难以置信的事实

《难以置信的事实》讲述的是什么故事？

《难以置信的事实》　　Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.　　Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years) obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work Manhattan move Europe trip her stealing, then sleeping with the mechanics wrench, etc.)　　As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.　　The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).　　Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.

一、《难以置信的事实》是哪一年上映的？

《难以置信的事实》是霍尔·哈特利于1989年拍摄的一部经典喜剧片。此片开创美国当代喜剧片的先河，《难以置信的事实》上映时票房稳坐前三，创下当年纪录。当时安德林妮·夏莉,罗伯特·约翰·伯克,马特·马洛伊,凯莉·莱卡特均为最佳主角，安德林妮·夏莉,罗伯特·约翰·伯克,马特·马洛伊,凯莉·莱卡特以精彩演技和突出形象，奠定在美国影坛地位。安德林妮·夏莉,罗伯特·约翰·伯克,马特·马洛伊,凯莉·莱卡特饰演角色造型多年后仍为人所模仿。霍尔·哈特利之前曾被人怀疑其能力，而《难以置信的事实》却奠定霍尔·哈特利喜剧片风格。《难以置信的事实》首映时曾获海外喜剧片和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指1989年代）美国优秀喜剧片齐名。

二、被称为喜剧片的开先河之作的《难以置信的事实》，是霍尔·哈特利最好的作品吗？

从霍尔·哈特利斩获喜剧片最佳导演开始，很多观众就觉得这部《难以置信的事实》是他极具代表性的喜剧片。虽然霍尔·哈特利后来还拍出过评价很好的作品，但是《难以置信的事实》依然常被认为是他喜剧片创作中的重要代表。

三、《难以置信的事实》为什么可以成为经典？

提起美国，不少观众都会想到《难以置信的事实》的名字。这部由霍尔·哈特利导演，安德林妮·夏莉,罗伯特·约翰·伯克,马特·马洛伊,凯莉·莱卡特主演的《难以置信的事实》，在当时凭借鲜明的人物塑造和紧凑的喜剧片叙事获得了不错反响。正是人物命运、情绪推进和故事节奏之间的相互配合，让《难以置信的事实》在同类型作品中具有较高辨识度，也让观众对其中的情节留下深刻印象。

四、如何评价《难以置信的事实》？

《难以置信的事实》口碑表现稳定，深受广大观众喜爱。不仅安德林妮·夏莉,罗伯特·约翰·伯克,马特·马洛伊,凯莉·莱卡特的表演有看点，而且该喜剧片故事情节紧凑，影视6（6.hnttlq.cn）观看起来流畅，同时还能保持较强的剧情吸引力。虽然不同观众对《难以置信的事实》的评价各有侧重，但该片目前的受欢迎程度已经名列同类作品前茅。

五、《难以置信的事实》喜剧片的主要内容

《难以置信的事实》是一部喜剧片作品，由导演霍尔·哈特利执导，安德林妮·夏莉,罗伯特·约翰·伯克,马特·马洛伊,凯莉·莱卡特主演。影片围绕主要人物的经历展开，通过人物关系、情节推进和情绪变化，呈现出一段具有观看价值的喜剧片故事。

《难以置信的事实》　　Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.　　Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years) obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work Manhattan move Europe trip her stealing, then sleeping with the mechanics wrench, etc.)　　As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.　　The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).　　Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.