Adam’s Rib 金屋藏嬌

導演:
喬治庫克 (George Cukor)
劇作家:
劇作家: Ruth Gordon, Garson Kanin – 製片: Lawrence Weingarten – 攝影師: George J. Folsey – 作曲家: Miklós Rózsa, Cole Porter – 剪接師: George Boemler – 美術指導: William Ferrari

亞當(史賓瑟.屈賽飾)和阿曼達(凱瑟琳.赫本飾)是一對恩愛的夫妻,亞當是地區助理檢察官,而阿曼達也是一位優秀的律師。 兩人因為一宗太太抓姦槍傷丈夫的案件,分別擔任原告和被告的辯護律師。阿曼達力陳女性應與男性擁有相同權力,並應被公平對待,她的強硬態度使得工作上與亞當對立的狀況延伸到兩人的家庭生活,兩人大吵一架,亞當負氣離家。陪審團最後的判決雖然判定被告無罪,但阿曼達贏得了官司卻輸掉了丈夫。阿曼達一心想要挽回丈夫,卻愈弄愈糟,這場婚姻危機最後在亞當巧妙的眼淚攻勢下,成功化解,兩人重歸於好。這部電影是喬治.庫克與夫妻檔編劇(Ruth Gordon和Garson Kanin)合作的一部節奏輕快,輕鬆幽默的小品,英文片名《亞當的肋骨》(Adam’s Rib)巧妙點出女性是由男性肋骨生出來(上帝用亞當的肋骨製造出夏娃),先天上就不公平,再對照影片內容,男主角也叫亞當,充滿了趣味的安排。崔西和赫本的搭檔,無論在你來我往的犀利對話上或是豐富的肢體語言上都發揮了極佳的默契。本片獲得第二十三屆奧斯卡最佳劇本提名。

There are two great husband-wife teams (one on-screen, the other off) involved in this classic 1949 comedy. Not only do Katharine Hepburn and Spencer Tracy throw comedic sparks as a married team of lawyers on opposing sides of a high-profile case, but their exquisite verbal jousting was scripted by the outstanding team of Garson Kanin and Ruth Gordon. Leading all of this stellar talent was director George Cukor at the prime of his career. The result is one of Hollywood's greatest comedy classics, still packing a punch with its sophisticated gender politics. Arguably the best of the Tracy-Hepburn vehicles, "Adam's Rib" shows the stars at their finest in roles that not only made their off-screen love so entertainingly obvious, but also defined their timeless screen personas--she the intelligent, savvy, rebellious woman ahead of her time, he the easygoing but obstinate modern man who can't help but love her. Screen teams don't get any better than this. "--Jeff Shannon IMDB"

類別: Comedy 規格: 100' 國別: 國別:USA English BIG5
DVD 18-11-1949 http://imdb.com/title/tt0041090
Dante's Comment
Starring 規格:
斯賓塞屈賽 Spencer Tracy Adam Bonner
凱瑟琳赫本 Katharine Hepburn Amanda Bonner
茱蒂荷麗黛 Judy Holliday Doris Attinger
湯姆伊威爾 Tom Ewell Warren Francis Attinger
戴維韋恩 David Wayne Kip Lurie
瓊哈根 Jean Hagen Beryl Caighn
霍普埃默森 Hope Emerson Olympia La Pere
Adam's Rib is a classic film. Classic means "timeless and valuable forever". You can understand and enjoy 'Classic Films' only if you don't look at them through 'todays' eyes'. Today's eyes will mislead you, exaggerating differences (as settings, wardrobe, etiquette, life style) simply because they are no longer in fashion.

However as 'film people' there is a charm even in these long time gone ways, and watching carefully they could become reason for inspiration in your future work. In any case, setting, clothes and ways of speaking belonging to a different time, matter as they help us to see how things were not too long ago.

George Cukor was a New Yorker, worked all way from off-off theaters to Broadway. Hollywood studios called him to help directing actors when sound and dialogue changed film making. Questioning life style and events, was more important to him than simply filming stories. They called him 'the women director' as he generally focused on his actress more than the actors. He didn't care for stereotypes as much as the majority of American directors did at that time. Most of his themes follow this pattern; Cukor disguised several issues and deeper themes, under the acceptable shape of comedy. Yet he was a man who knew everything about human heart in general and particularly he knew all about pain. His interest was showing borderline story, lost people and the power of alcohol Yet he wasn't a drinker, but he wanted to display how people need masks to get on with life.

Adam Rib's portrays questions still unanswered. Is today life too different from 1949? How different are we from the 'general public' back then? In the secret of private homes do wife and husband share life equally? man and woman rules follow the same patterns? are man allowed to do what women cannot and vice-versa? In this film we don't have a 'simple comedy'. Things are changing of course, but how sincere and meaningful this change is?

An other key-point in the photoplay is the power of the media. We see an atrocious sequence just at the end of the trial, when photographers force the wife (who just shot her husband) to exchange kisses with her husband and shake hands with her husband lover only for the joy of the newspaper readers, later we see the husband lover who is now a true part of the 'happy family' as she is smiling and holding kids and her lover and his wife in a totally senseless way.

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