Kim Novak will forever be remembered for her dual role in Hitchcock's "Vertigo", in which she plays a woman forced to transform into someone else to fulfill a man's obsession. Novak was a rebel inside a star system that broke women's spirits in order to manufacture screen goddesses, a toxic system she never ceased to speak out against. In the 1950s at the age of 20, Novak finds herself thrown into the limelight. With no acting experience, the young woman who dreamed of becoming a painter undergoes a makeover which will transform her into a glamorous bombshell. Her anxiety on set is compounded by an intimidating studio head, demanding directors, and a misogynist press. This first documentary about Kim Novak, her career and her emancipation from the Hollywood system, tells the story of how this box office sensation who worked with some of the greatest directors of the era takes on the Hollywood studio system and reclaims her life - with the exclusive participation of the actress herself.
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这像是一部悬疑版的《MarriageStory》,但其实《MarriageStory》也是有悬疑的,就是离婚,而本片则是意外死亡事件。两部电影里的律师都很出彩,而有意思的是本片里的女法官就像是个八卦老太婆,啥事儿都想听听。最精彩的依然是两口子吵架的文案,我一直以为这种精妙得严丝合缝的互怼是不可能在两人都异常激动和愤怒的时候现场发挥出来的,甚至可以想象出编剧须得是一秃顶男人或更年期女人,在深夜的灯下一边嘬着烟一边叹气,痛定思痛笔笔血泪才能写得出来。再次套用劳拉邓恩的台词,一个刑事律师见过坏人最
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在看《金枝欲孽》之前其实一直是不喜欢佘诗曼的。感觉她所演过的角色,从阿九到周芷若甚至婉兰和苗若兰,阴险或者说不上,但总是在温婉中带着一丝阴冷。不过《金枝欲孽》之后却发现开始喜欢她了。网上有人说,尔淳是一个另类的性情女子,她不痴,不狂,但决非不爱不痛,觉得确是一针见血。同样有虚伪的一面,但尔淳的虚伪是内敛的而玉莹的虚伪则是嚣张的;同样都有城府有心计,但尔淳绝没有玉莹那种为达目的完全不择手段无所顾忌的心狠手辣——比如,陷害孙白杨时,玉莹从来没有半点犹豫,而在下毒害宝婵时,尔
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故事情节紧凑,让观众紧张兴奋的观影体验。
Kim Novak, l'âme rebelle d'Hollywood深度解析
周迅在电影中的表现也很出色。她以景岚这个角色,展现了母爱的伟大和无私。景岚对女儿的关爱和保护,让人感动落泪。同时,她也在帮助女儿的过程中,展现了自己内心的挣扎和无奈。