丑闻1989

传记zhengzhi丑闻爱情片。男主是一个zhengzhi掮客，专门在夜场寻找美丽女孩去介绍给高官显贵获取政治资本纵情玩乐。但是因为冷落了女主，被女主将丑闻通过报纸公之于众，结局保守党的一大帮政要都身陷丑闻，导致了英国最大的xing丑闻案，保守党也随之下台。纪实影片，基本反映当时情况，发挥不多，时间有点长。

男主是个治背痛的医生，认识很多达官显贵。他常常去一些夜场物色一些年轻貌美的女子，用来介绍给达官显贵，赚取政治资本，纵情玩乐。一次他在众多夜场女子中看中了一个女子，美艳动人，艳压全场，她追求她，然后带她进出一些达官显贵参加的夜场，将女子介绍给那些达官显贵。女主也很争气，施展自己的媚功将那些达官贵人迷得晕头转向，三魂丢了两魄，几乎天天有人邀约，有时这个才送走，那个又来了，几乎都没有空闲。但是女主接待的国防部长，疑心比较重，老觉得女主邻居在窥视他，于是他要求为女主安排住处，便于两个人幽会。女主不愿意离开男主，所以和国防部长闹崩了。很快她又开始吸大麻，为了获得大麻，她竟然成了贩大麻黑人的女友，还接交了一个黑人小伙。因为争风吃醋，贩大麻的黑人和黑人小伙大打出手。黑人小伙还跑去男主房子那里开枪撞门，结果引来了很多记者。男主生气了，因为他这种政治掮客最怕曝光，所以男主在大雨中让女主下车。女主在绝望中遇到了一个报纸的记者，说出了所有的丑闻，报纸刊登后，保守党被口诛笔伐，受到公众的质疑，产生了信任危机。虽然身陷丑闻的政府官员毅然否认一切，但是还是经不起媒体、公众的围追堵截，最后只得以辞职告终。警方也开始调查男主是否通敌，在警方的严词审问下，男主不堪重负，自杀了。保守党也因为丑闻下台了。

女主真心很像玛丽莲梦露，我还以为是说女主和尼克松的故事，最后会被暗杀，结果女主活了下来，男主却不堪重负死去了，蛮感慨的。女主很美，就是什么都没看到。身材也不错。那些政府官员真是满嘴谎话，明明贪恋女主，日日寻欢，却在丑闻暴露后否认一切，真是不要脸。不过zhengzhi就是这么黑暗的，看似光鲜，其实就是肮脏不堪，非一般人可以认清的。

A motion picture reconstructs the infamous Profumo scandal in UK, 1963, concerning the adultery between John Profumo, the then Secretary of the State in War of Harold Macmillan’s Conservative government, and a 19-year-old erotic dancer Christine Keeler, whose corollary directly cripples the Conservative Party’s cachet and mostly accounts for its rout by the Labor Party in the 1964 general election.

Directed by a first-timer, the Scottish Michael Caton-Jones, SCANDAL swerves its focal point from Profumo (played by a phlegmatic McKellen sporting a goofy bald haircut) to Keeler (Whalley) and her confidant Stephan Ward (Hurt), a hedonistic osteopath who spots her in the club and invites her to live with him, introduces her to manifold male personage, and encourages her to never say “no” to a dare, and puzzlingly he never puts any action to copulate with her throughout the whole affair.

What is the quiddity of the relationship between Keeler and Ward? As on multiple occasions, Keeler refutes “I’m not a prostitute and Ward is not my pimp”, yet their intimate but perversely chaste co-dependence tickles our curiosity, for that matter, SCANDAL wades into a rarer stretch of waters, to dissect a mutual limerence between a man and woman, without letting their libido steal the limelight, maybe Ward is impotent, his Freudian satisfaction can only be quenched by grooming her into a worldly minx, yet that is anybody’s guess. By comparison, the Keeler Affair, Christine’s courtesan-like swinging between various parties, from Profumo to Eugene Ivanov (Krabbé), the Soviet spy, only reveals to be a side dish of dalliances, which makes the aftermath even more staggeringly stinging.

In the end of the day, it is Ward who sits in the defendant’s seat as the whipping boy after all his so-called friends uniformly leave him in the lurch as soon as the wind changes, Profumo remains scot-free after his resignation, Keeler’s court testimony has no weight with her naive affection, the merciless interpersonal betrayal acts as the last straw weighing down on Ward’s disillusion and world-weariness. If that is the tenor behind the whole project, the outcome is well produced.

Ribald in its imagery (as per the standard for a UK picture), but less confident in organizing a coherently sensuous exposé, SCANDAL feels leaden in the ambience and occasionally stilted in the unraveling (political agenda, upper crust depravity, is all scratched on the surface only), although the cast is more than average, Hurt is amiable in general but also can let up inner turbulence with expressions only; Bridget Fonda nails the British accent as a more men-savvy glamor puss who is craving for any chink of spotlight, and Whalley, the ex-Mrs. Val Kilmer, as alluring as she is, is visibly on the wrong side of 20, too sophisticated to pass for an ingénue who is clueless in placating her warring, jealous man friends, infantilized only for her sexual appeal, judging by that, SCANDAL’s saucy subject matter sorely needs a rejiggering.

referential entries: Steven Soderbergh’s SEX, LIES AND VIDEOTAPES (1989, 7.3/10); Neil Jordan’s MONA LISA (1986, 7.1/10).