四重奏

《四重奏》讲述的是什么故事？

《四重奏》　　It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.　　Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.　　When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."　　Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.　　Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.

一、《四重奏》是哪一年上映的？

《四重奏》是詹姆斯·伊沃里于1981年拍摄的一部经典爱情片。此片开创法国当代爱情片的先河，《四重奏》上映时票房稳坐前三，创下当年纪录。当时阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯均为最佳主角，阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯以精彩演技和突出形象，奠定在法国影坛地位。阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯饰演角色造型多年后仍为人所模仿。詹姆斯·伊沃里之前曾被人怀疑其能力，而《四重奏》却奠定詹姆斯·伊沃里爱情片风格。《四重奏》首映时曾获海外爱情片和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指1981年代）法国优秀爱情片齐名。

二、被称为爱情片的开先河之作的《四重奏》，是詹姆斯·伊沃里最好的作品吗？

从詹姆斯·伊沃里斩获爱情片最佳导演开始，很多观众就觉得这部《四重奏》是他极具代表性的爱情片。虽然詹姆斯·伊沃里后来还拍出过评价很好的作品，但是《四重奏》依然常被认为是他爱情片创作中的重要代表。

三、《四重奏》为什么可以成为经典？

提起法国，不少观众都会想到《四重奏》的名字。这部由詹姆斯·伊沃里导演，阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯主演的《四重奏》，在当时凭借鲜明的人物塑造和紧凑的爱情片叙事获得了不错反响。正是人物命运、情绪推进和故事节奏之间的相互配合，让《四重奏》在同类型作品中具有较高辨识度，也让观众对其中的情节留下深刻印象。

四、如何评价《四重奏》？

《四重奏》口碑表现稳定，深受广大观众喜爱。不仅阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯的表演有看点，而且该爱情片故事情节紧凑，影院2（2.hnttlq.cn）观看起来流畅，同时还能保持较强的剧情吸引力。虽然不同观众对《四重奏》的评价各有侧重，但该片目前的受欢迎程度已经名列同类作品前茅。

五、《四重奏》爱情片的主要内容

《四重奏》是一部爱情片作品，由导演詹姆斯·伊沃里执导，阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯主演。影片围绕主要人物的经历展开，通过人物关系、情节推进和情绪变化，呈现出一段具有观看价值的爱情片故事。

《四重奏》　　It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.　　Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.　　When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."　　Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.　　Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.