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天猫遭格兰仕起诉

 来源:点融网  金虎六肖

  

  Vilvoorde, Belgium — Lily Collins, dressed in a mud-colored linen shift, tried to hide the small piece of jewelry she had crafted, as a hatchet-faced factory supervisor approached.

  The camera moved in for a close-up of her pale, anxious face. “Sorry, Lily, just one more time,” said Tom Shankland, the director of the new adaptation of “Les Misérables,” a coproduction with BBC and PBS’s Masterpiece. “Listen, my deathbed scene was on Day 2,” said Ms. Collins, who was playing the ill-fated Fantine. “It’s all uphill at this point.”

  There is not much that’s looking up for any character in Victor Hugo’s epic 1862 novel “Les Misérables,” which has provided the subject matter for dozens of theater, television and film adaptations, most famously the blockbuster musical that zillions of fans affectionately call “Les Miz.”

  But this six-part television adaptation, which first aired in Britain from December to February and arrives on Masterpiece on Sunday, might come as a surprise to those who only know the musical. This version hews much more closely to Hugo’s book, a five-volume, 365-chapter novel that over the course of its complex plot explores history, law, politics, religion and ideas about justice, guilt and redemption. Set in a grimly realist France, its abundant starving poor and oppressed are entirely disconnected from the wealthy classes. (The aptly dreary set here, in a dilapidated, gloomy former prison, might as well have sported a sign saying “Likely to Perish Within.”)

  Unsurprisingly, the musical, which got a lavish Hollywood adaptation in 2012, focuses mainly on the central characters and plot lines. “I thought the musical a very feeble representation of the book,” said Andrew Davies (“Bridget Jones’s Diary,” “War and Peace”), who wrote the screenplay for the new series. “It very much reinforced my idea that we needed a proper, old-fashioned long-form television adaptation.”

  The story (skip ahead if you are one of the millions who have seen a previous incarnation) begins with Jean Valjean (played here by Dominic West), a peasant who has almost finished his sentence of 19 years hard labor for stealing a loaf of bread for his starving relatives. Brutalized by his jail time, he is transformed through an act of kindness, and becomes a wealthy and respected citizen, with a new identity. When he discovers that one of his former factory workers, Fantine, has become destitute after being fired, he adopts her daughter, Cosette, who is living with the evil Thenardiers (Olivia Colman and Adeel Akhtar in the series).

  Pursued over the years by his former jailer Javert (David Oyelowo), a police officer obsessed with bringing the former criminal to justice, Valjean raises Cosette (Ellie Bamber) who eventually falls in love with Marius (Josh O’Connor), a student taking part in the revolution against the monarchy in the June Rebellion of 1832.

  Let’s just say that very few characters get a happy ending.

  “I think we managed to include everything that was really important,” Davies said, adding that he had streamlined some of the narrative’s twists and turns, notably Valjean’s repeated returns to and escapes from prison, and Javert’s uncanny reappearances wherever Valjean is to be found. “I think this has made it feel less improbable and more believable in modern terms,” he said.

  In a series of conversations, Davies, Shankland and a few of the principal actors talked about three important aspects of the mini-series that set it apart from the musical. Here are edited excerpts.

  DOMINIC WEST The first question is obviously, what is Javert’s problem? Why is he so obsessed with Valjean? You do wonder what’s going on there, and we sort of hinted at it in one glance where I am naked in front of him when [Valjean] is released from the prison hulks. It always helps to bring things down to love and sex, and I think there is a homoerotic thing going on, perhaps the love of the jailer for his prisoner. It’s a modern, reductionist view to bring it down to that, and we didn’t emphasize it. But it’s there.

  That they are alter egos, in a way, was the biggest clue to why Valjean felt so guilty, so unworthy. I realized that anyone who is brutalized and treated like an animal eventually becomes that. Valjean’s belief that he doesn’t deserve anyone’s love in the real world is central to his sense of self, and that is an important political point. Javert believes criminals are born that way, and Valjean is evidence that criminals are products of their environments.

  DAVID OYELOWO My first interaction with “Les Mis” was with the musical, and when I read Andrew Davies’s script, it seemed very apparent that I could bring real layering and complexity to this character, who in the musical is a much more one-dimensional villain. I suddenly understood this man, born to criminal parents in a prison and filled with loathing for that world. It became apparent to me that he had transposed a side of himself onto Jean Valjean, and needed to destroy that part of himself he saw there. You need six hours of television to explore that complex idea!

Oppression and Politics

  TOM SHANKLAND I am one of the few people in the universe who wasn’t really aware of the musical and the story, beyond the posters. When I read the script and novel, I really got a sense that this was a story of revolution, of social injustice, about people who felt disenfranchised. I wanted to find a way to interpret the story in a way that felt respectful to Hugo, but also politically relevant. It has wonderfully big moral questions: What does it mean to be good in a cruel world? What is meaningful action?

