《一曲相思情未了》是一部由史蒂夫·克洛夫斯执导,杰夫·布里吉斯 / 米歇尔·菲佛 / 博·布里奇斯主演的一部剧情 / 音乐 / 爱情类型的电影,特精心从网络上整理的一些观众的影评,希望对大家能有帮助。
《一曲相思情未了》影评(一):fabulous couple, fabulous film与dollar无关
OSTALGIA, BLUE, BITTER, ROMANTIC...WHAT MORE SHOULD I SAY?
FABULOUS!
1940s的感觉,由1990s的人去演绎,刻意追溯美妙时代,或许因为那时代的真实跟纯粹,人们可以全注于精神。
今非昔比的“美国大片”实在需要old film的精神滋养,这和dollar没关系。
《一曲相思情未了》影评(二):你是我的,与众不同的..
你是我的,与众不同的..
欲望的克制同样是迷人的,你想象着她,而她就在你身旁,你的全部欲望之中心,竟是移动的,言语的,有长长一个故事,凌乱又丝毫不繁琐,又迫近,她身体散发初次交会你已经留意到的她身上的味道,是连同那样一种味道的迫近,连同一支黑色包装的巴黎牌香烟,在她指间缓慢燃烧,燃烧,这克制的迷人你一边享受着,一边担心夜晚就要烧到尽头而你还没有吻上她,她的红艳双唇。。
/Opals _the fabulous
《一曲相思情未了》影评(三):关于米切尔·菲佛的题外话
说不上评价,看这个片子的原因完全是为了米切尔·菲佛,她是f的青春偶像,而f又是我们的三分之一的青春偶像。记得那时f还在复旦读书,是个个性沉静的文艺青年,谈到喜欢的明星,她淡淡地说“Michelle Pfeiffer”,虽然彼时本人也在北京厮混,可是真是老土,对这个名字没有丝毫感性认识,心里颇为惊讶,恨不得马上知道那是怎样一个美人。
可惜后来人海奔波,这件事情也早已束之高阁,直到十多年后的现在,偶然才想起这份青春的作业。米切尔·菲佛的真容终于揭开面纱:有独特的气质,然而绝对称不上是大美女呀。她的神情有种清冽,孤傲之气,这既是她的优点也是她的局限,成熟而不亲切,过于棱角,不够性感妩媚。
补上了拉了多年的课,不知道f会不会还记得她呢,不过以她换男人的姿态来看,Michelle Pfeiffer也难免进入冷宫。
《一曲相思情未了》影评(四):别把这部片子往爱情上扯
首先,这不是爱情片,确切的讲是生活片。整部影片所反映的主题是:失落,茫然,空虚,寂寞,从一开始就已经反映出来了。是一个失去了理想,没有了憧憬的大茫然主题。能够深刻理解这部影片的人,每次观赏都会流泪。伤感,从取景,音乐和矛盾点中体现出来。理解为爱情片的朋友,建议从另一个角度多多观察。悲伤不一定要有大起大落,甚至不一定会有眼泪。继续着茫然和失落,还有绵绵不断的寂寞,就是片尾那个长镜头的意思。没有改变,什么都没有改变,只是添加了一些或喜或悲的回忆,就像你我,我们每一个人的生活一样。喜欢这类影片的人多数属于内向者和思考者,所以这就是为什么这部影片能够获得影评人大奖。我们可以学习这部影片的导演所使用的一些技巧和艺术思想。他在大场景中的取景都很微妙,加深了这种失落感,不安全感,没有归属感。而他尤其刻画了深深的寂寞感。例如电影《里昂》中(别名叫这个杀手不太冷),当里昂死后,玛缇塔一个人抱着玩具兔子漫步在黄昏下的都市大街上。如上所诉,这些都是一个道理,为了表达失落情绪。在这部影片中,爱情只是诠释寂寞和失落的一个手法。就好像,武打片也是要诠释一个故事,或者一个情绪,再或者一个思想。而武打,只是诠释这些必要因素的手段。那么来看我们的三个主人公。他们所有的理想都早已破灭了,只是生活,为了生活而生活。弟弟能够做的就是酗酒,然后用爵士乐即兴来逃避自己的生活。小型私营电视台对自己的轻蔑。苏西很铁不成钢的对那个不坦诚,不敢面对生活的弟弟发火。有了家庭的哥哥已经忘记什么是理想,当自己和弟弟发生冲突的时候,恳求弟弟不要弄坏自己的手,因为他需要用手来养家。这些情节才是让人失落到黯然泪下的大主线。最后,也是最失落的地方,苏西无奈的哼唱着豆芽歌,好像在呢喃着,生活啊生活,即使是这样但还是得继续。两个人茫然的表情,无力的问候,然后是苏西的背影,观众们则是替她们憧憬着那毫无希望的未来。这就是这部电影的主题。你们懂了没?
