風(fēng)流寡婦4.0

劉別謙初嚐美高梅大製作的派頭一切筆法更神采飛揚開(kāi)敞的場(chǎng)景、空前的排場(chǎng)讓人物裏裏外外恣意張開(kāi)：寡婦的心更顯孤獨男女的愛(ài)更加沒(méi)處安放坐擁小國大部分財富的寡婦忽然要搬到巴黎重新尋找生活色彩國王唯恐國祚不保來(lái)一招美男計派出風(fēng)流種子色誘寡婦本來(lái)一個(gè)用情一個(gè)求性幾番邂逅與折騰改寫(xiě)了男男女女的基本需要歌與舞沒(méi)有賣(mài)弄甜膩反而放在愛(ài)情的沉重中換來(lái)了歌頌歌與影無(wú)間交流劉別謙輕歌劇巔峰之作亦成了荷里活極有代表性的一章司花利亞與珍娜．麥當奴最後一次合作後者散發(fā)從未有過(guò)的成熟韻味堪稱(chēng)最性感的音樂(lè )劇 　　Rated "the sexiest musical in the thirties", The Merry Widow could well be the sexiest musical ever. Jeannette MacDonald, sensual and majestic as a Persian cat, is the wealthiest widow in the kingdom of Marschovia. On a visit to Paris, she attracts a flurry of gold-diggers. To prevent her fortune from passing to foreign hands, the king sends a romantic envoy to court her. He chooses Captain Donilo, whose cavalier attitude to women is not limited to his rapport with Maxim's "girls, girls, girls". Osé but not blasé, this elegant adaptation of Franz Lehar's operetta out-classed von Stroheim's silent in opulence, culminating in the grandest of grand balls. 　　Source: 28th HKIFF