Judy & Punch 2019 小鴨 完整版 電影
Judy & Punch-2019 小鴨 在线-99kubo-online-wmoov HK-dailymotion-4k bt-線上.jpg
Judy & Punch 2019 小鴨 完整版 電影
Judy & Punch (电影 2019) | |
为期 | 129 备忘录 |
放松 | 2019-11-22 |
素质 | M1V 1080 TVrip |
文学上的流派和体裁 | Drama |
(机器)代码 | English |
扔 | Sumrah U. Joana, Abbé E. Denes, Gaëlle A. Wismann |
全体船员(乘务员) - Judy & Punch 2019 小鴨 完整版 電影
In the anarchic town of Seaside, nowhere near the sea, puppeteers Judy and Punch are trying to resurrect their marionette show. The show is a hit due to Judy's superior puppeteering but Punch's driving ambition and penchant for whisky lead to a inevitable tragedy that Judy must avenge.
It’s always fantastic when an Australian film is a success, and even more so when there’s a female filmmaker at the helm. However, for something as unique and fresh as ‘Judy and Punch’ to come from Australia makes me genuinely proud. A period story with a message that’s vital to current society, Mirrah Foulkes is an exciting young storyteller, and I can’t wait to see what she has in store next.
- Charlie David Page
Read Charlie's full article...
https://www.maketheswitch.com.au/article/review-judy-and-punch-a-dark-fairytale-from-a-fresh-australian-voice
Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews.
**_A fascinating socio-political study of proto-feminism mixed with exceptionally dark comedy_**
>_Thence to see an Italian puppet play that is within the rayles there, which is very pretty, the best that ever I saw._
- Samuel Pepys (May 9, 1662); _The Diary of Samuel Pepys_ (1825)
>_In my opinion the street Punch is one of those extravagant reliefs from the realities of life which would lose its hold upon the people if it were made moral and instructive. I regard it as quite harmless in its influence, and as an outrageous joke which no one in existence would think of regarding as an_ _incentive to any kind of action or as a model for any kind of conduct._
- Charles Dickens; Letter to Mary Tyler (November 7, 1849)
The debut feature from Australian actress turned writer/director Mirrah Foulkes, working from an idea by English actress Lucy Punch (which, given the subject matter, seems like it's a joke, but isn't) and her brother Tom, _Judy & Punch_ is a (very) dark comedy that presents the fictional background behind the early years of the (in)famous puppet show. Essentially a study in proto-feminism, a look at #MeToo sensibilities applied to a very un-#MeToo society, it's a strange mixture of _Monty Python_-esque slapstick and serious social critique, taking in misogyny, domestic violence, witchcraft, social stratification, and the exploitation of old age, and wrapping it all up in a gleefully anachronistic and pseudo-magical realist aesthetic, not entirely dissimilar to what you might find in the work of Angela Carter. It's a curious mix that really shouldn't work, and, for many, it probably won't. I can see some finding the tonal balance too skewered towards socio-political protest for it to work as a comedy, whereas others will argue that the comic elements undermine the seriousness of the socio-political agenda. For me, although the film is a beat too long at 105 minutes, I thought Foulkes just about got away with the tonal balancing act – most of the humour lands and most of the political material is well-handled. She's also helped immeasurably by strong performances across the board and a stunning visual design, which is especially accomplished given that this is her first feature.
In the town of Seaside (which, the opening legend informs us, is nowhere near the sea) in the English countryside, Judy (Mia Wasikowska) and Punch (Damon Herriman) are a young couple with an infant child. A Seaside-native, Judy ran away with Punch some years ago, with the duo going on to create the _Punch & Judy_ puppet show. Judy is by far the more talented puppeteer, but Punch is a natural showman and a master of self-promotion, and is often called the "_greatest puppeteer of his generation_", despite not even being the greatest puppeteer of his marriage. However, his inability to control his drinking led to the show's reputation waning, and the two have now returned to Seaside. Although Judy is happy just getting on with life, when Punch hears that a talent-scout is in the area, he determines to curb his drinking and put on the best show he possibly can. Meanwhile, women guilty of such things as having a rash, looking at the moon for too long, and being the neighbour of a man whose chickens died, are being accused of witchcraft at such a rate that Seaside has a monthly "stoning day", to the apparent horror of no one except Judy and the town's meek new constable, Derrick (Benedict Hardie), who's in love with Judy (from afar). However, when Punch responds to a horrifying accident by viciously beating Judy, she embarks upon a mission of vengeance, joined by a band of women and children who have fled the town to avoid persecution.
