含有标签 “1959” 的结果
  • 暂无评分
    导演: 李晨风 , 李铁 , 吴回 , 罗志雄 / 类型: 喜剧 / 主演: 吴楚帆 张瑛 张活游

    剧情简介: 《豪门夜宴》1959年版)描写的是冯绥仁(吴楚帆)是地产商人,以为老父亲(林坤山)举行留须盛宴为名目,炫耀太太(梅绮)的巨型钻石戒指,何老大是冯绥仁的商业对手,他也在那天举行豪宴,两人千方百计把各路商界巨子名媛请来。冯绥仁的父亲与女儿、女婿一直过着清贫的生活,对儿子暴发户的自私自利,虚荣心,死要面子等恶习十分不耻,当场把假胡子撕去,儿子儿媳在众人面前下不来台。 幕后花絮: 这是华南影联第三部为公益义拍的群戏,但规模较此前的《人海万花筒》及《锦绣人生》已是有过之而无不及,除成立“中联”的吴楚帆、白燕、张活游、梅绮、紫罗莲等,还有部分国语片明星,如傅奇、石慧等,出场人数达百余人,这也是之前香港电影没有过的集体合作,里程碑的意义不可否认。 但遗憾的是本片因“伶星分家”事件而并无新马仔、任剑辉等粤剧名伶出现,因此不能称之为香港影人真正的“大团结”(1991年的新版加插唱英文版《帝女花》的情节,或许与之有关)。这部旧版至今虽无发行DVD,但通过新版仍能对其面貌有所了解。不过旧版的剧情旨在讽刺金钱社会及“面子工程”,新版直接沿用其主题框架,便曾有人表示“不适合用于赈灾“,引起一阵圈中话题。 吴楚帆曾言:“这一次能够与国语片的同业一道共同工作,更感到愉快。这是一个开始,一个良好的开始,希望今后香港的国粤语片工作者,团结得更好,合作得更好!”这正是形容这部为筹建华南影联会址而制作的电影巨制《豪门夜宴》。 导演: 李晨风、李铁、吴回、罗志雄 编剧:冯凤哥构思,卢敦定稿 主演:张瑛、容小意、罗艳卿、林坤山、上官筠慧、夏梦、梅绮、白燕、李清、吴楚帆、张活游、黄曼梨、卢敦、姜中平、李月清、吴回、黎灼灼、王铿、李次玉、曹炎、王熙云、石慧、平凡、李嫱、周骢、姜明、吴桐 、高鲁泉、高远、陈思思、傅奇、张冰茜、江汉、龚秋霞、郑文霞、汤剑庭、香海、区岳、朱由高、何壁坚、周鸾、冯明、甘露、Leung Suk-hing、黄侃、万灵、西瓜刨、李镜清、张浩、黄公武、邓祥、洪虹、李炳宏、金沙、张生等。 摄影:孙伦、赵锦、黄锡林 剪辑:汤剑庭、蔡昌 上映:1959年7月15日、中国香港 类型:剧情片 地区:中国香港 语言:粤语 颜色:黑白 声音: 单声道

  • 8.0 导演: 增村保造 / 类型: 剧情 喜剧 / 主演: 若尾文子 川口浩 船越英二 宫口精二 东山千荣子 Atsuko Kindaichi Yoshirô Kitahara 小林胜彦 泷花久子 丹阿弥谷津子

    富丽堂皇的大酒店,正在进行一场盛大的婚礼。三原商事的次子二郎(北原義郎 饰)迎娶野野宫家的二女儿梨子(近藤美恵子 饰)。早在三年前,两家已有过一次联姻。当年三原一郎(船越英二 饰)爱慕在本公司担任秘书的野野宫桃子(丹阿弥谷津子 饰),二人最终结为夫妇。如今两家再次联姻,无疑谱写了一段佳话。适值此时,三原家的小儿子三郎(川口浩 饰)正在另一家公司独自打拼,哥哥们有意召回弟弟,强势的桃子也希望彰显自己的实力,她因此极力撮合妹妹杏子(若尾文子 饰)和三郎走到一起。得知兄长和姐姐的心意,三郎和杏子结成同盟,发誓永不结婚…… 本片根据源氏鶏太的同名小说改编。

