欧美电影1973稻草人剧情介绍+分 稻草人的黑夜的剧情简介
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Review\uff1a
Max and Lionel, two ordinary guys, meet by chance on a lonely country road while hitchhiking and strike up a friendship. Max (Gene Hackman) is a hot-tempered ex-con who dreams of owning his own business, a car wash. Lionel (Al Pacino) is a seaman who abandoned his pregnant girlfriend some years prior but who, despite this character flaw, is so mild-mannered and sweet you really just want to give him a big hug.
Hackman is great as the hard-edged Max, yet despite his gruff exterior you know there is a man of deep feeling and caring underneath. Pacino never fails to disappoint in whatever he does and he doesn't in this tour-de-force performance. Famous for playing loud, larger than life character's with extreme zeal -- Colonel Frank Slade from SCENT OF A WOMAN and Tony Montana from SCARFACE for instance -- here his performance is like a whisper -- quietly calm yet powerfully effective.
A nice surprise in the cast is Richard Lynch (in his screen debut) as Riley, the man who befriends Lionel while he and Max are briefly incarcerated for a bar fight. Lynch is only in the movie for approximately 20 minutes, but what a 20 minutes! His ability to convey the sleazy yet somehow likable Riley let's the audience know that this is a talent to watch for in the coming years. With such great method acting from all three actors, it's no wonder this movie won the prestigious Golden Palm Award at the 1973 Cannes Film Festival!
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剧情：
麦克斯和里昂是两个流浪汉，他们一见如故，成了好朋友。麦克斯攒了一些钱，他准备用这些积蓄到匹兹堡开家汽车洗刷店。他叫里昂同他一起前往，里昂答应了。里昂有好几年没见到他的妻子和孩子了，十分想念他们，而麦克斯也想见见在丹佛的姐姐，于是他们决定先到丹佛。途中，暴躁的麦克斯引起不少麻烦，而能言善辩的里昂则冷静地化解了这些矛盾。在丹佛，麦克斯见到了姐姐考莉，遂决定在丹佛开汽车洗刷店。麦克斯又一次在醉后同人发生了争吵，他和里昂双双被送进了劳教场。在劳教场，因为拒绝了一个劳改犯的无礼要求，里昂被人毒打，麦克斯的意志变得十分消沉。获释后，在得知孩子死亡的消息后，里昂因悲伤过度而精神失常，进了医院。为了朋友，麦克斯毅然放弃了开汽车洗刷店的打算，他要将全部的钱都用来医治里昂。
Review：
Max and Lionel, two ordinary guys, meet by chance on a lonely country road while hitchhiking and strike up a friendship. Max (Gene Hackman) is a hot-tempered ex-con who dreams of owning his own business, a car wash. Lionel (Al Pacino) is a seaman who abandoned his pregnant girlfriend some years prior but who, despite this character flaw, is so mild-mannered and sweet you really just want to give him a big hug.
Hackman is great as the hard-edged Max, yet despite his gruff exterior you know there is a man of deep feeling and caring underneath. Pacino never fails to disappoint in whatever he does and he doesn't in this tour-de-force performance. Famous for playing loud, larger than life character's with extreme zeal -- Colonel Frank Slade from SCENT OF A WOMAN and Tony Montana from SCARFACE for instance -- here his performance is like a whisper -- quietly calm yet powerfully effective.
A nice surprise in the cast is Richard Lynch (in his screen debut) as Riley, the man who befriends Lionel while he and Max are briefly incarcerated for a bar fight. Lynch is only in the movie for approximately 20 minutes, but what a 20 minutes! His ability to convey the sleazy yet somehow likable Riley let's the audience know that this is a talent to watch for in the coming years. With such great method acting from all three actors, it's no wonder this movie won the prestigious Golden Palm Award at the 1973 Cannes Film Festival!
Scarecrow is a low-key film that succeeds on all its ambitions, but not because it tries to aim low. That the tone at times doesn't feel as emotionally incredible or intense as some other films Gene Hackman and Al Pacino got their star-making turns in the 70s (French Connection, Dog Day Afternoon, Serpico) doesn't mean it's unsuccessful either. Jerry Schatzberg and his writer are out to capture a kind of outsider view of men trying to find their places in society, almost like how Michael Cimino would do (to a more genre-oriented extent) with Thunderbolt and Lightfoot. It's not a movie a lot of people would go out of their way to see, even with the star power involved. It's about two guys who've been released from confinement from the world around them, Max from six years in jail (Hackman), Francis from five years out at sea in the Navy (Pacino), and how the two meet up unintentionally while hitchhiking, unlikely pair up, and Hackman gets Pacino to go in with him on opening up a car wash in Pittsburgh.
Why Pittsburgh? Just one of the peculiarities of Max, mayhap? More-so a thing of pride. There's characteristics to Max and Francis that make them compelling for the honesty in what they are: Max is a tough guy, tending to get drunk, get in fights, sex it up with women (who knew Hackman had such, um, animal magnetism), and Francis (also named Lion by Max) is a clown, a little boy who somehow made the mistake of having a kid with a woman before he left the Navy, and has a present ready to give to the kid in Detroit- an androgynous lamp- despite not knowing entirely what to expect. It's an odd couple movie, but also one that has a more affecting view into a world of men on the fringe of society. These guys don't have big plans, and wouldn't want any anyway. It's refreshing to see that, and how it pans into the nature of them and their environment: the small towns, the local dives, the bad drunks, and, when things go bad after a big brawl during a drunken hoopla, the subtle horrors of prison for the both of them. Did I mention train-hopping?
A film like this, despite having on its side gorgeous cinematography by Vilmos Zsigmond (who, along with Badlands and, in its own way Mean Streets, captures a vision of Americana that is pure and unique to its time and place), needs strong acting. Who better than Hackman and Pacino? They're playing big personalities, with Hackman doing great as always in a somewhat typical part of a guy who's aggressive and pig-headed but does have a hear. And Pacino doing a rare comedic turn as he gives some of his funniest (genuine, not unintentional scene-stealing) moments, like his 'diversion' gone wrong in the clothing store, or his classic "teach me how to handle a drunk" bit at the bar. Sometimes its too much, but it leads to a bittersweet side to the story that turns even more bitter by the time Schatzberg reaches the emotional climax in Detroit. What's been alternately crude and crazy, sometimes in ways that remind one a little of Altman, turns towards what is a small but great tragedy for these characters. And doing the script one better, the actors are able to get subtle, crushing, telling moments in scenes that others wouldn't be able to grasp with a ten-foot pole.
It's also a fun movie, with a feel that you could only get in one of the truly great years in all movies (look at the year this came out, and realize how many films of its ilk were released, be they independent-like from Scorsese or Altman or Ashby or even Romero, or even Friedkin's Exorcist). Scarecrow is of its time, but it doesn't mean it can't be greatly liked in the present; it's even a near classic of genre subversion, doing a service to drama and comedy by not paying lip-service to either form, but enriching what comes naturally out of life, which is both sometimes, harrowingly, at once
马克斯和来恩相识于南加州距离村落很远的路上。马克斯刚服完刑，他打算到匹兹堡去开洗车店，途中顺道来看妹妹可利；来恩是一名船员，在海上漂泊七年的他回家看妻子和从未见过面的儿子。二人意气相投，很快便成为朋友。马克斯邀请来恩去当他要开的洗车店的伙伴。他们一起去访问可莉时，当时可莉有一位女友住在家中，四人热闹一番，但不幸闯了祸，马克斯与来恩被处以30天的强制劳役。服刑时，来恩被一个同性恋的...
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