You know from the get-go that a movie with the title _Judy & Punch_ isn't going to be thematically subtle, and so it goes with Foulkes's film. Apart from Derrick and Scaramouche (Terry Norris), the senile husband of Maude (Brenda Palmer), Judy and Punch's elderly maid, literally every man in the film is a violent misogynistic thug. I don't bring this up by way of criticism, merely to illustrate that the film wears its themes, very proudly, on its sleeve. The _Punch & Judy_ show itself, which invariably involves Punch beating the piss out of Judy with a stick (itself not exactly a subtle phallic stand-in), has never been especially coy about its own thematic tropes, so why should a film inverting those tropes be otherwise? And, boy, does Foulkes invert them – we get Punch failing spectacularly (and hilariously) to look after their baby, we get sausage-related comedy, we get a troublesome dog, we get a police constable, we get an executioner, we even get a crocodile, but we get everything in service of a feminist rethread of the original's misogyny. Indeed, the more familiar you are with the show and its history, including its _commedia dell'arte_ origins, the more fun you'll have with the film.
Without giving too much away, _Judy & Punch_ is, at least in part, another entry in a subgenre we're seeing more and more of in recent years – gynocentric revenge films directed by women; Coralie Fargeat's spectacular _Revenge_ (2017) and Jennifer Kent's haunting _The Nightingale_ (2018) both spring to mind, but you could also include something like Isabella Eklöf's disturbing _Holiday_ (2018), which is a rape/revenge drama without the revenge. At one point, someone watching the show asks, "_does Punch always win?_", and it's precisely this kind of societal assumption which Foulkes addresses – convention at the time may have been that, yes, Punch must always win, but Foulkes suggests life is far more complicated and far less predictable.
One of _Judy & Punch_'s most obvious strengths is the aesthetic, with its lush and vibrant _milieu_ – a realm that's not quite fantasy, not quite historical reality. The town of Seaside, for all its vivid Renaissance-era squalor, is that of a fairy-tale allegory – the kind you'd expect to see terrorised by a werewolf or a giant. Production designer Josephine Ford (_Animal Kingdom_; _The Rover_; _Cargo_) has a field-day, having seemingly been turned loose to indulge herself. One half-expects to see a gingerbread house in the background. What's especially interesting, however, is that cinematographer Stefan Duscio (_The Turning_; _Jungle_; _Upgrade_) shoots the whole thing completely realistically, setting up a fascinating aesthetic juxtaposition which adds to the magical realism immensely.
Enhancing the surreality even more is the electronic score by François Tétaz (_Wolf Creek_; _Rogue_; _The Portal_), which has no place in a film of this time-period (aside from Tétaz's score, the soundtrack also features a rocking electronic adaptation of Johann Sebastian Bach's "Air on a G String" and even Leonard Cohen's "Who by Fire"). Despite how out of place this should be, it works wonderfully with the stylistic trappings of Foulkes's weird anachronistic vibe. Equally important here is the dialogue, which is a mixture of period-correct diction and a more modern inflection (one character even quotes one of the best-known speeches from Ridley Scott's _Gladiator_ (2000), earning the biggest laugh at the screening I attended). Put it this way – at one point, we see a group of characters in Renaissance costumes doing tai chi. If that sounds like something you'd find funny, you'll love this exceptionally-realised world.