  • 7.8 导演: 泰伦斯·费希 / 类型: 剧情 悬疑 惊悚 恐怖 犯罪 / 主演: 彼得·库欣 安德鲁·莫瑞尔 克里斯托弗·李

    本片改编自英国作家阿瑟·柯南道尔的同名小说。讲述了巴斯克维尔庄园流传着一个古老的传说,庄园的主人总是意外死于非命。福尔摩斯派华生前去调查,遇见了许多谜团,随着调查的深入,幕后凶手也在渐渐逼近……

  • 8.0 导演: 刘琼 / 类型: 剧情 喜剧 / 主演: 韩非 李保罗 孙景路

    古时候,书生乔溪(韩非 饰)赴京赶考,巧遇官府小姐蓝秀英(孙景璐 饰),俩人一见钟情。秀英之兄蓝木斯(阳华 饰)乃一纨绔子弟,整日游手好闲,欺男霸女。他见黄家女儿丽娟(凤凰 饰)生的貌美,伺机抢亲。黄母(黄耐霜 饰)无奈携女出逃至某客栈,蓝随后带家丁追到客栈,迷路的乔溪则路遇抢亲花轿钻进去,被误为黄女抬入蓝府。一觉醒来的乔溪闻听事由经过,在轿内男扮女装,要戏弄一下飞扬跋扈的蓝公子。秀英非常不满哥哥的抢亲行为,协助乔溪假戏真做。蓝母(高依云 饰)护犊心切,不听女儿劝阻,反要女儿劝“新娘”就范。当她掀起盖头,发现“新娘”竟是那日路遇的书生乔公子......

  • 6.0 导演: Александр Птушко / 类型: 奇幻 / 主演: Борис Андреев Андрей Абрикосов Наталья Медведева Нинель Мышкова Александр Шворин Сергей Мартинсон Сергей Столяров

    Ilya is a cripple without the use of his legs. When he aids some weary travellers, they surprise him by giving him a potion that restores his legs. He immediately becomes powerful and sets off to prove himself to his King. Doing so, he fights the evil Tugars, a wind demon that looks like a cross between a goblin and The Noid, a zeppelin-like ambassador, and the evil Tugars. Ilya gets framed for a crime he didn't commit, then is freed, then finally dispatches the Tugars and their dragon.

  • 6.0 导演: 姜云川 , 何钟辛 / 类型: 纪录片 /

    片 名:漫步北京 片 种:记录片 色 别:彩色 出品年代:1959 出品公司:中央新闻记录电影制片厂 -------------------------------------------------- 制作团队: 导演:姜云川 何锺辛 摄影:韩浩然 张春梅 作曲:阎飞 录音:刘鉴 制片:王友三 ------------------------------------------------- 故事梗概: 当第一缕阳光轻轻地揭开夜的幔幕,北京显得多宁静。北京是祖国的心脏,是全国各族人民想往的地方。红墙黄瓦的宫殿,像古代的玉石擦去灰尘,在新的时代里,重新现出光华。十年来,北京建起了许多工厂,大学向工人农民的儿女敞开了大门。过去北京的许多大街都是“无风三尺土,有雨一街泥”,如今改变了模样。长安街恐怕都认不出来了,新建的人民大会堂、军事博物馆、民族文化宫……都是一年之内建成的。

  • 8.0 导演: Chuck Jones , Abe Levitow / 类型: 喜剧 动画 短片 音乐 家庭 / 主演: Mel Blanc

    夜幕笼罩下的露天舞台,一场盛大的音乐会即将举行。担任首席指挥的兔八哥(梅尔·布兰科 Mel Blanc 配音)矜持地站在舞台中央,他优雅地对着台下鞠躬,观众们则报以热烈的掌声。这时,台下有人发出一连串剧烈痛苦的咳嗽声,兔八哥不动声色,示意工作人员将这个不甚礼貌的家伙扔出去。他翻看曲谱,正是弗兰兹·冯·苏佩(Franz von Suppé)创作的、技巧要求极高的《维也纳的早中晚》。兔八哥显然有些惊慌,担心驾驭不了,不过对于这个经历过大场面的指挥家来说,什么样的高难曲目也难不倒他。 在他的指挥下,乐队开始演奏,只不过在此期间难免发生意外状况……

