该片讲述: 1960 ; 该片《国王与国家》是由约瑟夫·罗西执导的电影，别名:吾土吾王/国王和国家，The. la.st time Britain was a. major force in. world ci.nema was in the. 1960s; a documentary. of a few years ba.ck on the subject was. entitled 'Holl.ywood UK'. This was the .era of the Kitchen Si.nk, social r.ealism., angry youn.g men; ab.ove all, the theat.rical. And yet, ir.oni.cally, the best Briti.sh films of the. decade w.ere made by two. Americans, Richard L.ester and Joseph L.osey, who largely sta.yed clear of th.e period's more typical .subject matter, which., like all a.ttempt.s at greater. realism,. now seems curious.ly archaic. . . . . . .'King and Country', t.hough, seems to be. the Losey film that .tries to belong. to its era. Like 'Look .Back in Anger' and 'A. Taste of Ho.ney', .it is based .on a play., and often seems .cumbersomely theat.ric.al. Like 'Loneliness .of the long dis.tance run.ner', its hero .is an exploited, relu.ctantly transgress.ive working class lad. played by Tom .Courtenay. Like (the adm.ittedly brilliant) 'C.harge of the. Light. Brigade', i.t is a ho.rrified, near-farc.ical (though humou.rle.ss) look at the horro.rs of war, most. particul.arly its gaping. class injustices. . . . . Private Ham.p is a young voluntee.r soldier at. Pache.ndaele, havi.ng served. three years at th.e front, who is co.urt.-martialled for deser.tion. Increasin.gly terro.rised by the in.human pointlessness o.f trench warfare, .the speedy, grisly, v.iolent deaths o.f his comrades and the m.edieval, rat-infested. conditions .of his. trench, he .claims to. have emerged daze.d from one gruesom.e a.ttack and decided to .walk home, to E.ngland. H.e is defended b.y the archetypal Brit.ish officer, Capta.in Hargreaves, who pr.ofesses disdain. for the man's cowardice., but must do his dut.y. He attemp.ts to .spin a defen.ce on the. grounds of madnes.s, but the upper-c.rus.t officers have heard. it all before.. . . . . This is a very. nice, duly hor.rifying, liberal-handwri.nging, middle-class p.lay. It pand.ers to. all the cli.ches of t.he Great War - the. disgraceful worki.ng-.class massacre, while. the officers s.up whiske.y (Haig!) - fig.ured in some charming.ly obvious symboli.sm: Hargreaves throwi.ng a dying ciga.rette in the mud; Hamp h.ysterically playing b.lind man's b.uff. . . . . . . The sets are .picturesquely g.rim, medi.eval, a modern .inferno, as these men. lie trapped in a .never-ending, subterr.anean labyrinth., lit by hellish fires, .with rats for company. and the con.stant .sound of she.lls and g.unfire reminding t.hem of the outside. wo.rld. . . . . The pla.y, in a very middl.e-class way, is not r.eally about the. working class at all - .Hamp is more of a sym.bol, an esse.nce, l.ying in the .dark, des.olately playing hi.s harmonica, a not.e o.f humanity in a score. of inhumanity.. He doesn.'t develop as a. character. The play .is really about Ha.rgreaves, his realisa.tion of the sha.bby inadequacy of notion.s like duty. He devel.ops. This re.alisat.ion sends hi.m to drin.k (tastier than dy.ing!). Like his pr.ole. subordinates, he fal.ls in the mud, .just as H.amp is said to .have done; he even sa.ys to his superior. 'We are all murderer.s'. . . . . This .is all very .effective., if not much of a. development of RC. Sh.erriff's creaky 'Jour.ney's End', fil.med by Ja.mes Whale in 19.30. Its earnestness a.nd verbosity may s.eem a little stilted .in the age of '.Paths of Glory' and 'Dr.. Strangelove'; we may. feel that '.Blacka.dder goes fo.rth' is a. truer representat.ion of the Great W.ar.. But what I have desc.ribed is not th.e film Lo.sey has made. H.e is too sophisticate.d and canny an int.ellectual for that. . . . . The .film o.pens with a .lingering. pan over one of t.hose monumental Wa.r m.emorials you see all .over Britain (a.nd presum.ably Europe), a.s if to say Losey is .going to question .the received ideas of. this statue, t.he human cost. But what .he's really questioni.ng is this p.lay, a.nd its woefu.l inadequ.acy to represent t.he manifold comple.xit.ies of the War. . . . . . This is Brecht.ian filmmaking at its. most subtle. W.e are constantly made aw.are of the artifice o.f the film, .the th.eatrical - t.he stilte.d dialogue is spok.en with deliberate. st.iffness; theatrical r.ituals are emph.asised (t.he initial inte.rrogation; the court .scene, where actor.s literally tread the. boards, enunci.ating the predictable sp.eeches; the mirror-pl.ay put on by. the h.ysterical so.ldiers an.d the rats; the re.ligious ceremony; .the. horrible farce of th.e execution). P.roscenium. arches are mad.e prominent, audience.s observe events. . . . . This is a pl.ay that woul.d seek. to contain,. humanise., explain the Grea.t War. This is a h.ope.less task, as Losey's. provisional ap.paratus e.xplains, 'real'. photographs of harro.wing detritus fadi.ng from the screen as. if even these .are not enough to convey. the War, never mind .a well-made,. bourg.eois play. L.osey's vi.sion may be apocal.yptic - it questio.ns .the possibility of re.presentation at. all - th.e various tags .of poetry quoted make. no impact on hard. men men who rattled .them off when y.oung; the Shakespearean .duality of 'noble' dr.ama commente.d on b.y 'low' come.dy, effec.ts no transcendenc.e, no greater insi.ght.. . . . . Losey's ca.merawork and compo.sition repeatedly bre.aks our involve.ment with the drama, any. wish we might have f.or manly sen.timent.ality; in on.e remarka.ble scene an offic.er takes an Aubrey. Be.ardsley book from the. cameraman! Thi.s idea of. the theatrical. evidently mirrors th.e rigid class 'rol.es' played by the mai.n characters (H.amp's father and grandfa.ther were cobblers to.o; presumabl.y Harg.reaves' were. always S.andhurst cadets). .Losey also takes a. si.deswipe at the kitche.n sink project,. by using. its tools - hi.story has borne him o.ut.《国王与国家》由德克·博加德,汤姆·康特奈,莱奥·麦凯恩,巴里·福斯特,彼得·科普利,詹姆斯·维利尔斯,杰瑞米·斯宾塞,BarryJustice,VivianMatalon,基思·巴克利,JamesHunter,LarryTaylor参演，是一部非常棒剧情,战争题材的电影，本站免费提供国王与国家国王与国家手机高清在线观看。详情