It has be□n sai□□that most grea□□tw□ntieth cent□r□ novels□inc□u□e scenes in □ hotel, a symptom of □he vast uprooting that□has □c□ur□ed in the last cent□□y: James Ivory begins Quar□et with a □□□tage of □he hotels □□ Mo□□parnasse, a □□iet prelude before □ur introd□c□ion to th□ violent□y□lost □□uls□who □nhabit them. □dapted□fro□ the□1928 a□tobiogr□phical novel by Jean Rhys, Q□artet□is the story of a love q□adrangle between a compli□ated young West Indian w□man n□me□ M□rya (□layed by Isa□□lle Adja□□)□ he□ hu□band Stef□n□(Anth□ny Higgin□), a□m□n□□ula□ive E□glish a□t pat□□n na□ed Heidler (□lan Bate□), an□ □is pain□er wife Lois (Maggie Smith). □he□film is □et in□t□e Gol□□n Age of Paris□ Hemingway's &q□ot;mov□able feast" of cafe cultu□e □nd extravaga□□ n□gh□life, □□itter and□literati:□□et undern□ath is the□out□i□e o□ some□hing s□ni□t□r □eneath□the polished □rasses an□ brass□ries. (⏯)□When Marya□9;s husband is pu□ in a Pa□is p□is□n on cha□ges of sel□ing st□□en □r□ wor□s, she□is □□□t□ind□□ent a□d □s ta□e□ in □y Hei□ler an□□his□□ife□ the □redat□ry Eng□ishma□ (□hose character Rhy□ bas□s on □he novelist Ford Madox□Fo□□) is quick to □ake a□vantage of□t□e new living a□ran□ement, and Mary□ find□ herself□in□a strangle□old betw□□n hus□□n□ and wife□ Lovers alte□na□el□ gravitate toward □nd ar□ r□pelle□□by □ach ot□□□,□now pr□□es□ing t□ei□ love, now confessing th□ir b□utal indif□erence --□all the□while□ke□p□ng up□ap□□arances. □he film e□p□or□s the v□st □erritor□ b□□w□□n th□ &□u□t;n□ce□quot□ and □he□"□ood,&□uot; betwe□n outwar□□refin□m□n□ □nd inner d□r□ne□s: after one v□o□ent episo□e, □ois a□ks M□rya □ot to□speak of it to t□e□Paris□crowd. "Is tha□ a□l you&□39;re w□r□□ed a□out?"□□ema□ds □n outr□ged □□rya. "Yes,&quo□; Lo□s re□lies □ith ic□ cand□r, "□as□a matter □□ fact." Adja□i won the B□st□Actress a□□r□ at Cann□s f□r her perfo□mances in Qu□rtet: □er M□r□a is a volatile compound of French s□□oolgirl and scorned m□str□ss, vee□ing□between tremu□ou□□jo□ and h□ste□ical outburs□. Smith □hines i□ one □f her mo□t memorable □o□es□ she i□bues Lois wi□□ a K□□herine□of-A□agon □mpoten□□□a□□,□as humiliated as □he is powe□le□s □n □he fa□e of her husband'□ choice□.□Her interactions □ith Bates□a□e □□ene□ □rom a marriage that h□s moved from d□sil□u□□o□□en□ to p□le acceptance.□ Ru□h□Prawer□Jhab□ala□and James I□□ry&□□9;s screenpl□y□uses Rhys□9;s□novel as a foundation □rom w□ic□ □t constru□ts□a world that is b□th true □o th□ □□vel a□d □is□inctive i□ □ts o□n right, pa□nting a societ□ that has lost its inhi□itions a□□ in□dver□entl□ lost its so□l. We are taken to mirrored cafes, then mo□e □hroug□□the □oo□ing glass: Mar□a, in □ne scene□ is offe□e□ a job as a model a□□□then finds herself in □ sadoma□□chistic porno□□□phe□□#□9;s □tudio. The fil□, a□ p□oto□raphed by Pierre□L□omme□ creates□th□roughl□ c□ne□atic□moments t□at □hy&□39;□ novel could □o□ have attempted: in one o□ th□ □v□□y's most memorable scen□s, □□bl□ck Am□rica□□□hanteuse □extrao□din□rily played b□ Armelia □cQu□en) ente□tains□Parisi□n □atr□ns with□a big and brassy□ja□z s□ng, ne□ther□s□□tle nor□elegant. Ivory keeps the □□mera on □he□s□ng□r□#39;□ a□t: th□□e is□something □□ her□ungua□ded s□ile □hat makes□the dang□r ben□ath Mont□ar□□sse manne□s □eem □□re □cute.陈雨□是□主角□一□性格古灵精怪,是□个隐藏的特工。她的爷爷□□一是松□市陈家□□主(🔦),她的哥哥是陈劲□□在一□执(⛷)行□务中,陈雨舒的哥哥为了救她而死,陈□舒(□)...