  • 6.0 导演: 冈本喜八 / 类型: 剧情 动作 战争 / 主演: 佐藤允 朝比奈知子 上原美佐 中丸忠雄 中谷一郎 夏木阳介 江原达怡 五十岚信次郎 中北千枝子 横山道代 盐泽登代路 泽村伊纪雄 谷晃 山本廉 堺左千夫 桐野洋雄 岩本弘司 堤泰之 宇野晃司 小川安三 杰瑞·藤尾 鹤田浩二 三船敏郎 中岛春雄

    第二次世界大战末期,日本在华北战场已显颓势。在某山谷中,日军独立第九十小分队被困在此地,不得动弹。这支队伍成员来自各个连队,被人戏称为“独立愚连队”。困于绝地的军人们神情涣散,沮丧绝望。 一天,军曹大久保(上村幸之 饰)和随军记者荒木(佐藤允 饰)伪装成中国人来到这里。大久保的弟弟原是独立愚连队的队长,后来传闻他和情人殉情而死。正在北京战地医院养伤的大久保怀疑其中另有隐情,他偷偷逃出医院来追查事情的真相。经过一番调查,大久保和荒木发现石桥中尉在这起殉情案中有重大嫌疑。与此同时,中国军队的总攻也在悄悄展开……

  • 6.0 导演: 克洛德·夏布洛尔 / 类型: 剧情 / 主演: 玛德琳尼·罗宾森 安东内拉·卢瓦尔迪 让-保罗·贝尔蒙多 雅克·达克米纳 让娜·瓦莱丽 贝纳德特·拉封

    Leda, the flirt of Monsieur Marcoux is murdered. His wife and the police think, that the murderer was the milk-man, the friend of the maid, but Marcoux' daughter's fiance Lazo, who is aware of the corrupt situation in that family doesn't agree with them. Written by Stephan Eichenberg {[email protected]}

  • 6.0 导演: 亚罗米尔·伊雷什 / 主演: 伏拉基米尔·布劳德斯基 Vladimír Zavázal

    Strejda (1959) Short

  • 8.0 导演: 朱石麟 , 陈静波 , 任意之 / 类型: 喜剧 爱情 / 主演: 傅奇 夏梦 刘甦 石磊 唐龙 王熙云 文逸民 吴景平

    张明阳与丁蕙兰新婚燕尔, 恩爱非常. 阳的旧恋人王宝珠突然到访, 请求阳助她寻找失散的丈夫. 阳为免蹈岳丈遭吃醋岳母纠缠不休的覆辙, 只好讹称珠是同事的情妇,惹来惹来众太太疑云阵阵. 兰得悉真相后, 助珠寻回丈夫, 并揭穿阳的谎言......

  • 6.0 导演: 斯坦·布拉哈格 / 类型: 短片 / 主演: Jane Brakhage 斯坦·布拉哈格

    "The first months of marriage, with moments of mutual awareness, frightening understandings, lovemaking." -S.B.

  • 6.6 导演: 道格拉斯·塞克 / 类型: 剧情 爱情 / 主演: 拉娜·特纳 约翰·加文 桑德拉·狄 罗伯特·阿尔达

    二对母女,罗拉(拉娜·特纳饰)与女儿苏西(胡安妮塔·摩儿饰)之间因母亲专注于事业,而与女儿缺乏沟通,导致两母女同时爱一个男人的悲剧;她们在海边遇到的另一对黑人母女,黑人母亲安妮(丹·奥赫里奇饰),因为混血女儿始终不肯承认自己是黑人的事实,而悲伤矛盾,但是安妮这个善良的女人始终等待其女儿的回头,只是子欲养而亲不待。 本片讲述两个具有现代意识的悲剧。本片是一部社会性的写实片,突出了黑人与白人之间的种族歧视与子女教育问题,可以说是一部套路偏中国文戏的文艺片。尽管有煽情的成分,但比一般的家庭片更深刻。1934年曾拍过一次。

