看视频尽在星辰电影网
星辰影院_更多免费好看视频尽在星辰电影网
影片详情
影片名称：《国王与国家》
影片别名：guowangyuguojia
上映时间：1964年
国家/地区：英国
影片语言：英语
IMDB链接：1722886209
豆瓣评分：9.0
影片类型：剧情,战争
影片导演：约瑟夫·罗西
影片主演：德克·博加德,汤姆·康特奈,莱奥·麦凯恩,巴里·福斯特,彼得·科普利,詹姆斯·维利尔斯,杰瑞米·斯宾塞,Barry,Justice,Vivian,Matalon,基思·巴克利,,James,Hunter,Larry,Taylor
资源类别：正片全集未删减
资源更新：已完结
总播放次数：78次
约瑟夫·罗西导演执导的，1964年上映至今获得了不错的口碑，由德克·博加德,汤姆·康特奈,莱奥·麦凯恩,巴里·福斯特,彼得·科普利,詹姆斯·维利尔斯,杰瑞米·斯宾塞,Barry,Justice,Vivian,Matalon,基思·巴克利,,James,Hunter,Larry,Taylor等主演的一部不错的英语战争片。
该片在英国发行，星辰影院_更多免费好看视频尽在星辰电影网收集了《国王与国家》pc网页端在线观看、手机mp4免费观看、高清云播放等资源，如果你有更好更快的资源请联系星辰影院_更多免费好看视频尽在星辰电影网。
（本剧情介绍由星辰影院_更多免费好看视频尽在星辰电影网喜欢看剧情,战争战争片视频的编辑，更多相关信息可移步至豆瓣电影、电视猫或剧情网等平台了解）
剧情简介
ThelasttimeBritainwasamajorforceinwo rldcinemawasinthe19 60s;adocumentaryofafewyearsbackonthesubjectwasentitled’HollywoodUK’. ThiswastheeraoftheKitchenSink,socialrealism,angryyoungmen;abov eall,thetheatrical.Andyet,ironically,thebestBritishfilmsofthedecadeweremadebytwoAmericans,RichardLesterandJosephLosey,wholargelystayedclearoftheperiod’smoretypi calsubjectmatter,wh ich,likeallattemptsatgreaterrealism,nowseemscuriouslyarchaic.’Kin gandCountry’,though,seemstobetheLoseyfilmthattriesto belongtoitsera.Like’LookBackinAnger’and’ATasteo fHoney’,itisbasedonaplay, andoftenseemscumbersomelytheatrical.Like’Lonel inessofthelongdista ncerunner’,itsheroisanexploited,reluctantlytransgressiveworkingclassladplayedbyTomCourtenay.Like(theadmittedl ybrilliant)’ChargeoftheLightBrigade’,itisahorrified,near-farcical(thoughhumourless)lookatthehorro rsofwar,mostparticularlyitsgapingclassinjustices.PrivateHampisayoungvolunteersoldieratPachendaele,h avingservedthreeyearsatthefront,whoiscourt-martialledfordesertion.Increasinglyterrorisedbytheinhumanpointlessnessoftrenchwarfare ,thespeedy,grisly,violentdeathsofhiscomradesandthemedieval,rat-infestedconditionsofhistrench,heclaimsto haveemergeddazedfromonegruesomeattackanddecid edtowalkhome,toEngland.HeisdefendedbythearchetypalBritishofficer,CaptainHargreaves,whoprofessesdisdainfor theman’scowardice,butmustdohisduty.Heattemptstospinadefenceonthegroundsofmadness,buttheupper-crustofficershavehearditallbefore.Thisisaverynice,dulyhorrifying,liberal-handwringing,middle-classplay.Itpander stoalltheclichesoftheGreatWar-thedisgracefulworking-classmassacre,whiletheofficerssupwhiskey(Haig!)-figuredinsomecharmingly obvioussymbolism:Hargreavesthrowingadyingcigaretteinthemud;Hamphystericallyplayingblindman’sbuff.Thesetsarepicturesquelygrim,medieval,amoderninferno,asthesemenlietrappedinanever-ending,subterraneanlabyrinth,litbyhellishfires,withratsforcompanyandtheconstant soundofshellsandgunfireremindingthemoftheo utsideworld.Theplay,inaverymiddle-classway,isnotreallyabouttheworkingclassatall-Hampismoreofasymbol,anessence,ly inginthedark,desolatelyplayinghisharmonica,anoteofhumanityinascoreofinhumanity.Hedoesn’tdevelopasacharacter.TheplayisreallyaboutHargreaves,hisrealisationoftheshabbyinadequacyofnotionslikeduty.Hedevelops.Thisrealisationsendshimtodrink(tastierthandying!).Likehisprolesubordinates,hefalls inthemud,justasHampissaidtohavedone;heevensaystohissuperior’Weareallmurderers’.Thisisallveryeffective,ifnotmuchofadevelopmentofRCSherriff’screaky’Journey’sEnd’,filmedbyJamesWhalein1930.Itsearnestnessandverbositymayseemalittlestiltedin theageof’PathsofGlory’and’Dr.Strangelove’;wemayfeelthat’Blackaddergoesforth’isatruerrepresentationoftheGreatWar.ButwhatIhavedescribedisnotthefilmLoseyhasmade.Heistooso phi sticatedandcannyanintellectu alforthat.Thefilmopenswithalingeringpanoveroneofthose monumentalWarmemorialsyouseealloverBritain(andpresumablyEurope),asiftosayLoseyisgoingtoquestion thereceivedideasofthisstatue,thehumancost.Butwhathe’sreallyquestioningisthisplay,anditswoefulinadequacyt orepresentth emanifoldcomplexitiesoftheWar.ThisisBrechtianfilmmakingatitsmostsubtle.Weareconstantlymadeawareoftheartificeofthefilm,thetheatrical-thesti lteddialogueisspokenwithdeliberatestiffness;theatricalrituals areemphasised(theinitialinterrogation;t hecourtscene,whereactorsliterallytreadtheboards,enunciati ngthepredictablespeeches;themirror-playputonbythehystericalsoldiersandtherats;thereligiouscerem ony;thehorriblefarceoftheexecution).Prosceniumarchesaremadeprominent,audiencesobserveevents.Thisisaplaythatwouldseektocontain,humanise,explaintheGreatWar.Thisisahopelessta sk,asLosey’sprovisionalapparatusexplains,’real’photographsofharrowingdetritusfadingfromthescreenasifeventhesearenotenoughtocon v eytheWar,nevermindawell-made,bourgeoisplay.Losey’svisionmaybeapocalyptic-itquestionsthepossibilityofre presentationatall-thevarious tagsofpoetryquotedmakenoimpactonhardmenmenwhorattledthemoffwhenyoung;theShakespeareandualityof’noble’dramacommentedonby’low’comedy,effectsnotranscendence,nogreaterinsight.Losey’scameraworkandcompositionrepeatedlybreaksourinvolvementwiththedrama,anywishwemighthaveformanlysentimentality;inoneremarkablesceneanofficertakesanAubreyBeardsleybookfromthecameraman!Thisideaofthet heatricalevidentlymirrorsther igidclass’roles’playedby themaincharacters(Hamp’sfatherandgrandfat herwe recobblerstoo;presumablyHargreaves’werealwaysSandhurstcadets).Loseyalsotakesasideswipeatthekitchensinkproj ect,byusingitstools-historyhasbornehimout.
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