乖仔也疯狂

      美国的升学压力也好大呀。看tom的第一部电影是壮志凌云，在高中的课堂，是化学老师极力推介并放的，当时就被tom潇洒的样子所吸引了。这部他年轻时的片子也很棒，里边主人公的生活我想是每个少年都想拥有的吧，性体验、金钱、跑车、名校的录取通知书，还有一帮成天在一起的老友，一起胡闹，一起成长，太幸福了，以前我身边也有一帮整天在一起的朋友，可越长大发现真正的朋友越少了，到如今也就只有一两个了吧。  很喜欢这种熟悉的美国电影的风格，描写社区里的一帮无聊的少年做疯狂的事，tom这种美国式的青春偶像与我们的青春偶像差别很大，人家是极力表现得成熟，再看看我们的偶像剧里的男主们，只会倾其全力地耍贱，孩子气，还有那么多的女生喜欢，真受不了。  本以为电影会以悲剧结尾，年轻浪荡的公子哥挥霍完青春之后，不得不接受长大的事实，于是生活不再美好，主角无比悔恨，可是一切都已无法挽回...但导演太厚爱主角的了，完全给了他一个完美的结局，既抱得美人归，又拿到名校的录取通知书，真是羡煞旁人啊。电影终归是电影，现实里有太多的不近人意，尤其在我们这里要想有如此丰富的青春就更难了。让你看理想以安慰自己，也许这就是电影的意义吧。

危险的行业:神秘女郎拉娜 18.06.02https://movie.douban.com/review/9410162/ 配乐很棒,以前只记得阿汤哥跳舞那段,这次发现涉及情欲的暗潮涌动的配乐也很动人和撩人. lana的角色还是云里雾里.照片中,皮条经理和一个女孩似乎是姐弟关系,是viki?还是lana? 家居被偷又是怎么回事呢. 最后克鲁斯和lana对话.没有现金收不收支票的问题,又是什么含义? 借用剧中的旁白:她的想法总是那么奇特,没有内疚,没有疑惑,没有畏惧. 台词记录: 听我说,时长的,说说"去它的吧","去它的吧"给你带来自由,自由才有机会,而机会,改变你的未来. ====================== 我看过这部电影 2012-07-28 我的评价: 标签:汤姆·克鲁斯 青春 美国 美国电影 tomcruise 喜剧 1983 电影 Tom.Cruise 也许是30年历史的缘由，一部青春片子竟能有如此悠远的品味，怀念粗糙不做作的影视手法。

In Paul Brickman’s teen comedy RISKY BUSINESS, Joel Goodson (Cruise) is a diligent high schooler, who is actually seen swotting at home even during his parents’ absence, but abetted by his friend Miles (Armstrong), sometimes one simply needs to hang loose and pursue some sexual gratification, Joel contacts a call girl Lana (De Mornay), soon things start to get out of his control, it is easy to invite her in, but ask her to leave, that’s an entirely different matter. Sex and money make pat bedfellows in Brickman’s script, when Joel has an accident with his father’s Porsche (something is clearly off-limit for him, but even for a good boy, the temptation to flaunt is too hard to suppress), he is hurt for money to cover the repair cost, and Lana’s counsel of a one-night-only escort business is the quickest way to achieve that goal, as simple as that, the whole scheme operates swimmingly. Immersed in the contentment of Chicagoan suburbia and the typical American value of capitalism and materialism - Joel attends an extracurricular activity called “Future Enterprisers” to prepare students for opening small business, and in the event, the yardstick of their scholastic achievement is purely monetary gain, by that standard, Joel’s one-time bash at that particularly shady walk of life is head and shoulders above his competitors, the film shamelessly revels in the instant gratification that the killer combo can offer, and runs away with the unflinching male gaze (it is a heteronormative boy’s club), it is also alarming that in spite of Joel’s easy-earned profit is ultimately extorted by Lana’s pimp Guido (Pantoliano), yet, he is only slapped on the wrist for the mischief and even being accepted by the Princeton University, which speaks volumes of the whole overachieving value the society at large insidiously espouses, that is a questionable move. A 20-year-old Tom Cruise grabs this breakout opportunity with flying colors, an all-American teen throb is rolled out to market Ray-Ban Wayfarer, Porsche automobile and the call-girl fantasy, it is hard to imagine whoever else, among his peers, could’ve stepped in his shoes with more pizzazz, his dancing and lip-syncing in the tune of Bob Seger’s OLD TIME ROCK AND ROLL has become the iconic clip of teenage abandon. Ms. De Mornay has a trickier role to pull off, gratuitously sexualized and perpetually aloof and indecipherable, her Lana is the girlfriend experience with a canny mind, the optimum idealization of a straight man’s fantasy towards a working girl, whose predilection of making love on board a zipping Chicago “L” train summarizes the sign of the times: attention, speed and pleasure, of which RISKY BUSINESS pins its colors to the mast. referential entries: John Hughes’ FERRIS BUELLER’S DAY OFF (1986, 7.7/10); Olivia Wilde’s BOOKSMART (2019, 6.8/10).