终极救援

刑務所(🚟)帰りの衣(yī(🤞) )川恭介を、(🤾)自家用(yòng )車(✊)で兄(📖)(xiōng )耕(gēng )三が(🚤)迎えた。その(🧚)夜、田(tián )辺(🥦)という男に(🌦)呼(hū )び出さ(🤹)れた耕三(sā(🤮)n )は、何者か(💉)に轢(🛢)き殺された(🈁)。兄嫁の真美(👗)子(zǐ )の誘惑(📢)を恭介は拒(👩)んだ。恋(liàn )人のス(🗄)トリッパー(🌑)由利子(zǐ )を(🐷)訪ねた恭介(✌)は、彼女の(🥕)ヒモのチン(🐨)ピラ波岡に(⭐)叩きのめされた(⛴)。恭介は兄(xiō(🥒)ng )の親友坪(pí(🌉)ng )田に、兄や(🎣)田辺(fǎn )のこ(🙇)とを(👣)聞いたが何(🕢)もいわない(⛅)。兄の残した(🚀)財布の鍵で(🔥)ロッカーを(😝)あけた。そこ(🌻)にはドイツ(🌊)製の(⏱)拳銃(chòng )ワル(🥦)サーＰ38があ(📙)った。坪(píng )田(🔄)は一人(rén )の(❌)男と口論してい(🛳)た。田辺だ！坪(🏅)(píng )田は遂に(📉)真相を語っ(💺)た。耕三、坪(📼)田、田(tián )辺(🥘)(fǎn )ら七人(ré(🕳)n )は一年師銀行を(🤷)襲(xí )い千五(📪)百万円を強(🌇)奪した。その(📒)時使用した(📰)ワル(🤣)サーと金を(🙂)田辺家(jiā )の(😉)墓に隠した(🏈)。そして恭介(❌)(jiè )の出所(suǒ(🈲) )の日、田(tiá(🆕)n )辺は仲間の(👜)反対(🥊)(duì )をふっき(📴)って墓をあ(👏)けた。金もワ(🚘)ルサーもな(🤮)かった。田辺は耕(👥)三を疑(yí )っ(😭)た。坪田はワ(📻)ルサーにつ(🕕)いては語ら(🐄)ない。恭介は(🔲)兄の仇(chóu )を(👃)ワルサーでとろ(💜)と誓(shì )った(📶)。田辺が死ん(🕣)だ。彼にはア(🏖)リバイがあ(🎶)った(👀)。残った男－(🙈)－外車(chē )セ(👟)ールスマン(🎪)大村(cūn )、ナ(🌟)イトクラブ(🚂)支配人舟(zhō(🧞)u )橋、落ちぶ(🏠)れた(💜)流(liú )行歌手(🍡)小田、時(shí(🏖) )計商高(gāo )橋(🕔)(qiáo )。大村は羽(🏘)田空(kōng )港で死ん(🍔)だ。警察も同(🕎)一(yī )のワル(🔃)サーが臭い(🏗)と捜査に乗(🛥)りだした。坪(🦍)(píng )田は舟橋(🍨)に耕三(sān )には恭(😨)介(jiè )という(🕹)弟がいるこ(🍯)とを話した(🦗)。舟(zhōu )橋は真(🔽)美(mě(🔴)i )子と共謀し(🐸)て恭(gōng )介を(🔻)狙った。が、(🍇)二人は逆(nì(🐄) )に殺られた(🤭)。連(lián )続殺人(🤥)を小田の仕(😸)業と(🚖)思(sī )った高(🎮)橋は、公(gō(🤗)ng )園(yuán )に彼を(🏓)呼び出した(🦃)。対(duì )決(jué )する二(🍊)人のうしろ(🐄)にもう一人(❄)の男が忍び(🔷)よった。小田(✈)も高(gāo )橋も(🏉)死んだ。目的(😆)をはたして恭介(🛏)は坪田(tián )の(💪)ところに戻(🛬)った。坪田(tiá(🏪)n )はサンドバ(⛹)ッグ(🦃)を切り開い(🍣)た。耕三が隠(🗑)した千五百(🏷)万円が入っ(♒)ていた。ワル(🎢)サーをはさ(💻)んで二(èr )人(🍹)はに(❌)らみあった(📡)。血を呼び死(🐘)(sǐ )を誘う兇(🥁)銃ワルサー(💦)は、残(cán )った二(🍢)人をも倒(dǎ(⛳)o )した。 何(hé )夢(⏭)華首部執導(🌚)作(zuò )品(pǐn ). Sorry but despite the fact that the 1931 version of this novel was the only western film to win an Academy Award for Best Picture it does not compare to the entertainment value of this version. True this is perhaps not the best adaptation of Ms. Ferber's novel, but then how many films are perfect adaptations of their source material. There are wonderful scenes missing