Triangle

更新时间：2020-12-04
影片语言：韩语
《Triangle》是2014年上映的日韩剧，目前总点击 43702次。是 一部各网站评分较高的日韩剧。
来自豆瓣网友的评价：1.0这是真正的中国电影！Redminote3
来自爱奇艺网友的评价：Not funny
来自优酷网友的评价：可见此行业混乱），而在本片所描绘的那个年代，是不少业余爱好者靠勇在往专业化转型的黄金时代，电影电视行业也是如此——规则尚未明确，大批新人涌入，边做边学，时代处在上升阶段，阶层的流动也是可能——地盘工人攒攒钱也有是机会买楼的。说起这个就不得不提两部根据hk网文改编的短片，一是《公屋·居屋·私楼》，一是其后续《世伯后传》。
来自芒果TV网友的评价：难看死了……不知道自己是靠着什么毅力看完的……
来自腾讯视频网友的评价：算不算邪典电影？
来自搜狐视频网友的评价：即使这种逝去会让整个世界变得空洞。昨晚才在电视里看到张艾嘉，她已经55岁。美得风光无限大方得体，风情万种宠辱不惊。现实中的她，到底有没有爱过一个浪子呢，林浩君（《心动》1999年）是否曾经是她的浪子呢，我们不得而知。如果你正年轻，去爱上一个浪子吧，他会给你无限的精彩。如果你正年轻，不要爱上一个浪子，平淡的人生才有精彩。https://theendofcinema.net/2016/02/01/running-out-of-karma-all-about-ah-long/Chow’sfateisdeterminedasmuchbychanceasbyanyactionofhisown.There’salwaysasenseofrandomnessinTo’stragedies,akindofcontingencythatdeniesanysimplemoralreading.Afteranauspicious,ifcommerciallyunsuccessful,debutwiththeNewWavewuxiaTheEnigmaticCasein1980,Tospenttheearly80sworkinginHongKongtelevision.In1986hereturnedtofilmworkingunderRaymondWongBak-mingattheCinemaCitystudio,hehemadethepopular,ifnotespeciallydistinguishedcomediesHappyGhost3andSevenYearsItch.Thesewerefollowedin1988byapairoffilms,thesmashhitfarceTheEighthHappinessandthecontemporarycrimepictureTheBigHeat.Hefollowedthatupin1989withAllAboutAh-Long,adomesticmelodramathatbecamethenumberonefilmoftheyearattheHongKongboxoffice,thesecondyearinarowaTofilmhadaccomplishedthatfeat.ThefilmreunitedTowithEighthHappinessstarChowYun-fatandSevenYearsItchstarSylviaChang.LikeallofTo’spreviousfourfilmsitwasproducedbyRaymondWongforCinemaCity,butitisamuchmoredramaticallyambitiouswork.CinemaCityattheirbestwasafreewheeling,anarchicstudiowhereanythingwaspossible.Thelooseatmospherewasresponsibleforsomeofthegreatestfilmsofthedecade(inHongKongorotherwise),butalsoawholelotofjustbizarrelysillynonsense(theYuen-Woo-pingdirectedMismatchedCouples,forexample,inwhichYuentriedtomakeDonnieYenastarwithabreakdancingcomedy).TheEighthHappinessexemplifiedthelunaticsideofthestudio,animprovisational,tastelessandoftenhilariouscomedythathelpedestablishthetemplateforacertaintypeofall-starLunarNewYearcomedy(atraditionthatcontinuestothisday).AllAboutAh-Long,though,isarealmovie.WrittenbystarsChowandChang(anunusualcreditforChow(hisonlyotherstorycreditisonthe1995WaiKa-faifilmPeaceHotel),whileChanghadalreadybegunthemovefrommovieandpopstartoaccomplishedwriter/director),ittakesOscarwinnerKramervs.Kramerasastartingpoint.Chowplaysaconstructionworkerraisinghistenyearoldson,Porky.Aformermotorcycleraceranddrunk,Chowisloudandcrudebutcaresdeeplyforhiskid.WhenhisfriendNgMan-tat(inoneofhisearlydramaticroles,beforehebecameStephenChow’sfavoritecomicfoil)getsPorkyanauditionforakids’fashioncommercial,theydiscoverthatthecommercial’sdirectorisChang,theboy’smother,returnedfromAmericaforthefirsttimeinadecade.Briefflashbacksfilloutthestory(Chowwasphilanderingandabusiveandendedupbrieflyinjailafteramotorcycleaccident;Chang’smotherhatedhimandtoldChanghersonhaddiedaftershemovedwithhertotheUS),whileChangtriestobuildarelationshipwithhersonandChowtriestorekindlehisromancewithChang.It’sanagainst-typeperformancefromChow,asarguablythecoolestmanincinemainthelate-80sdressesdownwithpatched-togetherclothesandahideousmopofhair.He’sadeeplyflawedmanwhoiscompletelyawareofhisfaults.Changistheclassopposite:intelligentandreserved,sheisthewealthofAmerica,tryingtowinPorky’saffectionwithallthethingsandopportunitiesshecanmuster.ThisisoneofthethingsthatdistinguishesAh-LongfromitsAmericanprogenitor:whileKramervs.Kramerpaintsacomplicatedpictureof1970sfeminism(thebreakdownofthehomeasthewifeseeksalifeintheworkforce),Ah-Longismoreofaclassallegory.There’snoexpectationthatChangshouldabandonedhercareertobeChow’shousewife,suchathingisunthinkable.Howeverthere’sadeepundercurrentofuneasewithChang’scosmopolitanwealth.BothparentswantPorkytohavealltheadvantageswealthcanconfer(education,nutrition,culture,adventure),butthere’saninauthenticitytoherworld.ThefilmopenswithshotsofHongKongstreets,notablynottheskyscrapersandbusinessmenandotherconspicuoussymbolsofthecapitalistparadisethatwasthecolonyinthelate1980s,butratherofnarrow,crowdedalleys,packedwithshopsanddebris.Itisn’ttheganglandslumoftheKowloonWalledCitythatJohnnieTogrewupin,insteadit’salesshyperbolic,moreimaginablekindofeverydaypoverty.Throughout,TowillcontrastrealistimagesofworkingclassHongKongwiththeglossiersheenofitsupperclass,mixingaclass-consciousNewWaveaestheticwiththepopsongmontagesofcommercialcinema.WhenPorkyfirstvisitshismotherinherhotel(the“Oriental”)hegazesinwonderattheshinywhitesurfaces,andespeciallytheglasselevatorrisinginfinitelyupwardatthelobby’score.ElevatorswillbecomearecurringimageandlocationthroughoutTo’scareer,asymboloffear,ofentrapment,oftheunknown.TheimageisbuiltuponinalatersectionofAh-Long,whenPorkyandChanggoestoanamusementparkandshecan’thandlethevertiginousupsanddownsoftherides.Porkylovesitofcourse,ping-pongingbetweenhighsandlows,butChangneedstostayononelevel:shecan’tgobackdown.Inmanyways,JohnnieTo’smostrecentfilmisakindofspiritualsequeltoAllAboutAh-Long.ReunitedwithChowandChangforthefirsttimeinover20years,andadaptingaplaywrittenbyChang,Officeisaboutapairofyoungofficeworkerswholearnthatlifeatthetopofthecorporateelevatorismorecorruptthantheycouldimagine.ChowandChangplaytheoldestcouple,thecompany’sCEOandOwner,longengagedinanamoralstruggleforpowerovereachother.Amiddlecoupleformstheheartofthefilm,playedbyTangWeiandEasonChan:Chanisalreadycorrupted,Tangisonherwaythere.Thetwoshareaduet(thefilmisamusical,withsongsbyLoTa-yu,whoalsodidthemusicforAllAboutAh-Long)wheretheysingoftheirhometowns,paradiseswheretherewasnoambition.Allthecorruptionofthecorporateworldistheresultofaspiration,ofthedrivetoriseup,tobendandbreaktherulesofconscienceinthenameofthings.Chanishauntedbyarecurringnightmareofanelevator:notoffallingdownanemptyshaft,butpointedlybeingcrushedonthegroundfloor.PorkyinAh-Longwatcheswithhopeasanelevatorrises,Chancowersinfearasonefalls.Ican’twriteaboutAllAboutAh-Longwithoutaddressingit’sending,sohere’swhereyoucancheckoutifyouhaven’tseenthefilmandcareaboutspoilers.UnlessIcantrackdownacopyofhistwo-partTVmovieTheIronButterfly,thenextfilmintheserieswithbeaNewYearscomedyreunionwithChowandChang,TheFun,TheLuckandtheTycoon,tobefollowedbyTo’sfirstcollaborationwithscreenwriterWai-Ka-fai,TheStoryofMySon.LikemanyaHongKongfilm,AllAboutAh-Longhasadoubleending.DavidBordwellwritesabouttheendofthe1987ChowYun-fatmelodramaAnAutumn’sTale(directedbyMabelCheung),wheretheromanticcoupleseparatesattheend,withChow’sdeadbeatfailingtowinthemoreupwardly-mobilewoman.Thisisfollowedbyabriefepilogue,setsometimeinthefuture,wheretheloversmeetagainwithChowhavingmiraculouslycleaneduphisactandbecomeafinancialsuccess.Bordwellnotesthatthemultiple,tonallyoppositeendingsworktogivetheaudiencearangeofwaystoreacttothefilm:theygetboththehappyandtragicendingsandthereforeamoretotalexperienceofmelodrama.AllAboutAh-Longtakestheexperiencetoanother,emotionallypummeling,level.Afteralongdeclineintosadness,wherePorkyleaveswithChang(withChowdeliveringaheart-breakingHarryandtheHendersonsdriving-the-boy-awayscene),andthenchangeshismindandreturnstohisdad.Chowthendecidestoraceagainandgetsahaircutandamotorcycle.FatherandsonheadtotheMacaoGrandPrix,whereChangshowsupjustastheraceisabouttostart:thefamilyatlastwillbereunited,withanewlycleaned-upChowfinallyworthyofbeingahusbandandfather.Heraces,he’sabouttowin,andthenhecrashes.Buthegetsbackonhisbike(becausethat’swhatwedo),despiteasignificantheadinjury(achanceblowfromanothermotorcycle).Summoningallhisstrength,withintercutshotsofhiswildlysupportivefamily,Chowcomesbackandwinstherace.PorkyandChangleapwithjoyasChow,inexcruciatingslowmotion,losescontrolofhisbikeandcrashesintoawall.Hewatcheshisfamilyrushtowardhimasthemotorcycleexplodesandheisengulfedinflames.Thecreditsrolloverdocumentary-styleslo-mofootageofthewreckage,thehorrorinthecrowd,theanguishedfacesofmotherandson.It’sanastonishing,flabbergastingending.SuchafinalewouldbeunthinkableinaHollywoodmovie(canyouimagineafilmwithequivalent-levelstars,sayLeonardoDiCaprioandCharlizeTheron,wherethefamilyisjustabouttogetbacktogetherbutinsteadLeodiesrightattheend?Therewouldberiotsinthestreets.)ThisendingisvitalforTo’sideaofthefilm,thesharp,unexpectedswerveintotragedyissomethinghe’llreturntoagainandagaininhiscareer.InhisinterviewwithStephenTeo,hesaysthatAllAboutAh-Longwas“thefirstfilminwhichIcouldlineeverythingupinonego;asthefilmthatwasmadereallyfrommyownthoughts.IamgratefultoChowYun-fat,whogavememanyofhisowninsights,andalsotoSylviaChang,whoactuallywrotethetreatmentandwasinvolvedintheproduction,ShedisagreedwithmyendingbutItoldherIwasmakingthefilmbecauseoftheending.ItmaybeflawedbutIinsisteduponit.”Theendingiscrushingnotsomuchbecauseofitsshockingness,althoughthatiscertainlyafactor,butalsobecausethehappierendingthatprecededitmadesomuchsense:everythingaboutthesurfaceofthefilmtellsusthatthisisthekindofmoviethatwillendhappily