徐良照片

A man and a woman fight over the last bottle of champagne left in San Francisco--she wants it for a wedding, and he wants to use it to christen a ship. In flashbacks, the 1938 courtship and marriage of young machinist Bill Cummings and bookstore clerk Susan are recalled: newlywed bliss, unemployment and other tribulations, opportunity with a hidden drawback, war and separation. Now out of the army, Bill job-hunts and worries about the future... 在过(guò )度拥挤的西门(mén )监狱里(💎)(lǐ )，暴力和恐惧(jù )是基本的游戏(xì )准则。并且监(jiān )狱长比(bǐ )看守和(hé )囚犯的(de )首领有较少的(de )力量,。最难(🐖)对(duì )付的(🍢)的囚犯是(shì )坚硬顽(wán )固的乔·科林(lín )斯。重要的是(shì )，乔怨恨首要(yào )卫兵上(shàng )尉Munsey, 一位(wèi )狭(🕝)隘独(dú )裁(🔐)的拥有绝对(duì )权力者。稍微(wēi )违规违, 乔和他(tā )的伙伴(bàn )们就要受苦了(le )。但有次大屠(tú )杀反(📼)而成就了(le )他们的逃命计(jì )划。 Kenneth Holden (Albert Dekker), a banker steals funds from an estate and decides to marry the heiress,Claire Worthington ('Catherine Craig (I)' Qv)) to safeguard his position. He arranges for her fiancé to be killed but does not state the fiancé's name. Claire, meanwhile, has a change of heart and marries Holden. Thusly he now becomes the target of the killer and attempts to cancel the deal...except he doesn't know who the hired killer is. 不久之前，安妮（凯瑟琳(lín )·赫本 Katharine Hepburn 饰）刚(gāng )刚和丈(zhàng )夫麦克(kè )（(🚰)罗伯(bó )特(💇)·米彻姆 Robert Mitchum 饰(shì )）携手步入婚(hūn )礼的殿堂，新(xīn )婚燕尔(ěr )的幸福刚刚维(wéi )持没多久，麦(mài )克(⏯)的种种反常(cháng )举动开(kāi )始让安(ān )妮怀疑(yí )，他是否患有(yǒu )精神上的疾病(bìng )，她甚至怀疑(yí )自己的(de )性(🌨)命会遭受麦(mài )克的威胁。 这(zhè )是一部想当令(lìng )人愉悦的歌舞(wǔ )片，获(huò )1946年奥斯卡最佳(jiā )音乐歌曲奖(🦄)和(hé )最佳(🆔)音乐—音(yīn )乐片配(pèi )乐提名奖！ "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."