from this adaptation, but then there are wonderful scenes missing from the adaptation of GWTW. No, I am not comparing this to a classic like GWTW. But the '31 version is not in the same class as GWTW either. This film should be taken for what it actually is, a good solid epic entertainment with spectacular scenes and good performances. Glenn Ford is perfect casting for Yancy. His performance is far superior to that of the overripe, stilted scenery chewing one delivered by Richard Dix in the original. Ford's boyish manner easily captures the charming immature nature of the character. Maria Schell is on a par with Irene Dunne. It is a pity her character was rewritten from the novel to be weaker than Ferber intended. This was obviously done to make the film Ford's but she's still gives a performance that is on the money. As so do the myriad supporting players in the film. Back in 1960, MGM obviously needed a big movie to move into the theaters that had been playing "Ben-Hur" for over a year. So this production was rushed to completion to fit the bill. The fact that it was shot in Cinemascope instead of a "Big" 70 mm process is evidence of this. It has been written that the production was shut down before the scripted ending could be filmed. This explains the rather abrupt and somewhat awkward end to the film. Perhaps a regular non "Roadshow" release might have fared better both with the critics and at the box-office. It often seems that those who praise the older version over this film have seldom actually seen the former. For many years the 1931 version was not available for viewing. During that period many film historians gushed in their praise of it. When it finally reappeared on screens most of them found it very creaky and revised their opinions but the older opinions are still in print, available and read. True, they didn't change their opinion of this version, but the older fell into proper perspective...Cinema History and rather dry history at that. While this version is not a classic it remains good entertainment. Compare it to "How The West Was Won" made by the same studio just a few years later. 