  • 7.1 导演: 李翰祥 / 类型: 剧情 古装 戏曲 / 主演: 林黛 赵雷 胡金铨 杨志卿

    年轻的正德皇帝,在御书房听太傅梁储讲学,窗外传来宫女妙曼歌声,词意称颂江南景色美丽,人物俊秀,不禁悠然神往。适值殿前侍卫将军周勇乞假返回江南故乡,正德心生一计,命周勇护驾陪行,微服私游江南。 君臣策马同行,游览江南景色。正德向来寂处深宫,难得逍遥自在,心怀为之大快。一天来到梅龙镇,镇上正在举行酬神盛会,人山人海,鼓乐喧天。正德与周勇挤在人丛中观看,游行景艺巧妙新奇,目不暇给。突然朵朵鲜花从天而降,正德伸手抢接,惹得扮演「天女散花」的少女嫣然一笑。正德神摇魄荡,一缕深情系在少女身上。 回到客店,少女的笑容深印在正德脑中,辗转反侧,无法入寐。翌晨起来,独自漫步。丛林中酒旗高挑,正德信步入内,却和昨天所见少女相遇。原来她是酒家店主李龙的妹妹李凤,不禁喜出望外。酒保大牛上前拦阻,声言今天店主有事外出,暂停沽酒。李凤见正德年少俊雅,芳心窥慕,借故遣开大牛,殷勤款客。正德乘势倾露爱意,李凤羞不自胜,半迎半拒。 两情缱绻,良宵苦短。太傅梁储奉太后命跟踪前来,促帝返京。至是,李凤始知心上人乃当今帝主,芳心悔恨。正德赐赠玉佩,声言回京后立即迎娶,册立为后。 正德去后,消息杳然。一年易逝,李凤产下麟儿。梧桐叶落,转瞬又是深秋。邻里以李凤未嫁产子,时加讥讽。李凤羞愤欲绝,更因忆念良人,积愁成病,玉颜枯萎,奄奄一息。酒保大牛见状,大抱不平,愿跋涉长途,上京面圣。途中盘费用尽,卖唱乞食,终于抵达京城。值太傅梁储入朝议事,大牛拦舆哭诉,太傅心有不忍,允代设法。 正德聆太傅启奏,如梦方觉。前尘往事,复现心头。即命周勇飞骑往迎李凤进京,并奏请太后,册立李凤为贵妃,李凤车驾进京,正德亲自出迎,惟李凤病态之深,加以沿途劳顿,无力支持,竟作香消玉殒。正德抱爱人芳骸入殿,珠泪盈睫,深悔当年孟浪。每抚李凤所遗佩玉,犹自唏嘘不已。

  • 7.6 导演: 罗伯托·罗西里尼 / 类型: 剧情 战争 / 主演: 维托里奥·德西卡 汉斯·海西默 维托里奥·卡布里奥利 南多·安卓利尼

    二战时期,退伍意大利军人格里.马尔蒂自称将军,到处招摇撞骗,不料被德国一军官捕获,揭露其身份。格里为保其性命,和德国方面串通假扮已故罗维雷将军潜入集中营搜索情报。其间亲眼目睹及亲身经历了德国人的酷刑拷打,在最终时刻他觉悟,自愿同9名囚犯一并枪决,临终口中呐喊“意大利万岁”。 本片主演维托里奥·德·西卡生于意大利,是二次世界大战后意大利新写实主义复兴中重要导演,而且是一位极具才干与魅力的演员。他的《偷自行车的人》(1948)是对战后意大利劳工阶级生活的深入研究,体现出一种自然风格。他在当时所具有的意义,从历史的观点来说是相当重要的。他早年致力于演戏,一九二三年首次在舞台上作职业性演出,二十年代时是一位相当受欢迎的舞台偶像与歌星。三十年代后,他又兼做导演。1942年导演的《孩子们在看》一片在他的导演生涯中有着重大的意义,被称为意大利新写实电影的先驱作品,其价值十分崇高。他的片子几乎都由查萨特尼编剧。他是意大利名副其实的影坛巨匠。 本片导演罗伯特·罗西里尼是意大利新现实主义电影大师,与朱赛普· 德·桑蒂斯、卢切诺·维斯康蒂、维托里奥·德·西卡同被誉为意大利新现实主义电影的四大主将。1945年对于罗西里尼来说是最值得骄傲的一年,他成功拍摄了《罗马,不设防的城市》。1949年,罗西里尼认识了演员英格丽·褒曼,双双坠入爱河。 他们的女儿伊莎贝拉·罗西里尼曾经出现在50个国家的500种杂志封面的名模。1985年,因为参演《飞越苏联》(White Nights,1985)而正式打入美国影坛,次年在《蓝丝绒》(Blue Velvet,1986)的大胆演出更轰动一时,自此成为好莱坞的一员,曾与名导演马丁·斯科塞斯(Martin Scorsese)有过四年的婚姻,如今则与演员加里·奥德曼(Gary Oldman)在一起。

