童话二分之一

1945年，刚被(🍓)同盟(🤵)国(guó )释放的法(fǎ(🤵) )国医(🔽)生Guilbert在(zà(🎂)i )Royan被纳粹逮(dǎi )捕。他们(men )把(🎖)他带(⏱)到(dào )一艘意(😮)图(tú(🕠) )前往南美(měi )洲的(🗒)潜水(shuǐ )艇上(🦓)。船(chuán )上有一个盖(🚜)世太(📂)保的头目，一位德(🏝)国将(📜)军，一个(🥜)意(yì )大利商人(rén )和他(🈂)妻子(zǐ )，几个逃(tá(🏹)o )亡者(✌)，其(qí )中(🐾)一位亲(qīn )德的法国(guó(🎃) )记者（Couturier饰(shì )）。于(😛)是(shì(🤒) )多方利益(yì )交织(🗣)冲突(tū )就在(⤵)这艘(sōu )逃亡的潜(❓)(qián )艇(🈚)上发生(shēng )了。 李文(⛔)(wén )华(🤤)告别未(🐓)婚(hūn )妻梅玉奔(bēn )赴抗(🛵)战前(😑)(qián )线。梅玉(yù(♌) )和母(👄)亲生(shēng )活艰难，被(📇)迫嫁给(gěi )汉(🎆)奸陈彼(bǐ )得。战后(🚶)(hòu )，文(🏉)华返(fǎn )沪，与沦(lú(♎)n )为交(🥊)际花的(📷)梅玉重逢，两人旧情复(📸)燃。梅玉因不愿(yuà(👒)n )拖累(⛓)而离(lí(📠) )开文华。文华追至(zhì )舞(💢)场，与(yǔ )彼得发生(🎏)(shēng )冲(🔖)突。混(hún )战中，梅(mé(♐)i )玉被彼得(dé(🎗) )枪击，却(què )也同时(♿)将(jiā(⛏)ng )彼得击毙(bì )。临终(🛤)之(zhī(⭐) )际，梅玉(🖇)(yù )向文华表(biǎo )白，对他(➕)的(de )爱始终不(bú )渝(🏨)。 蓝菁(🌧)(jīng )与父亲及(jí )朋(⛴)友范丽(lì )玉(👀)准备去(qù )重庆，在(🚧)(zài )路(🖊)上她们(men )认识了工(🚜)(gōng )程(😩)师王子(🛑)(zǐ )超，蓝菁和子超相爱(🎊)了。 不久蓝菁的父(🐄)亲去(🐈)世，子超(🎚)因公事(shì )必须离开(kā(🍨)i )，他和蓝(lán )菁相约(🚌)两(liǎ(🕤)ng )个月后在(zài )重庆(⚫)结婚(hūn )，子超(🚹)告(gào )诉她如有(yǒ(🐻)u )困难(🍫)可以(yǐ )找他的朋(➿)(péng )友(🚍)沈世平(🦁)(píng )。一天，蓝菁在阅(yuè )报(🏯)栏上看(kàn )到遇难(🎎)工程(🎊)师的名单(dān )，子超(🌤)也(yě )在其中(🤼)，蓝菁受到(dào )打击(🌧)一病(🆑)(bìng )不起，丽(lì )玉为(🥤)了给(🌷)(gěi )好友(💁)治病(bìng )做了暗娼(chāng )。沈(🏇)世平(píng )看中了美(📟)貌的(🗣)蓝菁，并(🥁)趁机将她(📅)强暴，蓝菁心(🏎)灰意冷与丽玉(yù(⏩) )一起(🤔)做了(le )妓女。几(jǐ )个(🏼)月后，子超突(🕖)然(rán )出现，原(yuán )来(🏧)他只(🎫)是(shì )受伤，在(zài )婚(👆)礼上(🔀)蓝(lán )菁(🎑)觉得自(zì )己不配当(dā(🌍)ng )子超的妻(qī )子遂(♊)离开(🍌)(kāi )了他。三(sān )年后(🆗)，蓝菁已经成(🌷)了(le )一名护士(shì )，她(🧣)突然(⏪)(rán )发现了双(shuāng )眼(📷)受伤(🌥)的(de )子超(❕)，蓝(lán )菁精心照(zhào )顾子(💌)超却(què )并没有表(🐋)(biǎo )明(💬)身份，子(😈)超病好后(🏊)找到了蓝菁(🌅)，两人终于走到了(🎙)一起(🐩)。 School-going Chandrabhan lives a poor lifestyle with his widowed mom in a small town in India, and has a childhood sweetheart named Lata, who is the daughter of the wealthy Deputy. Chandrabhan is heartbroken when Lata leaves town, and he has only a time-piece left with him as a token of their friendship. Years later, Chandrabhan has grown up, and has found employment in a guitar and musical instrument repair shop run by the owner and his friend, Prakash. Chandrabhan, a frequent reader of poetry, is fascinated by the poems of Renuka Devi, and longs to meet her. He does get to meet her, only to find out that the woman in reality is her friend, Basanti, who was impersonating her, as she had fallen in love with him, though he has no similar feelings for her. He does get to meet Renuka Devi, and is pleasantly surprised when he finds out that she is none other than Lata herself. Before Chandrabhan could plan anything else, he finds out that Prakash is getting engaged to Lata; Prakash's mother hates him; and he decides to return home along with his ailing mom. The question remains will Lata and Chandrabhan be re-united in this lifetime? "Jacques Tourneur at work in color on Western