巴(🧓)黎一间默默(🚮)无(wú )闻的小(🐚)酒(jiǔ )馆里，一位忧(👡)郁(yù )而孤独(💡)的钢琴伴(bà(🖖)n )奏师查理(lǐ(🏞) )·科勒（夏(😖)尔·(🐜)阿(ā )兹纳夫(🤳) Charles Aznavour饰）。他(tā )的(👿)生活简(jiǎn )单(🉑)而又单调。热(🔺)(rè )情的酒馆(🎶)女侍莉娜（(🍲)玛丽(lì )·杜(🖇)布瓦(🎟) Marie Dubois饰）为查(chá(📻) )理的才华(huá(🌼) )所倾倒(dǎo )，爱(♉)上了(le )他。原来(🆒)，查理(lǐ )曾(céng )经是(⛓)显赫一时的(🚯)著名钢(gāng )琴(➕)(qín )师，在妻子(🎣)自杀(shā )身亡(👂)后隐(yǐn )姓埋(🛑)名于此。莉(lì(🍮) )娜(nà )鼓励他重新(🚈)找回(huí )自己(🚴)走上(shàng )舞台(🔡)。然而一日(rì(😔) )，多年未见的(🦓)弟(dì(🚱) )弟奇科·萨(🐞)洛扬（阿尔(🕙)伯(bó )特(tè )·(🅰)雷米 Albert Rémy饰）(🔨)因(yīn )躲避黑(📝)道(dào )仇家的(✉)追杀而闯(chuǎ(⤵)ng )进了(😨)他的生活中(🐛)。查理帮(bāng )助(🏖)(zhù )弟弟逃脱(📀)了仇家(jiā )的(🏨)追杀，却意外(wài )卷(🐥)入这场(chǎng )残(💕)酷的生死逃(🔺)亡(wáng )之(zhī )中(🤠)。幸运之神并(🦈)没有眷(juàn )顾(🛒)(gù )与查理生(🚗)死与共(gòng )的莉娜(🧕)，在激战中，莲(👯)娜(nà )不(bú )幸(🤸)中弹身亡。查(🕴)(chá )理再度回(🌹)(huí )到(😮)了往昔的小(💎)酒(jiǔ )馆中，一(📠)切又回(huí )归(🥅)起始，却物是(🔸)人非。 农(nóng )民(🆎)(mín )桂叔祖先(📢)山坟有(yǒu )丰(🛫)富矿(📻)藏(cáng )，祖地被(🐉)矿产公(gōng )司(😺)高价收购，桂(🍴)婶为免丈(zhà(♉)ng )夫(fū )被骗，进城请(✉)女(nǚ )儿、女(📸)婿(xù )素文陪(🎹)(péi )同办理手(🛌)(shǒu )续。惜文事(🥓)忙，未(wèi )能答(🤔)允。桂叔与子(❤)虾仔(zǎi )一(yī )起往(🎄)办理卖地手(🚬)(shǒu )续，一朝(chá(⬛)o )发达，终日流(🔈)连(lián )销(xiāo )金(🦐)窝，音(🎁)信杳然(rán )。 机(📀)竜之(zhī )助（(👸)市川雷蔵）(🎸)は京の島原(📚)で宇(yǔ )津木(🏾)兵馬(mǎ )（本(✝)郷功次郎）(💄)と対(🥨)決するが、(📰)靄(ǎi )の中で(❇)両(liǎng )者とも(🐽)互いを見(jià(🎄)n )失ってしまう。怪(🐐)盗・裏(lǐ )宿(🎇)(xiǔ )の七兵衛(🧕)（見明(míng )凡(🌇)太朗）は島(👜)原(yuán )にいる(🐭)お松（山本(🤝)富士子(zǐ )）の身(🍮)請に向かう(🌹)途中、負(fù(📉) )傷した兵馬(💦)と出(chū )会い(🐰)、共(👽)(gòng )にお松の(📻)いる木(mù )津(👞)(jīn )屋を訪れ(😗)る。七(qī )兵衛(🏀)はつい先刻(🍄)まで兵馬(mǎ(🦐) )が戦ってい(🎣)た相(🍠)(xiàng )手こそ、(📑)お松の祖父(🎒)を斬(zhǎn )った(🖐)浪人である(🤤)ことを伝える。仇(❔)が同じ竜(né(🎆)ng )之助である(🐶)ことから、(🤳)激(jī )しい復(🐮)讐の念を燃(💅)(rán )やす兵馬(⏱)(mǎ )とお松(sōng )。兵馬(🎚)は新選組を(😤)抜け、3人(ré(🤕)n )は竜之助の(🥢)後を追う。