  Drawings from the period — etchings of that revolution and others, images of urban warfare — were important in creating visual imagery, but I also drew from my memory of the 2011 London riots, and from the gilet jaunes in Paris. I didn’t want it to be just big images of the barricades, and I didn’t want it to be stiff and costume drama-y. There is nothing romantic or picturesque about those experiences; they are frightening and chaotic.

  OYELOWO Hugo shows the fragility of the class system so well. Fantine starts off just above the underclass and falls catastrophically. Javert is the reverse, rising to prison officer and policeman, forcing his way up through the social hierarchy, but always feeling precarious. This idea of the fragility of many people’s social and economic positions feels very relevant today. In our society, the gaps between the haves and the have-nots is widening and people’s lives can be stripped away, just as they are in this story.

The Dark Side

  LILY COLLINS There are parts of each character’s story line in “Les Misérables” that doesn’t get into film versions or the musical, because there just isn’t time. A song lyric can try to tell the story in one line, but here we show Fantine’s early life, how she falls in love, is deceived and has a baby. That makes her fate all the harder because we have discovered that side of her life, her trusting and joyous personality.

  We shot my death scene first. I did a lot of research about what France would have been like for women at that time. What were the diseases, the symptoms of the disease she might have died from, what that would look like for filming. It was pretty grim, especially the scene when her teeth are pulled out because she is selling them for money for her child. It really made me push myself and find out what I could withstand physically and emotionally.

  WEST I hadn’t seen Valjean played as initially completely unredeemable in other versions of the novel. I wanted to really show that brutal, callous side that Hugo depicts, and we wanted to make his leap from that to romantic hero as big as possible. That really gets your pulse going as an actor. In a way, I went back to my childhood. I wasn’t a street urchin, but I was a fairly coarse Yorkshire kid, and I tapped into that. In the same way, the Thenardiers are usually treated in a more comic vein, but they are really evil. It’s interesting and remarkable that the novel hasn’t been treated in this kind of depth for a very long time.

  DAVIES The series ends with an image of two little boys, who we have seen begging earlier, and who Gavroche, a street urchin, takes under his wing. Gavroche is killed, and the little boys are still begging at the end, as a reminder to the audience that although the story ends happily for some, the suffering and brutality goes on.

B:

  

  金虎六肖【半】【个】【月】【的】【时】【间】【眨】【眼】【而】【过】。 【八】【月】【中】【旬】【的】【一】【天】【晌】【午】,【正】【在】【修】【炼】【的】【众】【人】【突】【然】【感】【觉】【天】【空】【变】【暗】。 “【那】【是】【什】【么】【啊】?” 【张】【苞】【听】【到】【房】【外】【众】【人】【的】【惊】【呼】【声】【后】【连】【忙】【走】【出】【房】【抬】【头】【望】【去】,【眼】【前】【的】【一】【幕】【彻】【底】【把】【张】【苞】【给】【震】【住】【了】! 【张】【苞】【看】【到】【一】【艘】【巨】【大】【的】【船】【悬】【浮】【在】【江】【陵】【城】【上】【空】。 【他】【放】【眼】【能】【看】【到】【的】【只】【有】【船】【底】,【连】【船】【身】【都】【看】【不】【到】,【船】【底】【呈】【现】【棕】

【师】【诗】【无】【法】,【只】【能】【跟】【了】【上】【去】,【然】【而】【下】【一】【瞬】,【她】【还】【没】【有】【反】【应】【过】【来】,【就】【见】【萧】【恒】【突】【然】【之】【间】【转】【过】【身】【来】,【他】【轻】【轻】【将】【师】【诗】【往】【自】【己】【身】【前】【一】【带】,【然】【后】【就】【非】【常】【自】【如】【的】,【将】【自】【己】【手】【中】【的】【一】【块】【月】【白】【色】【的】【玉】【石】【象】【牙】,【戴】【在】【了】【师】【诗】【的】【脖】【子】【上】。 【修】【长】【纤】【细】【的】【脖】【颈】【十】【分】【柔】【软】,【陪】【着】【月】【白】【色】【的】【象】【牙】,【十】【分】【相】【得】【益】【彰】。 【师】【诗】【在】【萧】【恒】【的】【动】【作】【之】【下】,【一】【个】【猝】【不】

【浩】【瀚】【无】【垠】【的】【宇】【宙】,【各】【式】【的】【天】【体】【按】【照】【各】【自】【的】【轨】【迹】【运】【行】【着】,【周】【而】【复】【始】【了】【亿】【万】【年】,【而】【且】【它】【们】【还】【将】【继】【续】【这】【样】【循】【环】,【直】【至】【永】【恒】 【但】【突】【然】【的】【某】【一】【天】,【宇】【宙】【的】【某】【处】,【黑】【暗】【悄】【然】【苏】【醒】,【张】【开】【它】【漆】【黑】【的】【爪】【牙】【向】【四】【周】【蔓】【延】,【逐】【渐】【将】【周】【围】【的】【星】【域】【吞】【噬】 【而】【方】【舟】【似】【乎】【在】【看】【着】【这】【黑】【暗】,【与】【此】【同】【时】,【黑】【暗】【也】【看】【到】【了】【它】,【当】【即】【张】【开】【漆】【黑】【的】