《一曲相思情未了》影评(五):爱我,别走
朋友说,你要老是回忆起过去,你就是老了。我说那麻烦了,我打上学开始就喜欢与过去较劲儿。按此逻辑,我现在已经老成渠了。
回忆本没多大现实意义,但也并不可耻,至少让我知道逝者与来者本是血肉相连、牵绊不掉的岁月流转。
诚如上周末下午百无聊赖之际突然在央视上看见《荒唐的贝克兄弟》,又一下子自作多情地回想起N年前为了这部电影的那些翻山越岭(“翻墙越脊”可能准确一些)。
那时能在电影院看到原版片殊不易,性的暖昧和JAZZ的美妙是我一直以来对这部片的全部印象。说白了,就是没看明白。当然,为了逃脱辅导员的魔爪看电影时的BITTER-SWEET经历象DVD的TRAILER一样牢牢地嵌在我每一部光影记忆中。
在南方摄氏二十三度的一个冬日下午,我自认为看明白了。
其实故事逃不脱现实、个性、情感纠缠冲突的老套,两个酒吧唱将搭档奔走江湖十多年,生活突然被一个冒出来的女人给打乱了。尽管他们的三人搭档空前成功,但事业与情感从此不同。
JACK需要尊严和放浪的生活,深爱JACK的SUSIE需要一个女人认为需要拥有的情感和归属,FRANK需要卑微但真实的生活。每个人的愿望都善良而朴素,但每个人都受到了巨大的伤害。
影片结束于JACK有意挽回情愿与事业,但SUSIE和FRANK均未置可否。影片在SUSIE留连的转身和JACK戏谑但哀伤的眼神中结束。ENDING颇精彩,忧郁得让人绝望。令人佩服的是,充盈全片的那淡淡的忧伤浓缩到结尾成了绝望,但居然又会催人激发出一些希望的叶子。嗨,真真应了鲁叔的那句老话!
歪在沙发上,颇满足地拼凑完N年前影像和体验的碎片,顺带给郁闷ING的我进行了一次心灵小按摩。挺好!
关掉电视,打开音响,靠! 张震岳那厮又开始闹心:“爱我,别走....”
《一曲相思情未了》影评(六):Sexy Film…
个人认为,一曲相思这部影片真的配得上SEXY这个词了,主演性感,情节性感,音乐更性感。好几个情节我很喜欢,就是因为那种暧昧又带点性感的味道… 绝对是我喜欢的类型,至于为什么给4颗星,最后一颗星差在它的场景,有几个场景过于粗糙中和了性感味道,至于其他各方面我认为真是一部佳作…
JACK对SUSIE说:Like a cup of coffee?SUSIE婉拒了,JACK又说:Want me to walk you?SUSIE又说不,当SUSIE问,你不是喜欢我吧,JACK说的原来台词是FORGET IT,而翻译的中文显示,可能是吧。其实我是倾向于后者的,美国人不都很直接么?即使JACK是个内敛的人,面对SUSIE这样的质问时,我还是希望JACK的那句FORGET IT言外之意就是可能是吧的意思,或许有人说只是一个小情节而已,何必如此纠结,可是看电影不就是看情节么,没有好的情节哪来的佳片?当JACK为SUSIE点烟的时候,我惊叹于他们的默契,暧昧之中还有若即若离的感觉,没有一个跨出那一步,没有一个打破僵局,或许这才是爱情最美好的阶段…
USIE在阳台对另一边的JACK说:留了拼字游戏给你。之后去翻看JACK的刮胡刷,JACK发现了SUSIE的举动便在门后偷看,这又是我认为的经典场景之一。SUSIE回房后,JACK如法炮制翻看SUSIE的香水,其实当SUSIE在房间的缝隙里看着JACK的举动时,我不止的在屏幕面前笑了,可爱的暧昧啊,真是美好的感觉…
