情感背后

A race against time ! Charlie Chan ( Sidney Toler) must act quickly to stop the execution of an innocent Death Row inmate. With Number Three Son ( Benso Fong) and Birmingham Brown ( Mantan Moreland ) . In the aftermath of the Japanese attack on Pearl Harbor, the members of a PT boat squadron patrol Philippine waters and attack Japanese ships. The PT boat initially had little respect from senior Navy officers but their maneuverability and speed however quickly change their minds. As the Japanese advance across the Philippines, the PT boats become essential in evacuating the senior personnel including General Mac Arthur. 1946年在战(🚱)(zhàn )后的废(🐕)墟(👘)(xū )中，两个(🔜)(gè )男人在(🌃)(zài )修理破旧汽车，并(bì(🍤)ng )展开对人性的讨(💰)(tǎo )论。本(bě(🐶)n )片(piàn )即以(🏪)这(🏜)辆(liàng )废车(🌯)的(de )角度，通(🔍)过在车中(zhōng )留下(🐎)的一件件小(xiǎ(😗)o )物(wù )件(🎵)，讲(jiǎng )历任(🛤)往昔(xī )车(⛪)主的(de )故事。 他(🐫)们中，有(yǒ(🕺)u )匆忙出逃的政客(🌉)(kè )，有不得(🌩)(dé )志的音乐(🚭)家，有(yǒu )分(☝)(fèn )居又复(🔼)合的老夫(fū(🥛) )妇，有儿子(🏷)判罪的(de )夫人，有赴(🎰)任的上尉(🚬)…战(zhàn )争(🍋)年(⛄)代，人们的(🔽)(de )命运只能(🚸)(néng )摇曳，但(dàn )是依然(rá(👊)n )有爱情、亲情等(🥚)等(děng )在动(🐠)荡中闪耀(🕑)着(🏯)(zhe )美好的(de )人(😟)(rén )性光芒(🙁)。影片并(bìng )没有气(🤮)势恢弘的场(chǎ(🔻)ng )面，却用(⬆)普通人(ré(🔇)n )的(de )生活串(🍍)(chuàn )联起一段(🕰)(duàn )完整的(🍠)(de )历史。 劉別謙遺作(🐹)(zuò )，其筆觸(✝)修成了(le )正(zhè(📍)ng )果。孤(gū )女(🎏)要步叔父(🏪)後塵(chén )當(dā(♍)ng )水管工，卻(🦃)跟英(yīng )國這個講(🌆)究階級與(👎)(yǔ )男女有(🦂)(yǒ(➗)u )別的社會(👮)格格不(bú(📖) )入(rù )。逃出納粹魔掌(zhǎ(🐲)ng )的波蘭詩(shī )人，像(🗺)找(zhǎo )到同(🏗)道(dào )中人(👜)般(🤰)發現了她(💵)，但她這時(🍪)卻跑去(qù )當女傭(🐢)，還打算像(xiàng )正(🥘)常人(ré(🔑)n )一樣嫁入(👗)尋常紳士(🎪)(shì )家。來了美(😽)國二(èr )十(🥇)(shí )多年，劉別謙才(⌚)(cái )將自身(💰)(shēn )處境總結(⚫)起來。片(pià(🎹)n )中上至貴(🧛)族下至僕(pú(🔴) )人儘管(guǎ(🚥)n )嘴臉可笑，但不(bú(🌧) )致(zhì )面目(🌔)可憎，反而(👧)(é(🐓)r )都有幾許(🖕)人性的落(🚿)(luò )墨，也(yě )許這才是劉(㊙)別謙筆(bǐ )觸的最(♿)高境界。更(👥)厲害的(de )是(⛎)，這(⛲)些(xiē )筆觸(🤺)彷(páng )彿都(🎗)融會在兩個主(zhǔ(🕑) )角身上，不經意(yì )間能(🕳)跟觀(guān )眾(🥣)心靈互(hù(👩) )通。今(jīn )天回(😼)看，這是他(🚲)最(zuì )歐洲化的作(🕐)品，近(jìn )親(🗑)不就(jiù )是雷(🥄)諾亞(yà )。 朱(⛪)眉(méi )眉在(😈)话剧团里当演(yǎn )员, 跟(🤖)导演吕莎相恋(lià(💲)n ); 吕莎是(shì(🚧) )有妇之夫(😈), 更(🈳)有一(yī )子(⭐)(zǐ )学诚, 两(🕧)人的关系(xì )受到很大压力. 眉眉(méi )怀了(🐯)吕(lǚ )莎的(🦔)骨肉, 因为(🎊)不(🕘)想(xiǎng )拿掉(🎐)孩子, 决定(😞)放(fàng )弃如日方(fā(🐉)ng )中的事业(yè ), 跟吕莎(shā(📻) )一同离开(🥫)上海, 开始(🤒)(shǐ )新生活. 