A motion picture reconstructs the infamous Profumo scandal in UK, 1963, concerning the adultery between John Profumo, the then Secretary of the State in War of Harold Macmillan’s Conservative government, and a 19-year-old erotic dancer Christine Keeler, whose corollary directly cripples the Conservative Party’s cachet and mostly accounts for its rout by the Labor Party in the 1964 general election.
Directed by a first-timer, the Scottish Michael Caton-Jones, SCANDAL swerves its focal point from Profumo (played by a phlegmatic McKellen sporting a goofy bald haircut) to Keeler (Whalley) and her confidant Stephan Ward (Hurt), a hedonistic osteopath who spots her in the club and invites her to live with him, introduces her to manifold male personage, and encourages her to never say “no” to a dare, and puzzlingly he never puts any action to copulate with her throughout the whole affair.
What is the quiddity of the relationship between Keeler and Ward? As on multiple occasions, Keeler refutes “I’m not a prostitute and Ward is not my pimp”, yet their intimate but perversely chaste co-dependence tickles our curiosity, for that matter, SCANDAL wades into a rarer stretch of waters, to dissect a mutual limerence between a man and woman, without letting their libido steal the limelight, maybe Ward is impotent, his Freudian satisfaction can only be quenched by grooming her into a worldly minx, yet that is anybody’s guess. By comparison, the Keeler Affair, Christine’s courtesan-like swinging between various parties, from Profumo to Eugene Ivanov (Krabbé), the Soviet spy, only reveals to be a side dish of dalliances, which makes the aftermath even more staggeringly stinging.
In the end of the day, it is Ward who sits in the defendant’s seat as the whipping boy after all his so-called friends uniformly leave him in the lurch as soon as the wind changes, Profumo remains scot-free after his resignation, Keeler’s court testimony has no weight with her naive affection, the merciless interpersonal betrayal acts as the last straw weighing down on Ward’s disillusion and world-weariness. If that is the tenor behind the whole project, the outcome is well produced.
Ribald in its imagery (as per the standard for a UK picture), but less confident in organizing a coherently sensuous exposé, SCANDAL feels leaden in the ambience and occasionally stilted in the unraveling (political agenda, upper crust depravity, is all scratched on the surface only), although the cast is more than average, Hurt is amiable in general but also can let up inner turbulence with expressions only; Bridget Fonda nails the British accent as a more men-savvy glamor puss who is craving for any chink of spotlight, and Whalley, the ex-Mrs. Val Kilmer, as alluring as she is, is visibly on the wrong side of 20, too sophisticated to pass for an ingénue who is clueless in placating her warring, jealous man friends, infantilized only for her sexual appeal, judging by that, SCANDAL’s saucy subject matter sorely needs a rejiggering.
referential entries: Steven Soderbergh’s SEX, LIES AND VIDEOTAPES (1989, 7.3/10); Neil Jordan’s MONA LISA (1986, 7.1/10).
A motion picture reconstructs the infamous Profumo scandal in UK, 1963, concerning the adultery between John Profumo, the then Secretary of the State in War of Harold Macmillan’s Conservative government, and a 19-year-old erotic dancer Christine Keeler, whose corollary directly cripples the Conservative Party’s cachet and mostly accounts for its rout by the Labor Party in the 1964 general election.
Directed by a first-timer, the Scottish Michael Caton-Jones, SCANDAL swerves its focal point from Profumo (played by a phlegmatic McKellen sporting a goofy bald haircut) to Keeler (Whalley) and her confidant Stephan Ward (Hurt), a hedonistic osteopath who spots her in the club and invites her to live with him, introduces her to manifold male personage, and encourages her to never say “no” to a dare, and puzzlingly he never puts any action to copulate with her throughout the whole affair.
What is the quiddity of the relationship between Keeler and Ward? As on multiple occasions, Keeler refutes “I’m not a prostitute and Ward is not my pimp”, yet their intimate but perversely chaste co-dependence tickles our curiosity, for that matter, SCANDAL wades into a rarer stretch of waters, to dissect a mutual limerence between a man and woman, without letting their libido steal the limelight, maybe Ward is impotent, his Freudian satisfaction can only be quenched by grooming her into a worldly minx, yet that is anybody’s guess. By comparison, the Keeler Affair, Christine’s courtesan-like swinging between various parties, from Profumo to Eugene Ivanov (Krabbé), the Soviet spy, only reveals to be a side dish of dalliances, which makes the aftermath even more staggeringly stinging.
In the end of the day, it is Ward who sits in the defendant’s seat as the whipping boy after all his so-called friends uniformly leave him in the lurch as soon as the wind changes, Profumo remains scot-free after his resignation, Keeler’s court testimony has no weight with her naive affection, the merciless interpersonal betrayal acts as the last straw weighing down on Ward’s disillusion and world-weariness. If that is the tenor behind the whole project, the outcome is well produced.
Ribald in its imagery (as per the standard for a UK picture), but less confident in organizing a coherently sensuous exposé, SCANDAL feels leaden in the ambience and occasionally stilted in the unraveling (political agenda, upper crust depravity, is all scratched on the surface only), although the cast is more than average, Hurt is amiable in general but also can let up inner turbulence with expressions only; Bridget Fonda nails the British accent as a more men-savvy glamor puss who is craving for any chink of spotlight, and Whalley, the ex-Mrs. Val Kilmer, as alluring as she is, is visibly on the wrong side of 20, too sophisticated to pass for an ingénue who is clueless in placating her warring, jealous man friends, infantilized only for her sexual appeal, judging by that, SCANDAL’s saucy subject matter sorely needs a rejiggering.
referential entries: Steven Soderbergh’s SEX, LIES AND VIDEOTAPES (1989, 7.3/10); Neil Jordan’s MONA LISA (1986, 7.1/10).
