四重奏
导演：詹姆斯·伊沃里
主演：阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯
It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them. Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries. When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact." Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance. Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.
立即播放剧情介绍
《四重奏》讲述的是什么故事？
《四重奏》 It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.
Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.
When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."
Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.
Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.
一、《四重奏》是哪一年上映的？
《四重奏》是詹姆斯·伊沃里于1981年推出的爱情片，由阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯等主演。影片在法国上线后，凭借稳定的剧情节奏和清晰的人物关系，吸引了不少同类型观众关注。对喜欢这类题材的用户来说，这部作品属于“可以从第一集一路看下去”的类型。
二、《四重奏》有哪些看点？
本片在爱情片表达上节奏紧凑，人物关系清晰，结合法国背景，整体观感流畅，适合连续观看。它的看点并不只靠单一反转，而是通过角色选择一步步推进主线：前段负责铺陈背景，中段放大矛盾，后段逐渐回收伏笔。整体看下来，剧情层次感比较完整，既有情绪起伏，也有可回味的细节。
三、如何评价《四重奏》？
《四重奏》在四虎影库的播放反馈较好，剧情推进和角色表现都比较稳定，适合喜欢爱情片的观众。从观感上看，这部作品属于“稳扎稳打”路线：不会刻意堆砌噱头，但在关键桥段上能给到足够情绪张力。尤其是主要角色之间的对手戏，能把人物性格和立场差异交代得更清楚。
四、《四重奏》值得追吗？
如果你偏好爱情片内容，且希望剧情不是“只快不稳”，那么《四重奏》是值得追的。它的节奏控制比较均衡，既有推动主线的关键节点，也留出角色成长和关系变化的空间。对习惯周更追剧或一次性补完的观众来说，这类叙事方式都比较友好。
五、《四重奏》适合哪些观众？
适合喜欢爱情片、重视人物刻画和剧情连贯性的观众；也适合想找一部“剧情清晰、观感顺畅”的日常追看作品。如果你更关注演员表现，本片由阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯领衔的阵容，也能提供不错的可看性。
六、《四重奏》主要信息
类型：爱情片，导演：詹姆斯·伊沃里，主演：阿兰·贝茨,玛吉·史密斯,伊莎贝尔·阿佳妮,安东尼·希金斯，地区：法国，年份：1981。你可以在当前页面下方直接选集播放，按线路切换到更流畅的源继续观看。