  【可】【现】【在】【说】【什】【么】【都】【晚】【了】。 【白】【天】【姿】【恨】【顾】【今】【入】【骨】,【如】【果】【不】【是】【顾】【今】,【她】【不】【会】【中】【招】! 【可】【对】【顾】【今】【下】【手】【太】【难】【了】,【她】【盯】【梢】【这】【么】【多】【天】,【也】【才】【找】【到】【这】【么】【一】【次】【机】【会】【而】【已】,【竟】【然】【还】【被】【顾】【今】【看】【破】【了】! 【可】【她】【就】【是】【想】【不】【明】【白】,【为】【什】【么】【呢】?【两】【次】【了】,【都】【只】【是】【一】【杯】【酒】【而】【已】,【顾】【今】【为】【什】【么】【非】【要】【死】【咬】【着】【不】【放】、【警】【惕】【性】【十】【足】?! 【白】【天】【姿】【自】【然】【不】【会】【想】【到】金虎六肖【梁】【夏】【回】【过】【神】【来】【道】:“【我】【决】【定】【谁】【也】【不】【杀】,【我】【们】【到】【那】【个】【落】【脚】【点】【便】【下】【去】,【利】【用】【所】【娑】【昆】。” 【刀】【疤】【男】:“【你】【想】【清】【楚】【了】【吗】?【他】【知】【道】【你】【不】【可】【告】【人】【的】【秘】【密】。” 【梁】【夏】【笑】【道】:“【你】【不】【也】【同】【样】【知】【道】【了】【我】【不】【可】【告】【人】【的】【秘】【密】,【我】【若】【杀】【了】【他】,【岂】【不】【是】【也】【要】【把】【你】【给】【杀】【了】。” 【小】【黑】【担】【忧】【声】【在】【脑】【海】【里】【响】【起】:“【梁】【夏】,【你】【真】【要】【想】【清】【楚】【了】。” 【梁】【夏】

  【正】【前】【方】【的】【舞】【台】【上】【乐】【队】【演】【奏】【结】【束】,【主】【持】【人】【上】【台】【宣】【布】【活】【动】【即】【将】【正】【式】【开】【始】。 【经】【销】【商】【们】【被】【安】【排】【到】【了】【一】【起】,【文】【洛】【只】【身】【前】【来】,【同】【桌】【的】【基】【本】【都】【是】【同】【行】,【同】【行】【之】【间】【的】【心】【理】【活】【动】【实】【在】【是】【太】【丰】【富】【了】。【从】【有】【人】【投】【来】【善】【意】【的】【微】【笑】【开】【始】,【先】【是】【一】【句】:“【您】【好】,【我】【是】A【品】【牌】,【请】【问】【你】【是】【哪】【个】【厂】【家】【的】?” 【接】【下】【来】【便】【是】【一】【系】【列】【复】【杂】【的】【心】【理】【活】【动】:【啊】,

  “【根】【据】【我】【们】【探】【子】【所】【得】【的】【消】【息】,【魏】【国】【新】【军】【分】【为】:【重】【甲】【双】【重】【魔】【法】【阵】【先】【锋】【营】、【双】【重】【魔】【法】【阵】【冲】【锋】【骑】【兵】【营】、【强】【化】【长】【枪】【兵】【阵】【营】、【魔】【法】【红】【衣】【大】【炮】【阵】【营】、【机】【甲】【攻】【城】【营】【和】【魔】【法】***【手】【营】,【以】【及】【旧】【式】【的】【精】【英】【步】【兵】【和】【敢】【死】【队】【等】【多】【种】【部】【队】。”【一】【个】【王】【国】【的】【情】【报】【官】【拿】【着】【收】【集】【来】【的】【魏】【国】【军】【队】【种】【类】【情】【报】【正】【在】【反】【魏】【同】【盟】【的】【作】【战】【会】【议】【上】【做】【报】【告】【道】:“【双】【重】【魔】【法】

  【钟】【离】【玉】【有】【点】【尴】【尬】,【偏】【过】【头】【去】【又】【看】【看】【其】【他】【的】【地】【方】,【等】【转】【过】【头】【的】【时】【候】,【看】【到】【的】【一】【幕】【却】【差】【点】【让】【她】【心】【肌】【梗】【塞】。 【小】【男】【孩】【双】【手】【聚】【在】【一】【起】,【渐】【渐】【发】【出】【淡】【蓝】【色】【的】【光】,【眸】【中】【有】【一】【丝】【得】【意】【的】【笑】。 【他】【要】【干】【什】【么】?!【要】【施】【法】【吗】?【为】【什】【么】【要】【施】【法】?【因】【为】【看】【不】【惯】【西】【海】【龙】【王】【吗】?!!【她】【也】【看】【不】【惯】【呀】……【但】【是】!【那】【好】【歹】【怎】【么】【说】【也】【是】【西】【海】【龙】【王】【呀】!!!

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