绿苑春浓 HD中字版

分类：喜剧片 地区：英国年份：1960

主演：加利·格兰特,黛博拉·蔻儿,罗伯特·米彻姆,简·西蒙斯,Moray,Watson,Joan,Ben..

导演：斯坦利·多南

更新：2023-03-09 11:20

简介：讲述一位没落的英国贵族将其王府开放供人观光谋利，不料他的妻..讲述一位没落的英国贵族将其王府开放供人观光谋利，不料他的妻子却被一名美国富豪游客勾引，成为他的爱情俘虏。贵族采取以退为进的怀柔手段，终于挽回了行将破裂的婚姻。{if:"

A successful play from Hugh Williams and Margaret Vyner in London’s West End, inevitably a cinematic adaption is actualized, starring a quartet bankable names of the first water and THE GRASS IS GREENER is a Stanley Donen vehicle.

The Earl and Countess of Rhyall, Victor and Hilary (Grant and Kerr) have to resort to side hustles like selling mushrooms and permitting guided tours of their palatial mansion, to keep their aristocratic expenditure afloat, and after sending their children away for the opening day of the guided tour (hinting that no drawing-room propriety is in the offing), Victor will soon realize its pecuniary gain is not worth it at all, as one of the tourist, the American oil tycoon Charles Delacro (Mitchum), swimmingly sweeps Hilary of her feet, to the point that the two share a compulsive kiss merely 20 minutes into their first glance.

Charles and Hilary’s coup de foudre extends over the visiting hours, and when Hilary casually mentions that she intends to attend to her coiffure in London, while being entirely cognizant of her veiled motive to meet Charles there, Victor offers no objection, and one week later, he even invites Charles to their mansion for a weekend gathering, also present is Hattie Durant (Simmons), an American heiress who is Hilary’s best friend and Victor’s old flame, who sees the opportunity to insinuate herself into the household now that Hilary’s adultery is out in the open, only she wishes!

A chamber piece mostly takes place inside an opulent, authentic manor (including a cockamamie duel scene, nonetheless!) and boasts regal fineries for its quartet performers (those bowties, gowns, headwear, millinery and jewelry), THE GRASS IS GREENER is essentially a tongue-in-cheek farce about a respectable wife’s blatant affair and her equally respectable husband’s unorthodox countermove, all hemmed within the parameters of typified Britishness, staid, assertive but also self-consciously contradictory and humorous, whether it is a cuckolded husband’s resignation of his wife’s amatory emancipation toward another man, or a cunningly deployed scheme to gain the upper hand (to take a bullet in the arm with a stiff upper lip is a prerequisite), or a mint coat is all a woman needs to die for.

Occasionally Donen also surprises us with entrancing visual flair, like juxtaposing the almost identical reactions and conversations of the two parties at the ends of a telephone call, but underneath all its silk-stocking fluffy facade, the story’s liberal stance on matrimony, coruscating sophistication, hazy innuendos and droll exuberance are all over the place amid its fast-paced verbiage.

Accent aside, Grant’s star-spangle assurance is not particularly British, but he reels off the dialog with particular élan and his usuall nonchalance, athwart an arrogant but suave Mitchum, who has not an inkling of trepidation to court a married woman and is not deterred from any pretense of rejection; a flirtatious Simmons, who can pull off an open face to be quizzical over whether “primitive” is complimentary or not; and a demure but wholly unbridled Kerr, for once, shucking off her ladylike formality to something more unconventional, yet she demands respect and amazement from everyone else, between mushrooms and a mint coat, you can always rely on her to make the right choice; rounding out the cast is Trevor Sellers (Watson, the sole holdover from the original play), the butler who insists on deducting his wages to tide over his employer, and turns out to have many strings to his bow, even if writing a novel is not the right vocation.

referential entries: Donen’s CHARADE (1963, 8.1/10); Leo McCarey’s AN AFFAIR TO REMEMBER (1957, 8.4/10).

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A successful play from Hugh Williams and Margaret Vyner in London’s West End, inevitably a cinematic adaption is actualized, starring a quartet bankable names of the first water and THE GRASS IS GREENER is a Stanley Donen vehicle.

The Earl and Countess of Rhyall, Victor and Hilary (Grant and Kerr) have to resort to side hustles like selling mushrooms and permitting guided tours of their palatial mansion, to keep their aristocratic expenditure afloat, and after sending their children away for the opening day of the guided tour (hinting that no drawing-room propriety is in the offing), Victor will soon realize its pecuniary gain is not worth it at all, as one of the tourist, the American oil tycoon Charles Delacro (Mitchum), swimmingly sweeps Hilary of her feet, to the point that the two share a compulsive kiss merely 20 minutes into their first glance.

Charles and Hilary’s coup de foudre extends over the visiting hours, and when Hilary casually mentions that she intends to attend to her coiffure in London, while being entirely cognizant of her veiled motive to meet Charles there, Victor offers no objection, and one week later, he even invites Charles to their mansion for a weekend gathering, also present is Hattie Durant (Simmons), an American heiress who is Hilary’s best friend and Victor’s old flame, who sees the opportunity to insinuate herself into the household now that Hilary’s adultery is out in the open, only she wishes!

