红楼艳史 / One Hour with You (1932)
7.2 
tt0023303
制片国家/地区：
美国又名：
和你一小时
主演：
莫里斯·舍瓦利耶 珍妮特·麦克唐纳 丽丽·达米塔 金妮韦芙·托宾 皮埃尔·埃切帕尔 查尔斯·拉格尔斯 Ernest Ferny 罗兰德·杨 André Cheron 约瑟菲·顿 理查德·卡尔 Barbara Leonard 乔治·巴比尔 希拉·布罗姆利 Jack Byron Jack Chefe Lita Chevret 查尔斯·科尔曼 George Davis 比尔·埃利奥特 贝丝·弗劳尔斯 查尔斯·裘德尔斯 Florine McKinney Donald Novis 梅·奎斯特尔 Pat Somerset 肯特·泰勒 Eric Wilton
上映日期：
剧情简介：
1932美国喜剧爱情片《红楼艳史》由乔治·库克导演，莫里斯·舍瓦利耶主演，影片讲述的是：
都說勇者無懼。輕歌劇原是當年已然式微的物事，劉別謙逆流而上一再帶到水銀燈下，竟成為開創荷里活歌舞片的大功臣。第二部司花利亞與珍娜．麥當奴的鑽石組合，重拍已成經典的《迴轉姻緣》。劉別謙原意只充當監製，導演筒假手佐治寇克。開拍不到一周，節奏亂套的毛片沒法通過我們超高班監製的關口，一聲令下劇本重寫影片自己接手重拍，演員與編劇不但沒怨言甚至還皆大歡喜。故事與原作大同小異，形式卻南轅北轍，司花利亞的演繹更傳神抵死，一曲＜美芝＞妙得神魂絕倒。大小配角心思中見豐富血肉，劉別謙與編劇拍檔拉弗遜的化學作用開始顯現。
This oscarnominated musical remake of The Marriage Circle was originally George Cukors baby but Lubitsch took over the helm resulting in a famous lawsuit However Cukor later conceded I could never make a Lubitsch film The scene is transposed from Vienna to Paris and focus shifted from the unhappily married philanderess schemes to steal her best friends husband to revel in the sheer verve and sexual desirability of Chevalier and MacDonald both to others and to each other Overlapping lines recitative song interludes and Chevaliers direct address to the camera invite audience complicity in the characters transgressions and set the film apart from allsinging Hollywood musicals
Source 28th HKIFF
都說勇者無懼。輕歌劇原是當年已然式微的物事，劉別謙逆流而上一再帶到水銀燈下，竟成為開創荷里活歌舞片的大功臣。第二部司花利亞與珍娜．麥當奴的鑽石組合，重拍已成經典的《迴轉姻緣》。劉別謙原意只充當監製，導演筒假手佐治寇克。開拍不到一周，節奏亂套的毛片沒法通過我們超高班監製的關口，一聲令下劇本重寫影片自己接手重拍，演員與編劇不但沒怨言甚至還皆大歡喜。故事與原作大同小異，形式卻南轅北轍，司花利亞的演繹更傳神抵死，一曲＜美芝＞妙得神魂絕倒。大小配角心思中見豐富血肉，劉別謙與編劇拍檔拉弗遜的化學作用開始顯現。
This oscarnominated musical remake of The Marriage Circle was originally George Cukors baby but Lubitsch took over the helm resulting in a famous lawsuit However Cukor later conceded I could never make a Lubitsch film The scene is transposed from Vienna to Paris and focus shifted from the unhappily married philanderess schemes to steal her best friends husband to revel in the sheer verve and sexual desirability of Chevalier and MacDonald both to others and to each other Overlapping lines recitative song interludes and Chevaliers direct address to the camera invite audience complicity in the characters transgressions and set the film apart from allsinging Hollywood musicals
Source 28th HKIFF
