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Herbert Vesely was one of the promises for a new German cinema already in the 50's, but after the 60's his star was already dimmed. He made a small number of films in the 70's and 80's, all non too good. This biography of Egon Schiele, one of the most important Austrian artists, is an example of the pretensions and emptiness of a Vesely-film of later date. The life of Schiele is presented here as a puzzle| well, Vesely thinks that Schiele's life was a puzzle: the core of the story is centered around the famous 1912 pornography trial and using this as base the film shows fragments of past and future. The problem is that it never becomes a unity and that the order of scenes and sequences seems to be at random: a cut-and-paste job that could have had any other result. Indeed, after seeing it twice I am almost convinced of it that a unsatisfactory linear thought-out film was changed into the puzzle in the editing room. Egon Schiele was an enigmatic man, but not a total puzzle, and this film does not bring him any closer. The films also fails in conveying the eroticism and meaning of the Schiele's paintings: the camera watches and glides over the models without any understanding of Schiele's intentions, we only see beautiful naked bodies. If interested in Schiele, you better buy a book with his works in stead.。周汝昌，一位学贯中西的红学大师，六十年笔跟不辍，被誉为新中国红学考据派研究第一人。《三国演义》、《水浒传》、《西游记》、《红楼梦》，四部中国古典文学的巅峰之作。周汝昌眼中的四大名著，到底有着怎样与众不同的价值？《三国演义》与正史的区别究竟是什么呢？《水浒传》的绿林英雄到底会给周汝昌先生留下怎样的印象呢？《西游记》中的金箍棒与《红楼梦》中的通灵宝玉有何关系？中华文化的无穷魅力，会对当代中国人有着怎样的文化滋养？ 节目目录： 周汝昌眼中的四大名著（一）：《三国演义》的内涵周汝昌眼中的四大名著（二）：《水浒传》的艺术成就周汝昌眼中的四大名著（三）：从“三国”到“水浒” 周汝昌眼中的四大名著（四）：《西游记》的真诚周汝昌眼中的四大名著（五）：《红楼梦》中情。