A chamber piece mostly takes place inside an opulent, authentic manor (including a cockamamie duel scene, nonetheless!) and boasts regal fineries for its quartet performers (those bowties, gowns, headwear, millinery and jewelry), THE GRASS IS GREENER is essentially a tongue-in-cheek farce about a respectable wife’s blatant affair and her equally respectable husband’s unorthodox countermove, all hemmed within the parameters of typified Britishness, staid, assertive but also self-consciously contradictory and humorous, whether it is a cuckolded husband’s resignation of his wife’s amatory emancipation toward another man, or a cunningly deployed scheme to gain the upper hand (to take a bullet in the arm with a stiff upper lip is a prerequisite), or a mint coat is all a woman needs to die for.

Occasionally Donen also surprises us with entrancing visual flair, like juxtaposing the almost identical reactions and conversations of the two parties at the ends of a telephone call, but underneath all its silk-stocking fluffy facade, the story’s liberal stance on matrimony, coruscating sophistication, hazy innuendos and droll exuberance are all over the place amid its fast-paced verbiage.

Accent aside, Grant’s star-spangle assurance is not particularly British, but he reels off the dialog with particular élan and his usuall nonchalance, athwart an arrogant but suave Mitchum, who has not an inkling of trepidation to court a married woman and is not deterred from any pretense of rejection; a flirtatious Simmons, who can pull off an open face to be quizzical over whether “primitive” is complimentary or not; and a demure but wholly unbridled Kerr, for once, shucking off her ladylike formality to something more unconventional, yet she demands respect and amazement from everyone else, between mushrooms and a mint coat, you can always rely on her to make the right choice; rounding out the cast is Trevor Sellers (Watson, the sole holdover from the original play), the butler who insists on deducting his wages to tide over his employer, and turns out to have many strings to his bow, even if writing a novel is not the right vocation.

referential entries: Donen’s CHARADE (1963, 8.1/10); Leo McCarey’s AN AFFAIR TO REMEMBER (1957, 8.4/10).

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A successful play from Hugh Williams and Margaret Vyner in London’s West End, inevitably a cinematic adaption is actualized, starring a quartet bankable names of the first water and THE GRASS IS GREENER is a Stanley Donen vehicle.

The Earl and Countess of Rhyall, Victor and Hilary (Grant and Kerr) have to resort to side hustles like selling mushrooms and permitting guided tours of their palatial mansion, to keep their aristocratic expenditure afloat, and after sending their children away for the opening day of the guided tour (hinting that no drawing-room propriety is in the offing), Victor will soon realize its pecuniary gain is not worth it at all, as one of the tourist, the American oil tycoon Charles Delacro (Mitchum), swimmingly sweeps Hilary of her feet, to the point that the two share a compulsive kiss merely 20 minutes into their first glance.

Charles and Hilary’s coup de foudre extends over the visiting hours, and when Hilary casually mentions that she intends to attend to her coiffure in London, while being entirely cognizant of her veiled motive to meet Charles there, Victor offers no objection, and one week later, he even invites Charles to their mansion for a weekend gathering, also present is Hattie Durant (Simmons), an American heiress who is Hilary’s best friend and Victor’s old flame, who sees the opportunity to insinuate herself into the household now that Hilary’s adultery is out in the open, only she wishes!

A chamber piece mostly takes place inside an opulent, authentic manor (including a cockamamie duel scene, nonetheless!) and boasts regal fineries for its quartet performers (those bowties, gowns, headwear, millinery and jewelry), THE GRASS IS GREENER is essentially a tongue-in-cheek farce about a respectable wife’s blatant affair and her equally respectable husband’s unorthodox countermove, all hemmed within the parameters of typified Britishness, staid, assertive but also self-consciously contradictory and humorous, whether it is a cuckolded husband’s resignation of his wife’s amatory emancipation toward another man, or a cunningly deployed scheme to gain the upper hand (to take a bullet in the arm with a stiff upper lip is a prerequisite), or a mint coat is all a woman needs to die for.

Occasionally Donen also surprises us with entrancing visual flair, like juxtaposing the almost identical reactions and conversations of the two parties at the ends of a telephone call, but underneath all its silk-stocking fluffy facade, the story’s liberal stance on matrimony, coruscating sophistication, hazy innuendos and droll exuberance are all over the place amid its fast-paced verbiage.

Accent aside, Grant’s star-spangle assurance is not particularly British, but he reels off the dialog with particular élan and his usuall nonchalance, athwart an arrogant but suave Mitchum, who has not an inkling of trepidation to court a married woman and is not deterred from any pretense of rejection; a flirtatious Simmons, who can pull off an open face to be quizzical over whether “primitive” is complimentary or not; and a demure but wholly unbridled Kerr, for once, shucking off her ladylike formality to something more unconventional, yet she demands respect and amazement from everyone else, between mushrooms and a mint coat, you can always rely on her to make the right choice; rounding out the cast is Trevor Sellers (Watson, the sole holdover from the original play), the butler who insists on deducting his wages to tide over his employer, and turns out to have many strings to his bow, even if writing a novel is not the right vocation.

referential entries: Donen’s CHARADE (1963, 8.1/10); Leo McCarey’s AN AFFAIR TO REMEMBER (1957, 8.4/10).

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