剧情简介
电影《再见，现场少年》讲述了在千禧年（2000年）社会转变背景下，发生在南方小镇上的一段曾经无限接近，却又渐行渐远的少年情谊。
案发现场
电影《再见，现场少年》讲述了在千禧年（2000年）社会转变背景下，发生在南方小镇上的一段曾经无限接近，却又渐行渐远的少年情谊。
李少春
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
本尼古德曼
回复 :善良迷人的金珠分享了她的生活细节。金珠是一位比模特更性感的女演员，擅长她所做的事情。她的粉丝们为她准备了一份特别的礼物。她第一次谈论她的秘密和私生活，这与众人对她的了解大不相同。她诚实地讲述了自己的第一次“经历”和关于女性的私密私事。
旺福
回复 :这个故事关乎于孩子眼中清澈美好的世界，关乎于成人的一切对于一个单纯的孩子世界以及人生观的冲击，关乎于一个懵懂少年内心成长的心路历程……金钱、暧昧、欲望、欺骗，这些在成人看来似乎正常到无可厚非，可是这些却吞噬着孩子对美好世界的认知和看法……