眉(👷)眉诞下(xià(🍐) )女婴, 取名(míng )海燕(⛅), 整天(tiān )在(🤛)家里(lǐ )照顾(🐻)女儿, 吕莎(💣)又找(zhǎo )不(🖐)到工作, 生活越(yuè )来(lá(🍛)i )越差, 一(yī )时冲动(🔥), 向(xiàng )眉眉(🛳)提(tí )出分(🦄)手(🤑). 眉眉既痛(🎬)心(xīn )又后(🧙)悔, 得旧友允诺(nuò )帮助她(tā )重回上海发(📻)展, 于(yú )是(🧟)(shì )带同女(🚂)儿(👒)离开吕(lǚ(🕉) )莎, 并退还(🐍)当日私奔(bēn )时吕(🗃)莎(shā )送给她的金鸡心(🐾). 吕(lǚ )莎大(⛪)受打击, 欲(🤲)跟(gēn )妻子修(🍣)好(hǎo ), 但遭(🎟)拒绝(jué ), 最后吞(tū(🎩)n )下金鸡心(📉)自杀身亡(wá(🦂)ng ). 海燕长大(👜)后, 跟父(fù(🛣) )母一样热(rè )爱音乐, 并(㊗)(bìng )结识了(le )志趣相(😦)投的学诚(🌚), 二(èr )人共(🎂)堕(📠)爱河, 却不(⛷)(bú )知(zhī )彼(🧙)此为(wéi )同父异母(mǔ )兄妹, 海(hǎi )燕更不理(🆒)眉眉的反(🏆)(fǎn )对, 与学(😢)诚定下婚约(🚶)(yuē ). 眉眉刺(🤣)(cì )激过度, 当场晕(🅿)倒(dǎo ). 海(hǎi )燕好友王 代(🤓)为道(dào )出(🔈)上一代的(🉑)复杂关(guān )系(🔫), 惜眉(méi )眉(🆚)已返魂无术, 临终(📱)(zhōng )前劝告(🚧)海燕和学(xué(🎺) )诚, 切勿重(🍱)(chóng )蹈覆辙(⏭), 因(yīn )感情用(yòng )事, 以致(🎸)终生后悔. Returning to 1870's London after finishing at boarding school, Fanny witnesses the death of her father in a fight with Lord Manderstoke. She then finds that her family has for many years been running a bordello next door to their home. When her mother dies shortly after, she next discovers that her real father is in fact a well-respected politician. Meeting him and then falling in love with his young advisor Harry Somerford leads to a life of ups and downs and conflict between the classes. Periodically the scoundrel of a Lord crosses her path, always to tragic effect. Written by Jeremy Perkins {J-26} 木(mù )下(🔲)恵介が戦(📁)後初(chū )め(👷)て(😲)監督(dū )し(🌙)た作品(pǐ(👪)n )で、久(jiǔ )坂栄二郎が脚本を担当した(🙁)1946年公開(kā(📔)i )のドラマ(🎴)。GHQの指導(dǎo )に(✳)より、軍(🍊)国主義を批判(pà(😧)n )する反戦映画として(⛷)製作(zuò )さ(💭)れた。大曽(🌀)根(gēn )家(jiā )は(🤺)裕福な家(👗)庭だったが、長(🎞)女の婚(hū(🥅)n )約者が出征(🗒)、長男は(👟)思想(xiǎng )犯(🥒)として検挙され、画(👭)家(jiā )を目指して(🐅)いた次男(🍄)は応召、(🤴)空(🍬)襲(xí )で焼(👌)け出され(♓)た叔父夫婦(fù )が移り住(zhù )んでくるな(💢)ど、戦争(🥣)に翻(fān )弄(⛴)されていた(🚿)。軍(jun1 )人であ(🚣)る叔父は我が物(🔈)(wù )顔で暮らし、その(🔇)叔父に感(🤑)化された(🥈)三男は海軍(🔄)予備学生(🐮)を志(zhì )願してし(💐)まう。叔父(🍑)は母の許可(🏾)を得ずに(➕)話を進め(📴)てしまうばかりか、(🛐)長女(nǚ )の縁談(tá(🤐)n )まで勝手(🏤)に進めよ(🖌)う(📥)としてい(🎱)た。やがて(💈)叔父は終戦(zhàn )の知らせを誰よりも早(🍕)く入手、(😄)物資を大(🔚)量(liàng )に持ち(🔮)込み始め(😊)た。母の房子は叔(🕙)父の態(tài )度を責め、(Ⓜ)ついには(🕚)叔父夫婦(👍)を家から立(🚑)ち退かせ(🥉)るのだった・・(👘)・。 The film's use of color was a landmark breakthrough. It was a process different and superior to technicolor. We can do it today in say, Kodacolor, and "The Red Shoes" did indeed quite approximate it but good as that was, it did not equal SF,