这个就是英国政治圈内，著名的普罗富莫丑闻事件，因为是政界集体性的丑闻
最终导致麦克米伦政府的下台。
迈克尔.卡顿.琼斯的电影，拍的就是这段历史。
该片根据英国历史上著名的政治丑闻，“普佛墨丑闻”改编，玩得挺大，国防部长辞职……保守党因此失去执政权。其实，上层社会怎么玩，大家都懂，大人物们惹出事来，拔D无情是肯定的。就别去追究他们的谎言与虚伪了。沃德医生作为一个资深政治掮客(皮条客)，他的错误就是没有好好培训(指出这一行的行规和关键点)，并疏于管理克里斯汀的生活及朋友圈，这也是出事的主因之一；而克里斯汀十八岁、没文化、年轻貌美、爱慕虚荣、不甘寂寞、贪玩任性、自私愚蠢(她的所作所为，导演就差把愚蠢两个字印在她脑门上了)……看不清事物的本质，出了事只会责怪别人，从来不是自我反省，这种人摔跟头吃亏出事是必然的。明明是“婊子无情戏子无义”，关键时刻甩锅叛变，最终只能是害人害己；可最令人不解的是，明明沾上她就是个大麻烦，影片中对男女主角关系的叙述却不乏温情，实在是生拉硬拽故意装睡，让人困惑。影片尺度挺大，分数低了。
传记zhengzhi丑闻爱情片。男主是一个zhengzhi掮客，专门在夜场寻找美丽女孩去介绍给高官显贵获取政治资本纵情玩乐。但是因为冷落了女主，被女主将丑闻通过报纸公之于众，结局保守党的一大帮政要都身陷丑闻，导致了英国最大的xing丑闻案，保守党也随之下台。纪实影片，基本反映当时情况，发挥不多，时间有点长。
男主是个治背痛的医生，认识很多达官显贵。他常常去一些夜场物色一些年轻貌美的女子，用来介绍给达官显贵，赚取政治资本，纵情玩乐。一次他在众多夜场女子中看中了一个女子，美艳动人，艳压全场，她追求她，然后带她进出一些达官显贵参加的夜场，将女子介绍给那些达官显贵。女主也很争气，施展自己的媚功将那些达官贵人迷得晕头转向，三魂丢了两魄，几乎天天有人邀约，有时这个才送走，那个又来了，几乎都没有空闲。但是女主接待的国防部长，疑心比较重，老觉得女主邻居在窥视他，于是他要求为女主安排住处，便于两个人幽会。女主不愿意离开男主，所以和国防部长闹崩了。很快她又开始吸大麻，为了获得大麻，她竟然成了贩大麻黑人的女友，还接交了一个黑人小伙。因为争风吃醋，贩大麻的黑人和黑人小伙大打出手。黑人小伙还跑去男主房子那里开枪撞门，结果引来了很多记者。男主生气了，因为他这种政治掮客最怕曝光，所以男主在大雨中让女主下车。女主在绝望中遇到了一个报纸的记者，说出了所有的丑闻，报纸刊登后，保守党被口诛笔伐，受到公众的质疑，产生了信任危机。虽然身陷丑闻的政府官员毅然否认一切，但是还是经不起媒体、公众的围追堵截，最后只得以辞职告终。警方也开始调查男主是否通敌，在警方的严词审问下，男主不堪重负，自杀了。保守党也因为丑闻下台了。
女主真心很像玛丽莲梦露，我还以为是说女主和尼克松的故事，最后会被暗杀，结果女主活了下来，男主却不堪重负死去了，蛮感慨的。女主很美，就是什么都没看到。身材也不错。那些政府官员真是满嘴谎话，明明贪恋女主，日日寻欢，却在丑闻暴露后否认一切，真是不要脸。不过zhengzhi就是这么黑暗的，看似光鲜，其实就是肮脏不堪，非一般人可以认清的。
《丑闻》。7分。
迈克尔·卡顿-琼斯导演，约翰·赫特、琼妮·威利主演作品。
这真是一个绝佳的好故事啊，可惜不知道什么原因，导演并没有拍出它的剧情，它的悬疑，它的惊悚，它的风情和浪漫。而反而像一个游走在边缘的人一样，或近或远或轻或重的把这个历史上非常著名的英伦“丑闻”搬了出来。
影片根据英伦历史上著名的普佛墨丑闻改编。
约翰·赫特饰演一位盛名的骨痛医生沃德，他的兴趣爱好并不在医术，而反而在夜场。一日他在街头发现琼妮·威利饰演的夜场歌女克丽丝，瞬间被迷住而展开追求。但奇怪的是，他的目的并非性爱，而反而是利用克丽丝的千娇百媚，拱手把她送进了其他人的怀抱。这些人有英当局国防部长，以及俄罗斯人。
克丽丝也很奇怪，她一方面爱着沃德，一方面又并不介意和这些大人物来往赚取金钱；甚至还迷上了大麻，并因此交上了黑人男友。
这种过分引起了沃德的不满，他俩在大雨中分手的当夜，克丽丝把这些事全部告诉了记者……
故事其实十分精彩，但导演编排故事的能力实在欠佳，而更迷惑的是，沃德和克丽丝，他们的动机到底是什么？直到沃德服安眠药死去，都没有交代。