看过之前的影评,很多人喜欢SUSIE在钢琴上唱歌的那段,我也满喜欢的,只不过以上两个场景我更喜欢,还有就是SUSIE在台阶上等JACK回来的那个,JACK拿起了SUSIE的高根鞋,好比拿起了SUSIE的心…
有人说他们最后没有在一起,影片场景的孤独表现了这一点。我觉得他们还是在一起了,只要JACK想通了准备把SUSIE追回来,他们肯定就会在一起,而JACK是想的,当他们又在台阶上相遇,SUSIE说:可能要赶不上上班时间了。JACK用手去拨弄了SUSIE的头发,可是SUSIE错身离开了,JACK也为了隐藏他的冲动转而去拨弄自己的头发作为掩饰,从这点,和他说I think I am going to see you again.虽然最后又加了在想念中再见,可为什么这不是一种掩饰呢?JACK和SUSIE两个人不都是一直在掩饰对对方的感情么?
佳片难寻,吾将珍藏…
《一曲相思情未了》影评(七):《一曲相思情未了(The Fabulous Baker Boys)》:爱情,未完待续……
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http://qfmeng.blogbus.com/logs/196597288.html
The Fabulous Baker Boys (1989)
这部电影偶有耳闻,因为片中的大美女Michelle Pfeiffer,所以一直想看。于是随后在网上搜出一个DVDRip,下载后看完了。
电影的故事很简单,讲述一个兄弟乐队与一个美女之间的故事。一个兄弟乐队在各种酒吧做商业演出,他们合作十五年了。但是随着时代改变,兄弟两人简单的钢琴演奏已经落伍,哥哥只好去寻找一个女歌手。经过一番招募,乐队招来一个漂亮的金发女人。就这样,他们三人组成的乐队越来越受欢迎,赚得钱也越来越多。新年时,哥哥因为家中有事不能演出,只剩下弟弟与女人进行演出。弟弟与女人在演出结束后发生了关系,但弟弟是一个非常冷漠的人,在早上匆匆忙忙的离开,这让女人非常生气。之后,女人就对哥哥安排的各种演出很不满意,打算离开乐队。女人来到弟弟家,想要告诉他此事,却无意间发现了弟弟的梦想,而且再一次与弟弟发生关系。事后,弟弟依然很冷漠。随后的几天内,忍无可忍的女人与弟弟在街上大吵起来,两人不欢而散。没有女人的兄弟乐队继续演出,但境况大不如从前,他们甚至在深夜为中学生募捐。弟弟无法忍受,大闹演出。兄弟二人出来后,两人又是一番争吵,直到拳脚相加。弟弟回到家中,被邻居家女孩的几句话触动,打算改变自己。于是,弟弟找到哥哥,两人和好如初。最后,弟弟又找到女人,互相道歉后打算继续见面。
本片是一部清新的电影小品,也是好莱坞擅长的浪漫爱情电影。影片塑造了三个鲜明的人物:孤独、冷漠、封闭自己的弟弟,努力生活、顽强的哥哥,敢爱敢恨、不拘小节的女人。影片通过这三人之间短暂的故事,表现出一个孤独男人的转变,并歌颂了爱情、兄弟情。同时,影片还展现出美国社会中小人物的众生相,让观众们对那个时代音乐人有了一定的了解。总之,本片是一部看起来非常轻松惬意的休闲之作,非常适合放松心情或者更换口味。
虽然电影很好看,但本片还是一部好莱坞式的俗套电影。一男一女,日久生情,两夜激情,话不投机,互相致歉并和好如初,影片整个过程是烂俗到家的好莱坞浪漫电影桥段,看起来一点新鲜感也没有,甚至可以从头猜到尾。当然,这种俗套模式的情节也是好莱坞屡试不爽的良药,只因为观众们爱看。谁不想看幸福美好的结局呢?
