60年代初，欧美从美国留学回来的科学院博士耿尔满怀报国热忱，欧美有一天在外文书店碰到了纺织女工薛晴。他被薛晴的的美丽和质朴吸引，薛晴也被耿尔的才华所折服。两个人都沉浸在幸福当中的时候，文革开始了。薛晴受到了种种政治上的冲击，耿尔则被下放参加劳动。有人给耿尔介绍了一个对象，桂林的小学老师小金。他们见面了，觉得很满意，渐渐地也相爱了。但是由于家庭出身的原因，他们两个还是不能结合。很多年后，当耿尔再见到薛晴的时候，她已经是个中年妇女了。小金也出现了，但是她已经嫁给了一个她不爱的人
叶小青
回复 :1980年代中期的冷战时期，英国谢菲尔德市的居民露丝·贝克特和吉米·坎普正在为即将到来的婚姻和第一个孩子的出生做准备，谢菲尔德是皇家空军基地的所在地，拥有主要的钢铁、能源和化工生产基地。但是苏联向伊朗进军，计划将其转变为苏联的卫星国。美国、英国以及北约和联合国的其他成员 愤怒地谴责苏联的侵略和军事活动，尤其是在附近的R.A.F.基地，露丝和吉米的家人忙于他们的日常事务，很少关注伊朗发生的事情，一个春日，没有任何警告，苏联用ICBMs袭击了英国——其中两个袭击了谢菲尔德，摧毁了大部分建筑和居民，但更可怕的是随之而来的后果——一个没有公共秩序的世界，没有干净的食物、水、电，也没有能力生产其中任何一种。露丝挣扎了10多年才在这个可怕的，贫瘠的，放射性的国土上生存……
卢业瑂
回复 :《Reversing Roe》讲的是美国著名罗诉韦德案。“罗诉韦德案例”给了美国妇女堕胎权，等于承认美国堕胎的合法化。
郑钧
回复 :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.