,thetwobeautifulstarswillgetbacktogetherandtheirfamilywillbewhole.Buttheendingbringsoutthedarkness,thefearandparanoiathatunderliessomanyoftheprecedingimages,theclasscontrasts,thevertiginousheightsandgrimylowsofpre-HandoverHongKong.TheBigHeattooismotivatedbyanapocalypticfearoftheHandover,asBritainandChinaagreedthatthecolonywouldbehandedbacktotheMainland,thechild’sfatedeterminedbythewhimsofitsparentnations.ThisstrainofparanoiaissopresentintheHongKongcinemaoftheperiodthatit’sbecomeacriticalclichetoremarkuponit,liketheColdWardreadof1950sAmericansci-fifilms.Butthere’sanevendeeper,moreuniversalfearinAllAboutAh-Long,wheretheparanoiaismotivatedbydiaspora,thepromiseofwonderinlifeoutsideChina,butisrootedinamorebasicclassanxiety:thefearthatmovingupmeansbecominginauthentic.ForToandChow,whogrewuprelativelyimpoverishedandwerenowatthepinnacleoftheirprofessions,thatmusthavebeenaveryrealconcern.Changhadadifferentchildhood,borninTaiwanshealsospenttimeinHongKongandNewYorkgrowingup,beforedroppingoutofschooltopursuesingingandactingatage16.Thefilmisthusarecreationofthereal-lifedynamicsbetweenthetwomaleauteursandthefemaleone.Ithasbeenpointedoutthatcontrarytoexpectationsinthismelodramathemalecharacterisfarmoreemotionallyexpressivethanthefemaleone,withChowgivingaloud,dynamicperformancewhereChangiscoolandinternalized(thereisalifelongrelationshipinanutshellinasimpleeyerollChanggivesasshesitsonthebackofChow’smoped).ThisislessagendermatterthoughthanaclassoneIthink:Chow’smannersareboorishwhereChangisrefined.Thetensionbetweenthethreeartistsisvitaltothepush-pullnatureofthemelodrama:neitherparentisdemonizedorlionizedasthefilmgoeson,bothcharactersarewarmandlovingtotheirson,botharefullofregretsfortheiractionsadecadeearlier(thoughChowhasmoretoregret),bothwanttobeforgivingtoeachother,bothknowthatthatisimpossible.Butultimatelyit’sTo’svisionthatwinsout,andit’sadeeplypessimisticone:Ah-Long,apoorbuthappymanforthefirsttimeinhislifeaspiringtogreatness,seeinghisdreamwithinreachandthenliterallyexploding.Itisn’tatragicending,inthesensethatitistotallyunpredictable:Chow’sfateisdeterminedasmuchbychanceasbyanyactionofhisown.There’salwaysasenseofrandomnessinTo’stragedies,akindofcontingencythatdeniesanysimplemoralreading.JustasinOffice,aspirationultimatelyleadstoself-destruction,butthatdestructioncanmanifestitselfinwildlyunexpectedways.Thisblackstrain,thedoomofauniversegovernedbyfatethatoperatesthroughchance,willsurfaceagainandagainthroughTo’scareer,mixedasitiswithfarcesandromancesandstoriesofbrotherhood,momentsofliberationandfreedomanddarkestdespair.AllAboutAh-Long,hisfirsttrulygreatfilm,isthefirsttofullyexpressthismultiplicityofmoods.我听到传来的谁的声音象那梦里呜咽中的小河我看到远去的谁的步伐遮住告别时哀伤的眼神《阿郎的故事》。
江原道舍北地域最底层，野狗一般的许英达（金在中 饰）和狐朋狗友们吃喝嫖赌，打斗欺骗，无恶不作，和在赌桌上对局的大族令郎哥尹杨夏（林时完 饰）俨然分出两个世界的人。漂亮女孩吴静熙（白珍熙 饰）的呈现，让贵令郎和小痞子的匹敌进一步进级。与此同时，刀口上舔血的英达不成避免卷入凶杀案件当中。在此时代，他遭受风格彪悍的首尔处所差人厅广域搜寻队刑警张东秀（李凡秀 饰），分处口角两道的英达和东秀，和挥霍无度的杨夏，在剧烈碰撞的同时，逐步知晓彼此之间使人难以置信的渊源与联系。 童年凄苦的命运，让三个汉子具有了跌荡放诞盘曲的人生。