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更新時(shí)間：2024-04-11 16:45
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George Peppard plays a hard-driven industrialist more than a little reminiscent of Howard Hughes.
While he builds airplanes, directs movies and breaks hearts, his friends and lovers try to reach his human side, and find that it's an uphill battle.
The film's title is a metaphor for self-promoting tycoons who perform quick financial takeovers, impose dictatorial controls for short-term profits, then move on to greener pastures.
The Carpetbaggers is the kind of trashy classic most people were too embarrassed to admit they enjoyed back in the early 60s.
But this Harold Robbins adaptation is so cheerfully vulgar, it's hard not to have a good time - especially given the thinly veiled portrait of Howard Hughes at its center. George Peppard plays the heel-hero, who founds an airline company in the 1920s and buys a movie studio in the 1930s, crushing friends and mistresses along the way.
The high cheese factor is aided by the good-time cast: Carroll Baker as Peppard's hot stepmom, Bob Cummings (quite funny) as a cynical agent, and Elizabeth Ashley, who married Peppard, in her debut -uncharacteristically, as a good girl.
One sad note is Alan Ladd, looking and sounding very end-of-the-line in his final role, as a man's man cowboy star.
Elmer Bernstein's swaggering score helps goose the action along.
While he builds airplanes, directs movies and breaks hearts, his friends and lovers try to reach his human side, and find that it's an uphill battle.
The film's title is a metaphor for self-promoting tycoons who perform quick financial takeovers, impose dictatorial controls for short-term profits, then move on to greener pastures.
The Carpetbaggers is the kind of trashy classic most people were too embarrassed to admit they enjoyed back in the early 60s.
But this Harold Robbins adaptation is so cheerfully vulgar, it's hard not to have a good time - especially given the thinly veiled portrait of Howard Hughes at its center. George Peppard plays the heel-hero, who founds an airline company in the 1920s and buys a movie studio in the 1930s, crushing friends and mistresses along the way.
The high cheese factor is aided by the good-time cast: Carroll Baker as Peppard's hot stepmom, Bob Cummings (quite funny) as a cynical agent, and Elizabeth Ashley, who married Peppard, in her debut -uncharacteristically, as a good girl.
One sad note is Alan Ladd, looking and sounding very end-of-the-line in his final role, as a man's man cowboy star.
Elmer Bernstein's swaggering score helps goose the action along.
臺(tái)詞經(jīng)典，翻譯到位，俊男靚女，老電影的色彩帶感
ooo最后掰回來(lái)了一剛……？
偏執(zhí)的人格都該有這部片子一樣的，有說(shuō)服力的原因。男主真帥
挺好的片子咋就這么幾個(gè)人標(biāo)記
三星半，傳記吧父愛(ài)童年陰影與女人之間，女主竟然是卡羅爾·貝克性感滿分。
據(jù)說(shuō)拍的是霍華德·休斯，但改了很多
商戰(zhàn)與情欲電影中的佼佼者
電影大亨功成名就的個(gè)性人生。電影節(jié)奏不錯(cuò)的。
喬治·佩帕德好帥。。。這個(gè)男人是惡魔是天使。。。《蒂凡尼的早餐》也帥的一地
六十年代的美國(guó)電影 標(biāo)準(zhǔn)的故事靚麗的演員寬幅的畫面超長(zhǎng)的片長(zhǎng)都呈現(xiàn)出一種無(wú)趣的疲態(tài)
半個(gè)多世紀(jì)以前的電影就很精彩了，好看，居然看過(guò)的人數(shù)少到連豆瓣評(píng)分都沒(méi)有
各方面都很肥皂劇水平——stuffy棚拍、浮夸運(yùn)鏡和演技、各種狗血小反轉(zhuǎn)、角色說(shuō)上句你就能接下句的老土臺(tái)詞——但還是很好看，比The Aviator那樣過(guò)于把自己當(dāng)回事的正統(tǒng)傳記片好看太多了。這種人物寫得最好的還是The Bad and the Beautiful。找前妻復(fù)合的結(jié)尾太ooc不計(jì)入全片質(zhì)量評(píng)價(jià)?；ㄐ跬τ腥?，話說(shuō)這片的尺度即使今天看也不該只是PG啊。這是目前看過(guò)的Carroll Baker的最好角色，雖然已經(jīng)為她看過(guò)幾部難看得要死的鉛黃片但直到這部才有真正愛(ài)上她的感覺(jué)。
極致的角色
果然是江湖風(fēng)格，粗暴男女們的粗暴表演。
完全是一部可以名留影史的經(jīng)典佳作
男主是有病吧，男主妻子太美了，最后兩人竟然破鏡重圓了。
他可以惡魔，也可以天使，這取決于他能傷你多深或他能幫你多少～還算結(jié)局是給了個(gè)好的……都是美女！！ A man is judged by what's in his head, not in his bed.
與其說(shuō)是影射霍華德休斯（顯著的飛機(jī)元素），不如說(shuō)是再現(xiàn)或虛構(gòu)好萊塢大亨的隱秘傳奇，是商業(yè)奇才，更是情感惡魔。本片乃喬治·佩帕德從影的最佳，比起大名鼎鼎的《蒂凡尼的早餐》，身為綠葉的存在為了襯托奧黛麗赫本的光彩。而本片，無(wú)論形象還是表演都是矚目的焦點(diǎn)，他對(duì)人越是冷酷刻薄狂傲，越是散發(fā)迷人魅力?？上ЫY(jié)局回歸好萊塢式大團(tuán)圓，俗了。另，片中的夫妻戲外弄假成真，然而最終分道揚(yáng)鑣，這才是現(xiàn)實(shí)。
上一版飛行家，霍華德休的傳記電影。喬治佩珀青春靚麗時(shí)演的不多電影之一。他的冷艷是很適合霍華德休。但不把休的同性戀情愫拍出來(lái)，他的厭女癥是講不清楚地，只能讓人感覺(jué)怪異。不過(guò)就算如此，片子前半段厭女、虐狂的休和片子結(jié)尾只得抱個(gè)女人“穩(wěn)定下來(lái)”的休，哪個(gè)更帥酷還是一目了然。
??有點(diǎn)碎