冈拉梅朵是西藏的一朵花、一幅画、一首歌、一间酒吧、一个女人的名字；冈拉梅朵是流传了半个多世纪前的一段凄美动人、寻找与错过的爱情故事。从北京来的美丽孤傲的录音师安羽在拉萨的第一夜阴差阳错地投宿到藏族鼓手阿扎家，引出一段奇异的情缘。曾经因一曲《冈拉梅朵》红遍全国的著名女歌手在突然失声从歌坛悄悄消失后，做了录音师的安羽，从声音的传唱者变成了声音的记录者和聆听者。她被西藏的一个歌声，湖边的一个幻像召唤，执拗地前往遥远的西藏神湖寻找那神秘歌声，沿途录下西藏大地的天籁之音，踏上了一程充满神秘和未知的音乐朝圣之旅。与她结伴而行具有奇幻般魔力的鼓手阿扎一路上不断和她产生冲突和摩擦，俩人怀着各自的梦想和目的，几番分分合合，既难以相处又难舍难分，殊不知两个人的命运在冥冥之中早已被“冈拉梅朵”这个名字系在了一起。女人是旋律，男人是节奏。两个不同民族，不同性格，不同人生，不同梦想的一对现代男女的邂逅和结伴，交织出一部优美动人的乐章，无形中又演绎了与老一代人命运相似的寻找与错过的一幕爱情故事，《冈拉梅朵》的旋律继续在西藏的雪山和草原上回荡……
回复 :故事发生在第二次世界大战结束之后，在前线奋勇杀敌保家卫国的老兵鲍勃（平·克劳斯贝 Bing Crosby 饰）和菲尔（丹尼·凯耶 Danny Kaye 饰）重新回归了正常秩序之下的社会，前途一片迷惘。最终，两人决定将命运赌在正在繁荣发展的歌舞剧事业上，走下战场，走上舞台。一次偶然中，鲍勃和菲尔解释了美丽的姐妹花贝蒂（罗丝玛丽·克鲁尼 Rosemary Clooney 饰）和朱迪（薇拉·艾伦 Vera-Ellen 饰），四人很快成为好友。一天，贝蒂和朱迪打算在圣诞节之际前往佛蒙特州参加一场演出，鲍勃和菲尔当仁不让的成为了两人的护花使者，一行人踏上旅途。在途中，四人当然碰撞出了激情的火花。
回复 :19岁的少女寺泽弘子（渡边典子 饰）是一家婚姻介绍所的女秘书，某天所里接到一通电话，对方是关根集团董事长的遗孀恭子（长山蓝子 饰），她希望为自己的儿子昌和（渡边谦 饰）找到一位如意新娘。当恭子得知弘子姓名时，竟不假思索决定弘子为相亲的对象。会面之日，弘子得知，恭子只希望她假扮昌和的新娘十天，以代替因车祸骨折的真正新娘。看在巨额报酬的份上，弘子欣然同意，留在关根家位于山中的别墅内进行各种礼仪的训练。但随着事态的发展，她意识到关根家的背后似乎隐藏着更为黑暗的秘密……根据赤川次郎同名小说改编。
回复 :In the time of Counter-Reformation, a miller and his son come under investigation by a priest of the Inquisition, when rumors spread that their prosperity comes from working with the Devil.The Devil's Trap is a film directed by František Vlá?il, based on a novel by Alfréd Technik, adapted by František A. Dvorák and Miloš Kratochvíl. It was the first of three historical dramas that Vlá?il made during the Czech New Wave (technically he isn't really a part of the New Wave, however these films were made during the same era of artistic freedom), preceding his more well known Marketa Lazarová (1967) and Valley of the Bees (1968).Set in the late 16th Century during the Catholic Reformation, in the Moravian Karst, situated in what is now the Eastern Czech Republic, it tells the tale of a miller (Vítezslav Vejrazka), and his son Jan (Vít Olmer), who come under suspicion and are investigated by a Jesuit priest of the Inquisition (Miroslav Macháchek), when rumors of witchcraft are spread by the local regent (Cestmír Randa), who is jealous of the miller's prosperity and degree of respect among the local populace.As expected from Vlá?il, this film is a stunning experience all the way through. From the opening shot, an ominous manipulation of perspective with a close up of a mangled figure of Christ dominating the foreground against a tiny figure in black walking along the horizon, to the breathtaking confrontational finale inside the vast stalactite filled Karst caverns, it is a wonderful display of visual mastery.Maybe not quite as impressive as Marketa Lazarová, but still full of astonishing imagery. As seen from unique angles and distinct points of view which highlight the director's remarkable sense of awareness of framing, motion, and positioning on the emotional and dramatic tone of the scene. The most memorable being a repeated shot where the camera is suspended and launched with speed through the air towards the miller's door.The story here is a simple one and I would say more accessible than his later works. With a conventional structure emphasized as much by its plot and characters, than by its expressionistic cinematography or authentic historical detail. The events play out without much surprise, and there is a strong underlying, almost supernatural, mysterious aspect that is left unresolved, in fact barely explored, which is slightly disappointing, but only because it's so fascinating that I wish there was more.Acting is great all around. Particularly the villains: Miroslav Macháchek as the priest, casting a sinister and imposing shadow wherever he goes, and Cestmír Randa as the weasel like regent behind all the persecution. While Vít Olmer brings a charismatic leading man presence in his role as the miller's son Jan, in love with the lovely orphan girl Martina (Karla Chadimová), who becomes a dangerous object of rivalry between Jan and other young men of the village.The film also features the evocative music of Zden?k Liška (perhaps the most prolific composer of the Czech New Wave). In this his second of eleven collaborations with Vlá?il, his compositions are used sparingly, but to great effect, complimenting but never overpowering a scene. The best example of which can be heard in an amazingly shot celebration and dance sequence at the end of the second act.The Devil's Trap might not be a masterpiece, but it is still a strong effort, with a fascinating straightforward story and a glorious historical setting captured beautifully by Vlá?il's unmistakable visual prowess. A fine work that would also be the perfect starter plate to prepare yourself for the challenging feast of Marketa Lazarová or The Valley of the Bees. It even has an easy to digest running time. It's therefore puzzling why this gem remains largely overlooked and ignored.