不过,本片结尾却与其他好莱坞浪漫爱情电影不同,常规模式是结尾有一个皆大欢喜的结局,而本片变成了“未完待续……”。这样的开放式结局可以让我们有自己的期望。弟弟与女人做朋友?还是弟弟与女人成为恋人?或是他们两人成为路人?这三种结局我相信都会有支持者。这就是本片的高明之处!何必将电影拍的一成不变呢,即使一部爱情电影,也是可以留下悬念的。这就是电影的独特之处。
除了上面这个特点之外,本片最令我印象深刻的就是电影音乐了。全片选用的音乐都是爵士乐,缓慢、舒缓、悠扬,浅浅的钢琴声与Michelle Pfeiffer不太甜美的女声贯穿电影始终,让观众有一种惬意和温暖的感觉。看本片这样的电影,听本片这样的音乐,真是享受啊!但是,我对爵士乐一窍不通,只能听出音乐的感觉,而它却是无法用语言形容的,所有就不多说了。只简单一句话,本片是我看过的电影中,最温暖表现爵士乐的电影。
最后说说演员。男主角Jeff Bridges在片中帅呆了,果真是青年才俊。他不仅长的帅,还能弹能唱,非常迷人。只是在电影中,他的对白太少了,全片中基本上是在装酷。另一位男主角Beau Bridges是Jeff Bridges的真兄弟,不过两人并不像,不查资料根本就不知道两人还有如此关系。Beau Bridges的表演中规中矩,比较普通。本片亮点是女主角Michelle Pfeiffer,她在片中大放异彩,不仅相貌、身材让人赞叹,歌唱得更是出色。没有想到,欧美演员都是演而优则唱,不能小瞧啊。
总结一下。这是一部清新、自然、浪漫的爱情电影,有着好听的音乐和漂亮的女主角,虽然故事老套,但还是值得一看的。可惜的是,这么一部有美女、有音乐的好电影竟然没有出Bluray,太浪费资源了。Michelle Pfeiffer的美貌什么时候能够重见天日呢?
序列:0739
The Fabulous Baker Boys (moviesbyrizzo)
2012-03-06
《一曲相思情未了》影评(八):Pfeiffer and 2 Bridges Brothers in 'The Fabulous Baker Boys'
feiffer出场太靓了。
movies.nytimes.com/movie/review?res=950DE0D81331F930A25753C1A96F948260
LEAD: Long after midnight, New Year's Eve: a moment that ''The Fabulous Baker Boys,'' the slow, teasing, rapturously moody romance written and directed by Steve Kloves, has been waiting for. Every waiter and busboy and reveler has left the hotel nightclub, but the balloons and the confetti remain. On each empty table, a little lamp casts a deep, warm glow.
Long after midnight, New Year's Eve: a moment that ''The Fabulous Baker Boys,'' the slow, teasing, rapturously moody romance written and directed by Steve Kloves, has been waiting for. Every waiter and busboy and reveler has left the hotel nightclub, but the balloons and the confetti remain. On each empty table, a little lamp casts a deep, warm glow. And on the stage, at the piano, the beautiful singer and the handsome, world-weary pianist are still reeling from the version of ''Makin' Whoopee'' they performed earlier in the evening. Alone at last, with the time finally right, they're ready to add a new verse.
This is the sort of thing that ''The Fabulous Baker Boys,'' which opens today at the Coronet and other theaters, does very well. It's a film specializing in smoky, down-at-the-heels glamour, and in the kind of smart, slangy dialogue that sounds right without necessarily having much to say. That its characters are essentially familiar does nothing to make them less dazzlingly attractive. Mr. Kloves, a first-time director who only occasionally feels like one, is good with ambiance and even better with actors. The best thing he has done with this film's three stars is to have chosen them in the first place.
Jeff and Beau Bridges appear as Jack and Frank Baker, a two-piano lounge act proud of never having held a day job. Their stage wardrobe is awful, their repertory even worse (''Little Green Apples,'' ''Feelings,'' ''The Girl From Ipanema''), and their morale at rock bottom. Frank, the older brother, is the booster in the family; it's he who tries to look on the bright side after a club owner offers to pay off the Bakers' contract if they will agree not to play. Jack isn't buying any of Frank's nervous optimism. He hates the act, and he hates himself too.