landscapes is something to behold. The credits roll over a matte of a damp day in Portland (slanting rooftops, a ship’s half-seen mast, boards over a muddy street) that’s practically a Grafström, the Oregon Trail that follows is finely-drawn watercolor. The nascent commune of Jacksonville would be Fordian, except that Dana Andrews’ negation of piety ("A man can choose his own gods") and Andy Devine’s acknowledgement of Indian rights ("We’re on their land. They ain’(🤙)t likely to forget that") challenge Manifest Destiny. Overlapping triangles -- Andrews-Susan Hayward-Patricia Roc, Andrews-Hayward-Brian Donlevy, Andrews-Roc-Victor Cutler, Hayward-Donlevy-Rose Hobart. Hoagy Carmichael with mandolin amid the ramblers and settlers is wastrel, commentator, mediator, and voyeur ("...a little store and lots of time"). The cabin-rising sequence tips its hat to Hathaway’s Trail of the Lonesome Pine, and was studied by Weir. The wedding bash celebrates wholeness but these are forces in tenuous balance, Donlevy voices Tourneur’s ambivalence ("The illusion of peace is upon it") moments before the Indians materialize via a single reverse shot that seems to introduce a parallel world. Another space-expanding reverse shot, this time embodying tensions from within rather than from without, takes place right before Andrews’ brawl with Ward Bond, cutting from a medium-shot of the two at the saloon counter to another revealing the townspeople in the wings, waiting for the spectacle. (The fight, remarkably bloody and ugly, hinges on the haunted image of the disoriented Bond smashing his fist into a wooden pole. Hayward sits with the cheering crowd.) A film of "thin margins": The saloon doubles as a hanging courtroom, the garden becomes an inferno. The view of a dazed Roc wandering in the woods after the slaughter is from I Walked with a Zombie, and finds its way into Demme’s Beloved; Stars in My Crown revisits the territory with hope for harmony, but Wichita and Great Day in the Morning know better." 一(🏋)部(bù )关于婚姻(yī(🔔)n )，第三(💍)者(zhě )，夫妻间(jiān )的(🆓)爱情(🤧)是(shì )否(🗝)经得起(qǐ )考验，夫(fū )妻(🦕)间的信(xìn )任是否(🛑)可(kě(🏧) )以让已经(jīng )破裂(🌗)的婚(hūn )姻峰(😃)回路(lù )转。 Filmed in 16 mm, primarily intended for the school/institutional and home-rental, the plot has Abner Snell running for councilman in a small town. He accidentally becomes the "Mystery Lady" on a radio show after his deep bass voice becomes a strange, haunting falsetto following an attack of laryngitis, and earns a few extra dollars as such. He explains his sudden affluence to his sweetheart, Alice Tinkerton, by jokingly telling her he has robbed a bank, but not knowing that the Elmwood Bank has just been held up. Abner finally wins the girl and the election, after capturing the real bank robbers.