《四重奏》是由知名导演詹姆斯·伊沃裏 执导的一部愛情片，阿蘭·貝茨 瑪吉·史密斯 伊莎貝爾·阿佳妮 安東尼 等倾情出演，该片讲述了： It has b een said that most gr eat twentieth cent ury novels i nclude sce nes in a hotel, a symptom of the va st uprooting that has occurred in the last century: Ja mes Ivory be gins Quartet with a montage of the hotels of Mon tparnasse, a quiet prel ude before our int roduction to the viol ently lost s ouls who inhabit th em. Ad apted from the 1928 autobiographica l novel by Jean Rhys, Qu artet is the story of a love quadrangle between a c omplicated young West Indian woman named Marya (p layed by Isabell e Adja ni), her hus band Stefan (Anthony Hi ggins), a manipulative Eng lish art patron named Heidler (Alan Bates), and his pain ter wife Lois (Maggie Smith). The fi lm is set in t he Golden Age of Paris, Hemingway's "mov eable fe ast" of ca fe culture and extrav agant n ightlife, glitter and litera ti: yet underneath is the outline of somethi ng sinister bene ath the polished brasses and brasseries. When Mar ya's hus band is put in a Paris prison on charg es of selling stolen art works, she is left ind igen t and is taken in by Heidler a nd his wife: the predatory E nglishman (w hose character Rhys b ases on the novelist F ord Madox Fo rd) is quick to ta ke advantage of th e new living arrang ement, and Marya finds herself in a stra nglehold between h usband and wife. L overs alte rnately gravitate tow ard a nd are repelled by each other, no w professing their love, now confessing their brut al indifference -- all the while keepin g up appear ance s. The film explores t he vast t errito ry between the &qu ot;nice" and th e " ;good,&q uot; between outward refin ement a nd inner darkness: after one violent epis ode, Lois asks M arya not to speak of it to t he Pari s crowd. " ;Is that all you're worried about?& quot; demand s an ou traged Marya. "Yes,&q uot; Lois replies with icy can dor, &qu ot;as a ma tter of fact." Adjani won the Best Actress award at Cannes for her perfo rmances in Quartet: her Marya is a volatil e compound of French schoolgirl and scorned mistress, veering between tremul ous joy and hyst erical outburst. Smith shines in one of he r mos t memorable roles: s he imbues Lois wi th a Kathe rine-of-Ara gon impotent rage, as hu miliated as she is powerle ss in the face of her husband's choices. Her interactions wi th Bates are sce nes from a mar riage t hat has m oved from disillusio nment to pale accep tance. R uth Prawer Jha bvala and James Ivor y' s screenplay uses Rhys's novel as a foun dation from whic h it constructs a world that is both true to the nove l and dis tinc tive in i ts ow n right, painting a socie ty that has lost its inhi bitions and inadverten tly lost its soul. We are taken to mirrored cafes , then mov e thr ough the looking g lass: Marya, in on e sc ene, is offered a job as a m odel and then fin ds he rself in a sadomasoc histic pornograp her&# 39;s studio. The fil m, as photographed b y Pierre Lhomme, creates thoroughly cinematic moments that Rhy 's nove l could not have attempted: in one of the Ivo ry's most memorabl e sce nes, a black American chanteuse (e xtraordinarily played by Arme lia McQu een) entertains Parisian patrons with a big and br assy jazz song, neither subt le nor elegant. Ivory keeps th e camera on the si nger's act: there is something in her unguarded smil e that makes the danger beneath Montparnasse man ners seem more acute. 说到这里，她把她在幽古战场好不容易拍来的宝物拿出，“师父，这是我们在 大拍卖会上拍 到的春月莲子，一共有四十九枚，听云天海阁的朋友说，他们的宗主，以前就 服用过不少春月莲子，您试 试看，有没有用，如果有用 ，我们以后 多替您留意着。”