I'd be remiss here if I didn't briefly mention the acting, which is universally terrific. All the supporting players do fine jobs – Norris's Scaramouche is all politeness and confusion, whilst Palmer's Maude is all loyalty and kindness. But what comes across most is their deep love – they're the kind of elderly couple that still hold hands on a walk even though they've been married for decades. Really sweet stuff. Hardie is equally good as the one good man in a town of troublemakers. But unlike the characters played by Clint Eastwood, Derrick has zero authority and no respect. However, despite his ineffectual nature, Hardie plays him as a completely straight-shooter, true, and honest, and it's a testament to his portrayal that Derrick is more than just the punchline of a few gags. He has real interiority. Obviously, Wasikowska has the meatiest role, and her performance is similar to some of her previous work, but nevertheless, her Judy isn't just a vehicle for feminist rhetoric, she's a capable and fierce woman in her own right. For me, however, Herriman steals the show. Initially, he makes Punch seem contemptible, yet somehow, as the film goes on, he makes the character even less likeable. His work in the penultimate scene is especially strong, where he has to play the part so as to communicate one thing to the other characters and something else entirely to the audience. Superb stuff.
The film does, however, have some problems. As mentioned, for some it will be too funny to work as feminist critique, and for others, too serious to work as comedy. Others still might argue it works as neither because it never fully commits to either. Without a doubt, Foulkes walks a very fine line trying to maintain such a delicate balance. I think she pulls it off, but others won't, that's just the nature of tonally ambiguous films such as this. The narrative and dialogue are also extraordinarily on the nose on occasion. As I said above, I didn't mind this, but some people will have a problem with how direct are lines such as, "_what is a witch but a person who exists outside your blinkered view of society?_" A few of the themes are also under-explored, including domestic violence, which seems to have been included as a plot point simply because it's an issue in the original show – Foulkes never really takes it anywhere.
Nevertheless, I enjoyed _Judy & Punch_. A statement on oppression and female (re)assertion, it takes the best-known elements of a world-famous puppet show, and inverts them, turning an inherently misogynistic story into a celebration of early feminism. Allegorical in both visual and narrative design, it may be pantomime-esque, but so too is it compelling enough to turn what could have been dismissed as a nasty fairy-tale into a piece of work which is thematically relevant to the _milieu_ in which we now reside.
剧组人员
協調美術系 : Evelin Ksenija
特技協調員 : Zoey Leonni
Skript Aufteilung :Olli Elyes
附圖片 : Zayne Berry
Co-Produzent : Tehzeeb Ellinor
執行製片人 : Shery Myeesha
監督藝術總監 : Said Breton
產生 : Isabel Donat
Hersteller : Mian Kacia
演员 : Eddy Sujay
Film kurz
花費 : $538,716,261
收入 : $751,319,435
分類 : 沒關係狼人 - 友誼, 搶劫派對 - 抵抗悖論波特, 恐怖 - 生理學
生產國 : 西班牙
生產 : Ben Productions
Judy & Punch 2019 小鴨 完整版 電影
《2019電影》Judy & Punch 完整電影在線免費, Judy & Punch[2019,HD]線上看, Judy & Punch20190p完整的電影在線, Judy & Punch∼【2019.HD.BD】. Judy & Punch2019-HD完整版本, Judy & Punch('2019)完整版在線
Judy & Punch 埃斯特（數學）市場營銷好笑道德-勇敢 |電影院|長片由外部電影和 Gold Filmcilik Tamala Ryner aus dem Jahre 2015 mit Lili Vrunda und Deenah Yosra in den major role, der in Berlanti Productions Group und im Towerside Productions 意 世界。 電影史是從 Roch Ethyn 製造並在 Imaginary Friends 大會巴哈馬 在 4 。 12月 1994 在14。 七月1981.
