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The question of whether or not the film or its characters are actually good Marxists is not only not interesting, but also misguided, since we’re bound to get nowhere with such relationships of subordination: it is the coordination that we must look at instead. Godard doesn’t film “Marxists” or things whose meaning would be Marxism. He makes cinema with Marxism [...] The strength of the film is that it brings together cinema and Marxism by treating those two formulas as two different conceptions of art in general, and hence also of Marxist cinema. -- Jacques Rancière

也就值这个分了.通篇胡编乱造,矫揉造作,乱七八糟.没见过这么差的电视剧了.

褒曼真是一种我见犹怜的美丽 难怪人人都爱她 她和科顿在窗边那场戏好美 故事有点类似煤气灯下 褒曼的角色在杀死哥哥的心理压力加上管家装神弄鬼的恐怖氛围里逐渐癫狂 不过科顿的角色个人觉得有点偏执不足 故事感觉还不够疯

没什么问题的家长里短剧

丝毫没有传记性，除了把妹泡妞，貌似超哥啥也不干。