《四重奏》是由知名导演詹姆斯·伊沃裏 执导的一部愛情片，阿蘭·貝茨 瑪吉·史密斯 伊莎貝爾·阿佳妮 安東尼 等倾情出演，该片讲述了：　　It h as bee n said that mos  t great t wentieth  century  novels include sce nes in  a hotel, a sympt om of the vast uprooting that has occurred in the last century: James I vory b egins Quartet wi th a   mont age of the hotels  of Montparnasse, a q uiet p relude before our introducti  on to t he viole ntly lost souls who  inhabit them.　　Ad   apted from the 19 28 autobiographical n ovel by Je an Rhys, Quartet   is the st ory of a  love quadrang le between a complicated young West Indi an woman  named  Marya (played by Isabelle Adjani), her husband Stefan (Anthony  Higg  ins), a  manipulat ive English art patr on named Hei dler  (Alan Bates), and his painter wife  Lois (Magg ie Smith). The fil  m is  set i n the   Golden A ge of Paris, Hemingway's " ;move able feast" of cafe cul ture and extravagant ni ghtlife, gli tter  and literati: yet underne ath is the outline of something sinister benea  th the po lished  brasses and brasseries. 　　When Marya& #39;s husband is  put in a Paris prison on ch arges o f selling sto   len art wo rks, she i s left indigent a nd is t aken in by Heidler and his wife: the predatory E nglish man (whose chara cter Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new   livi ng arrangem ent, a  nd Mary a finds herself in a st rangl ehold between husband and wife. Lovers alternately gravitate toward and are repelled b y ea ch other, n ow professing the ir love, now confessin g their brutal indiffe  rence -- all the while keeping up  appearanc   es.  The film explores the vast territory between the & quot;nice" and t he &quo t;good," b  etween ou  tward refinement and inner darkness: after one violent episode, Lois ask s Marya not  to s peak of it to the Par is crowd.  &quo t;Is that al l you're worried abou t?" demands an outraged Marya. " ;Yes," Lois rep lies with icy candor, "as a  matter of f act."　　A djani won the Best Actress award at Cannes f or her performanc es in Quartet: h er Marya is a volatile compoun d of F rench schoolgirl and scorned mistress, veering between  tremulous joy an d hysterical   outburs t. Smith shines in one of her most memorable rol es: she imbues  Loi s with a K atherine -of-Aragon impotent rage, as humil iated as she is powerless  in the fa ce of her husb and's choices.  Her interactions wi  th Bates are scenes from a  marriage that ha  s moved fro  m disillusionment to pale acceptance. 　　Ruth Prawer Jhabvala a nd James Ivory's scr eenplay uses R hys';s novel as a fo  undati on from which it co nstructs a worl d that is both true to the novel and disti nctive  in its o wn right, pai nting a society that has los t its inh ibiti ons and inadvertently lost its so ul. We  are taken  to m irrored cafes, then move  through the looking gl ass: Mar ya, in o ne s  cene, is offered a job as a model and t hen finds herself in a s adomasochistic pornogra pher';s s tudio. T he film, as  photographed by Pierre Lhom me, c reates thor oughly cinematic moments  that Rh y';s novel  could n ot have atte mpted:  in one of the Iv  ory's most memorable scen es,  a black Ame rica n chanteuse (extraordi narily played by   Armelia McQueen) entertains Pari sian patrons with a big and bra ssy jazz song, nei ther  subtle nor  elegant. Ivory ke eps the camera on the s inger 's act: there is s omet  hing in her un guarded smile that makes t he danger beneath Montparnasse manners s eem more acute.　　此时，球中的陆 灵蹊在小小的水镜中，清楚  地看到了外面的一切，她小  心地戳了戳蓝玉板上的另一个好像半圆的符文，腰间一股柔 力袭来，把她挤到一边， 一张好像全由小网织成的 东西，从两端连结到 到一起，看着……似乎是可 以躺的。