  • 5.0 导演: 让·雷诺阿 / 类型: 剧情 恐怖 / 主演: 让-路易斯·巴劳特 Teddy Bilis Sylviane Margollé

    Mr. Joly, doctor Cordelier's lawyer, is amazed to discover that his client and friend leaves his possessions to a stranger, Opale, a sadistic criminal. He needs this man to prove that people's behavior can be adjusted at will...

  • 8.2 导演: 李铁 / 类型: 剧情 爱情 古装 戏曲 / 主演: 任剑辉 白雪仙 梁醒波 靓次伯 苏少棠 任冰儿

    香港电影《紫钗记》由宝鹰影业公司于1959年出品。该片改编自明代戏曲家汤显祖所著《紫钗记》,由李铁执导,白雪仙、、梁醒波、、靓次伯、任冰儿等领衔主演。该片是宝鹰影业公司的创业作,是仙凤鸣剧团同名粤剧戏宝,片中分场包括《灯街拾翠》《花院盟香》《阳关折柳》《花前遇侠》《剑合钗圆》等。 出品时间 1959年 出品公司 宝鹰影业公司 制片地区 中国香港 导 演 李铁 编 剧 唐涤生 制片人 钟蔚文,孔强 类 型 戏曲,粤剧,爱情 主 演 白雪仙,任剑辉,梁醒波,苏少棠,靓次伯,任冰儿 片 长 122分钟 上映时间 1959年02月18日 对白语言 粤语 色 彩 黑白

  • 6.5 导演: 中川信夫 / 类型: 恐怖 / 主演: 若杉嘉津子 天知茂 北沢典子 江见俊太郎 池内淳子 大友纯 稻垣三郎 芝田新 花冈菊子

    浪人民谷伊右卫门(天知茂 饰)贪污巨额公款,被丈人四谷左门(浅野进治郎 饰)得知,四谷不满其卑鄙品行,严命女儿阿岩(若杉嘉津子 饰)与之离婚。丈婿话不投机,刀剑相向,伊右终将四谷残忍杀害。这之后,他与好友直助(江见俊太郎 饰)串通,谎称丈人为仇家杀害,带着阿岩、阿岩的妹妹阿袖(北泽典子 饰)以及阿袖的未婚夫与茂七(中村龙三郎 饰)逃往江户。途中,二人又密谋将与茂七推下悬崖。 暂时安定下来的伊右渐渐不满贫穷的生活和妻子的拖累,偶然机会他从流氓手中救出富商的孙女阿梅(池内淳子 饰),富商欣赏其英武,欲将其招为孙婿。得知此讯的直助再次前来,和伊右密谋杀害碍手碍脚的阿岩……

  • 8.0 导演: 居伊·德波 / 类型: 短片 /

    Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves. Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. Our camera has captured for you a few aspects of a provisional microsociety. The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."� Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations. Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language. Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns. What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. Voice 2: Years, like a single instant prolonged to this point, come to an end. Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept? Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. Voice 1: Really hard to drink more. Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot. Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. To really describe this era it would no doubt be necessary to show many other things. But what would be the point? Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.