竜(🏮)(néng )之(🐯)助はふとし(🔪)たきっかけ(😇)から丹後屋(🌉)敷に逗留し(⬆)ていたが、(🎵)江戸へ向(xià(🕥)ng )かい、上野(🌸)の旅(⚡)(lǚ )籠で浪人(🔝)・酒井(jǐng )新(🌕)兵衛(小(xiǎo )堀(💖)阿吉雄)と出(🌬)会(huì )う。酒井の引(💜)き合(hé )わせ(🍨)によって天(🤨)誅組の総(zǒ(🌸)ng )裁・松本奎(🍽)堂（羅門光(🕖)三(sān )郎(láng )）(💰)と行動を共にす(♓)ることとな(🥄)るが、天誅(🚸)(zhū )組は大敗(🎌)を喫し、藤(🐳)堂藩(🐶)、彦根藩な(🚭)どに追(zhuī )わ(🍿)れるように(🕸)なった。その(🥢)最中、竜之(⏫)助(zhù )は、追(🐕)手が投げ込(🚖)(rù )ん(❇)だ爆薬(yào )の(🐞)ため失明し(👇)竜(néng )神の森(💾)に逃げ込(rù(🚨) )み、そこでお豊(🆎)（中村玉(yù(🎶) )緒(xù )）と再(😿)会する。お豊(😮)は金(jīn )蔵（(😷)片山明彦）(♟)に無理やり(🚦)夫婦にさせられ(🔱)、室町屋と(🍭)いう旅籠を(🌊)営(yíng )んでい(👩)た。そしてそ(📝)の旅(📻)籠に兵(bīng )馬(🏾)(mǎ )が草鞋を(🗓)脱いだ…。 方(🥘)(fāng )菲(fēi )在宴(🤶)会上盗去宾(🕒)(bīn )客的财物(⏱)(wù )，适丁立在(🚟)席间(🐴)(jiān )表演戏法(🐨)，于是首(shǒu )先(✉)被探员(yuán )搜(🧛)身。立受查后(🚹)(hòu )，菲暗把赃物放(🌦)(fàng )进他口袋(💁)(dài )里，成功脱(🚼)身。立(lì )返家(😛)发现赃物，怀(🏙)疑是菲(fēi )所(🥁)为，追查之下(👝)(xià )得悉菲受方永(🃏)馨胁逼作案(👓)(àn )。立曾当扒(🐰)手，但(dàn )已改(🍦)邪归(guī )正，知(👧)(zhī )菲(🍗)有意改(gǎi )过(🗣)，愿助她脱离(😧)(lí )魔(mó )掌，岂(💽)料双双被馨(🏔)擒获(huò )。菲为(⛹)救立答应为(🎟)(wéi )馨盗取宝(👨)(bǎo )石(👕)，下手之际，立(🏡)出现阻止。馨(🤯)从(cóng )后击倒(🥪)菲(fēi )，并以膺(🌱)品嫁祸(huò )立(🍫)盗窃(🉐)。幸事主(zhǔ )辨(🈷)明真伪(wěi )，警(🧑)方将馨逮捕(💳)(bǔ )，搜出真赃(🕸)。菲、立患难(😪)见(jiàn )真情，共(🤖)堕爱河(hé )。 赫鲁晓(🔸)夫看了这部(🛒)片，才(cái )恢复(🏩)了佐尔格的(🛂)(de )荣誉 Edouard Berlon (Jean-Pierre Cassel) is a happy-go-lucky rogue who takes nothing seriously and flits irresponisbly from one affair to another. When he meets Helene Larouch (Anouk Aimee), he woos her although she is married to Andre (Francois Maistre), until finally the combination of his youth, exuberance, absurd family (including a few infants of undetermined origin and a number of stray dogs)and eccentric way of life compared to the aridity of her marriage, overcome her resistance. They are both soon disenchanted 世間(jiā(💏)n )から見(jiàn )捨てら(😧)れた不良少(🥤)女たちを収(💈)容する少年(🦂)院を舞台(tái )に、冷たい(🤧)鉄格子(zǐ )の(✉)中に悶(mèn )える愛(📖)に飢えた危(🍒)険な若い女(Ⓜ)豹・桑野み(🌱)ゆきと、かつて(🏏)は同じ境遇(😩)でありながら今(jīn )は更(🏧)生して教師(😰)(shī )として赴(🔅)任してきた(❕)女教師(shī )・高千(👱)穂ひづるの(🚿)魂の交流を中心に、灰(❤)(huī )色(sè )の壁(🌗)に閉ざされた青(🍣)春群(qún )像の(🔺)生(shēng )態が描(🆑)かれる。桑野(🈷)みゆきが不良少女役で(🆖)体当たりの(🚭)演技を見せた異(🌯)色作。