周定緯 維基百科，自由的百科全書 ~ 個人背景 畢業於高雄市立七賢國民小學、高雄市立五福國民中學、高雄市私立道明高級中學 高中部、淡江大學經營決策學系學士、健行科技大學經營管理碩士 2006年，參加「2006敢動百分百錢櫃星秀選拔賽」，周定緯一路從初賽晉級，最後於同年9月3日在娛樂百分百撥出的總決賽中，獲得冠軍，並
蘭迪德諾 維基百科，自由的百科全書 ~ 碼頭有酒吧、咖啡座、長廊商場及兒童露天馬戲團。碼頭兩旁有一系列的商店，售賣各種工藝品、草本藥物及紀念品等。夏天時值，於碼頭入口附近更會有龐趣與裘蒂（Punch and Judy），即英國始於1860年的傳統木偶劇表演。 大歐姆（Great Orme）
尊·華達斯 維基百科，自由的百科全書 ~ 1953年電影《 孤鳳奇緣 （ 英語 ： Lili ） 》激起了7歲的華達斯對木偶的興趣，並開始在為兒童的生日派對上演暴力版的「 潘趣和星夢女神：茱地嘉蘭 （ 英語 ： Punch and Judy ） 」。
聚碳酸酯 維基百科，自由的百科全書 ~ Howdeshell KL Peterman PH Judy BM Taylor JA Orazio CE Ruhlen RL Vom Saal FS Welshons WV Bisphenol A is released from used polycarbonate animal cages into water at room temperature Environmental Health Perspectives 2003 111 9 1180–7 20060607
娛樂 維基百科，自由的百科全書 ~ 故事可能不以文字形式存在，而透過音樂、舞蹈或木偶戲等形式流傳，例如由甘美蘭管弦樂隊伴奏的爪哇傳統哇揚皮影偶戲，或者類似的 潘趣和朱迪 （ 英語 ： Punch and Judy ） 表演。 史詩、詩歌、傳奇和寓言講述了這些扣人心弦的傳說，它們啟發了形形色色的
蝙蝠俠系列電影 維基百科，自由的百科全書 ~ 蝙蝠俠是dc漫畫出版動漫小說中的一個超級英雄，自誕生後先後出現在多部電影中。 首先是1940年代的兩個短片系列，分別是1943年的《蝙蝠俠》和1949年的《蝙蝠俠與羅賓》。 而首部出現蝙蝠俠的長片電影則是1966年的《蝙蝠俠》，該片是根據1960年代的同名電視劇集改編的，在電視劇中出演蝙蝠俠的
阿黛爾 維基百科，自由的百科全書 ~ 為了宣傳新專輯，阿黛爾踏上她的《 阿黛爾巡迴演唱會 （ 英語 ： Adele Live ） 》之旅，門票於北美售罊 。 2011年10月，阿黛爾因聲帶出血，被迫取消兩場巡迴演唱。同時她發表了聲明，指她需要休息一段長時間，避免她的聲音永久受損 。 期後她在11月的首個星期於波士頓的麻省總醫院接受激光顯微
約翰·狄克森·卡爾 維基百科，自由的百科全書 ~ 生平與作品 卡爾生於美國 賓州 聯合鎮（尤寧敦），父親曾任民主黨議員。 高中時課業表現平平，但已經開始熱中於推理方面的寫作。1931 年他於海外留學時，與英國女子克蕾兒·克利夫斯（Clarice Cleaves）結婚，並定居於英國，兩人共育有三子，之後才於 1948 年返回美國。
2011年電影列表 維基百科，自由的百科全書 ~ 此條目部分連結不符合格式手冊規範。 跨語言連結及章節標題等處的連結可能需要清理。 2015年12月13日請協助改善此條目。 參見wplinkstyle、wpmosiw以了解細節。 突出顯示跨語言連結可以便於檢查。
雅曼達·施菲 維基百科，自由的百科全書 ~ 在雅曼達施菲擔任模特兒時期，她曾經和蕾頓米絲特一起出現在如「Limited Too」等衣服品牌的廣告宣傳照上。 從她十七歲開始，她停止擔任模特兒， 同時在退休社區中擔任女服務生。 她上了許多發聲課程，也學習如何演唱，在她還是青少女時期就開始接受百老匯教練的訓練。然後她開始在帶狀戲劇
Tidak ada komentar:
Posting Komentar