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色｜戒 (李安, 2007)

一狼犬出了李安所的「」，不一定是玲的原意，但李安透他人部短篇的感受，成就了部可是他的「大作」。

眼看著任即完成，王佳芝回著，一不世事的大女孩，到在技巧高超的女演兼者，份十分危的野心始著他的心久久不去，使他的，有可能是想做番烈烈事的理想，有可能是明他不只是一傀儡，也有可能是一他法忘的男人。

佳的全演，扮演全片魂的唯，靠著一陌生的孔成功化身王佳芝，有和章子怡一不著痕的完美演出，即使他被狡猾的李安陷入角色中，但成果明他的努力是完全值得。

梁朝到目前最秀的一次演出，每手投足都十分精，然也是近代和相同的服，有和在王家影形象南猿北的效果，即使早已反派，他角色的投入和表演成品皆是他前所未及的。

至於的大床，就像李安自的都各有其在片中的必要性，即使性在部玲短篇中不，除了男主角烈的力展示，女主角利用性力、人面工作上大挫折的和沉浸在水乳交融中的扎和喜，可能角色都是彼此一生再的完美伴。

再度合作的墨西哥影德里哥皮耶托，「黛妃女皇」法音家山德戴斯普拉特，「阮玲玉」、「玫瑰白玫瑰」深朴若木，李安老搭美剪接提姆史圭斯，四海一家般的合成就了本片在力和演技宴之的佳技托。

有趣的是李安短篇故事做材，前一篇的跨20年，後一篇的一下午，然看似一生在十中的事，但竟那些都是女主角的追。

肯定是超越了「背山」本已十分秀的成，在展理性感性的突，本片仍不忘向「北非影」、「教父」、「深疑」、「」、「巴黎最後探戈」和「感官世界」一群可投射角色心理和承型的典名作和大作者致敬，不但是玲至今最好的幕改，更可列影史上必看典之一。

得
威尼斯影展最佳影片金、技塞拉(影)
金最佳情片、演、男主角、新人、改本、造形、原配

入
金最佳女主角、美、影、剪
金球最佳外片
立精神最佳男主角、女主角、影

Lust| Caution (Ang Lee, 2007)

A wolfhound brings out what Ang Lee so called “amuck atmosphere.” This might not necessarily be Eileen Chang’s intention, but Lee achieved his practical “masterpiece” through expressing his feel for this short story.

Just right before the task seems about going to end, Wang Jiazhi memorized, from an innocent college girl to a highly skilled actress and patriot, this extremely dangerous ambition kept circling around her mind and couldn’t possibly go away may because of her ideal of doing something big and important, may because of proving that she’s not only a puppet, or may because of a man that she can’t get him out of her head.

A terrific ensemble cast. Tang Wei, who played the soul of the film, transformed herself into the leading character successfully through an unfamiliar face to audiences and has the acting of unattached perfection just like Zhang Ziyi. Though she got set up to get involved with this role by Lee, the result shows that her efforts worth every second.

The best performance of Tony Leung by far, every look and movement is very precise. Though it’s also postmodern and the same kind of costumes, the effect is totally different from the images in Wong Kar Wai movies. Even he has been through several villain characters, the devotion and outcome that he put in this role is never been seen before.

As for the controversial sex scenes that gather all the spotlights, they all take important places in the film just as Lee said. Even there’s no sign of sex in Chang’s story. Except the power demonstration of the leading male role, Mr. Yee, Wang learned to use her sex power, the abreaction from the huge frustration of both their occupations and the struggle and joy they soaked in the functioning sex. They could very likely be the perfect match for each other that they can never find another one in this lifetime.

The second-time Mexican cinematographer for Lee, Rodrigo Prieto, French musician Alexandre Desplat, the senior Korean designer Lai Pan, and Lee’s longtime partner editor Tim Squyres. The global combination achieved the great technical support besides the compelling story and the feast of performances.

The funny part is Lee chose short stories back to back for his films. The time line of the previous one goes across over 20 years. As for the latter one is just an afternoon. Sure it seems like a story in a decade, but after all they are the flashbacks of the leading female role.

This movie definitely goes beyond the achievement of “Brokeback Mountain,” which is already very brilliant. While showing the conflict of sense and sensibility, it also pays tribute to a bunch of classics and the master creators which reflect the mind of the roles and are inherited such as “Casablanca,” “The Godfather,” “Suspicion,” “Penny Serenade,”“Last Tango in Paris”and “In the Realm of the Senses.” This is not only the best screen adaptation of Chang to date but also a must-see of all time.