Versatile as he is, Jeff Bridges hasn't played a character like Jack before. For an actor who usually conveys such can-do resilience, the defeated slouch and the bored, jaded cynicism required for this role are notably new. But they aren't beyond Mr. Bridges's reach, and his performance here is an object lesson in how to turn self-loathing into sex appeal. And this actor's very presence lets the audience know that the aloof, uncommunicative Jack, should he meet the right woman, could be ready to melt.
The right woman, in this film's scheme of things, is someone who can get Jack's attention by throwing incendiary tantrums and sounding even tougher than he does. She is Susie Diamond, the last and least accommodating would-be singer whom the Bakers interview when they decide, as a desperate measure, to expand to a three-person act. Susie's had a hard life, and she's got the attitude to match; when she sings a song like ''Ten Cents a Dance,'' she's very nearly singing from experience. Michelle Pfeiffer is as unexpected a choice for this musical bombshell as Jeff Bridges is for Jack, but, like him, she proves to be electrifyingly right. Introducing Ms. Pfeiffer's furiously hard-boiled, devastatingly gorgeous Susie into the Bakers' world affects the film the way a match might affect a fuse.
As the third member of this triangle, and a desperate champion of the status quo, Beau Bridges also has a chance to shine. Though he's shorter, rounder and less imposing than his younger brother, Beau Bridges still has the seniority Frank needs to keep the unruly, undependable Jack in line. When the team becomes a trio and travels on the road (all three of them sleep in T-shirts and boxer shorts), it is Frank who figuratively keeps the wheels moving. Frank both shares and fears his brother's attraction to Susie, but he's a married suburbanite whose main concern is keeping the act together. Mr. Kloves wisely keeps Frank's home life offscreen; the film, like the Bakers' new, improved act, is strictly a three-person show.
The film falters occasionally with peripheral things, and with overly predictable ones. It overdoes the bad-singer audition sequence before Susie is hired, and a minor subplot about one of the bad singers (played by Jennifer Tilly) is expendable and silly. The hints that Jack secretly longs to play jazz with ''real'' (e.g. black) musicians are unbecomingly trite. So are the rain-slicked streets in one nighttime sequence (when Jack finds a Susie look-alike who, of course, isn't she) and the fight scene between Susie and Jack. (The equally requisite Jack-and-Frank quarrel is better; the Bridgeses really fight like brothers.) And at times Mr. Kloves's leisurely, contemplative pacing is just plain slow.
ut ''The Fabulous Baker Boys,'' like its stars, has style and sultriness to spare. The warm, rich hues of Michael Ballhaus's cinematography contribute immeasurably to the film's invitingly intimate glow. And the cast members' ingenuous musical performances work surprisingly well, sometimes even spectacularly. When Ms. Pfeiffer, draped across Jeff Bridges's piano and setting some new standard for cinematic slinkiness, performs in the above-mentioned New Year's Eve sequence with the camera gliding hypnotically around her, she just plain brings down the house. BOYS AND GIRL - THE FABULOUS BAKER BOYS, directed and written by Steve Kloves; director of photography, Michael Ballhaus; edited by William Robert Steinkamp; music by Dave Grusin; production designer, Jeffrey Townsend; produced by Paula Weinstein and Mark Rosenberg; released by 20th Century-Fox Film Corporation. At Coronet, Third Avenue at 59th Street, and other theaters. Running time: 114 minutes. This film is rated R. Jack Baker...Jeff Bridges Susie Diamond...Michelle Pfeiffer Frank Baker...Beau Bridges Monica Moran...Jennifer Tilly Nina...Ellie Raab Lloyd...Xander Berkeley Charlie...Dakin Matthews Ray...Ken Lerner
rothers Jack and Frank Baker have been playing lounges as a piano duo for many years but decide they now need a female vocalist to keep the act going. They are lucky to come across Suzie Diamond, who can really put a song over, and the act takes off. But when the relation between Suzie and Jack - younger, less committed, but more talented than Frank - briefly becomes more than professional, tensions surface between all three. Written by Jeremy Perkins