分割人生

曾在西班牙(🎋)杀(shā )过(guò )人的水手Michael O'Hara（奥逊(🥌)·威(🚑)(wēi )尔斯(🥥) Orson Welles 饰）(🎀)回到(dà(🧡)o )了纽约，一天(tiān )夜里他(tā )在(📽)路上(🏁)救了遭(👏)(zāo )到(🖇)打劫的(💸)美女(nǚ )Elsa（丽塔·海(🔭)华斯 Rita Hayworth 饰(💸)），于(🉐)是Elsa让她(🥑)的丈(📯)(zhàng )夫，律(lǜ )师Arthur Bannister（埃弗雷特(tè(🏒) )·斯隆 Everett Sloane 饰）(🥫)找(zhǎo )到(🐃)Michael，让(rà(⬜)ng )他来船上当水(shuǐ )手(shǒu )。Bannister一家(🕍)刚从(cóng )上海(🕡)回到(dào )纽约(🍜)，正要坐(zuò )船前往旧金山(shā(🤑)n )。在海(hǎi )上航(👕)行的时候(hò(🚊)u )，Michael和Elsa情愫暗生(shēng )。而Michael也认识了(🐍)Arthur的朋(🌌)友(yǒu )George Grisby（(♈)Glenn Anders 饰）(🐹)。George知道Michael曾(🚮)(céng )经杀过(guò )人后，想让Michael再(zà(👔)i )杀一(🎯)个人，并(⏪)(bìng )承(🎯)诺给(gě(🐽)i )他五千美元的(de )佣金(⏺)，而他想(🚀)(xiǎng )让(🀄)Michael杀的人(🏹)(rén )，就(🍩)是George自己(jǐ )。原来George想制造自(zì(🧓) )己已经(jīng )死(🥟)了的假(😆)象，然(🤤)后从现在的(de )生活和(hé )他的(🛏)妻子身边(biā(🤓)n )逃(táo )走。两人(👦)的(de )计划看起(qǐ )来天衣无缝(🌙)，George却失手杀死(📹)了(le )Arthur的管家(jiā(🌁) )，随后George也真的(de )被杀。Michael被认为(wé(🆓)i )是两(💙)个死者(🥛)的凶(🅰)手，法(fǎ(😢) )庭上，为Michael辩论(lùn )的却是(shì )他(⏳)的情(👓)敌Arthur，到(dà(👉)o )底谁(🚘)才是杀(♌)死(sǐ )George的真正(zhèng )凶手(🐨)？ 电影(🤬)名(mí(🦈)ng )称：情(🏙)焰 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. Commercial artist Daisy Kenyon is involved with married lawyer Dan O'Mara, and hopes someday to marry him, if he ever divorces his wife Lucille. She meets returning veteran Peter, a decent and caring man, whom she does not love, but who offers her love and a more hopeful relationship. She marries him... just as Dan gets a divorce. 电(🕍)影(yǐng )名称：情(qíng )焰 "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 Grafströ(🐱)m, 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." "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." A bookish historian is married to a steely Southern belle who raises horses, an animal that he doesn't care for. However, the cute young neighbor girl doesn't feel that way about him and makes no bones about letting him know it. 根据(🚼)纪德(dé )小说(🚄)改(gǎi )编《田园(⏬)交响(xiǎng )曲(qǔ )》（《田园(yuán )交响(👓)曲》原文为La Symphonie Pastorale。主(🐱)角(jiǎo )是牧师(🛫)，法语(yǔ )为pasteur，pasteur 的(de )形容词为pastoral(e)，因(yī(💍)n )而有(🍁)的批评(🏞)家(jiā(🍎) )指出纪(🚆)德使用这个书(shū )名(míng )，另有(🏢)一层(🕓)含(hán )义(📷)是田(🗄)(tián )指“牧(🏝)师的心(xīn )曲”。——译(🈷)(yì )注）(✋)中(zhō(🦒)ng )的牧师(🌕)，起初(🔀)(chū )好心地收养了(le )一名无家(💔)(jiā )可归的盲(🍭)女(nǚ )。尽(😆)管妻(🆚)子屡次(cì )暗示他(tā )要提防(🌔)自己的(de )爱心(🔤)与爱德，但这(👮)种感情最后还是(shì )转(zhuǎn )变(🏐)成了爱情(qí(🌆)ng )。牧师培(péi )养(🏻)塑造吉特吕(lǚ )德，慢慢有了(🕤)(le )自己(😇)的(de )企图(🌊)。可是(📩)当(dāng )吉(🧦)特吕德一旦(dàn )治愈眼疾，发(🤢)现了(💲)牧(mù )师(🥤)(shī )的(💋)虚伪，不(🧞)但(dàn )向她隐(yǐn )瞒他(🤷)们的爱(🌀)情(qí(📺)ng )造成的(🏤)痛苦(👒)，也让她(tā )错失了获得幸(xì(🛒)ng )福的机会。她(😼)(tā )想的(🌌)是她(🎢)(tā )看不到的那(nà )个(gè )人，她(🚘)看到的(de )却不(😙)是(shì )她想的(🏉)那个人(rén )；为了内心的(de )平(🏮)静，她不得不(🏣)让自(zì )己(jǐ(🌓) )脱离这个世(shì )界。 少女(nǚ )梁(♊)玉华(🎠)自父母(🏪)(mǔ )离世后，便(🥜)投(tóu )靠在上(shàng )海当交际花(👮)的(de )姨(😓)母黎云(🎹)。玉(yù(🏕) )华与青(🎿)年张剑明相恋(liàn )，但(🍺)明父嫌(🈂)弃玉(🧗)(yù )华出(🆕)身(shē(🎣)n )，反对二人来(lái )往，一心撮合(🎀)(hé )剑明和(hé(🌕) )贸易公(🥠)司总(📁)经(jīng )理千金方慕莹(yíng )。剑明(🧙)只(zhī )好离开(🌃)家庭，与玉华(🍮)共筑爱(ài )巢。婚(hūn )后，剑明在(⚽)一(yī )间企业(🚞)公司觅(mì )得(🚫)高薪要职，两口子(zǐ )生(shēng )活(💈)十分(🥠)快乐。可(🔸)是，当剑明得(🚇)知自(zì )己凭母亲的关(guān )系(♉)才觅(🈸)(mì )得优(🕰)差时(🎖)，便(biàn )辞(⏭)职不干。其(qí )后因寻(♓)找工作(🤮)多时(✅)仍(réng )不(👉)(bú )获(🌻)，生活日益(yì )困苦。未几，剑明(🛵)急(jí )病入院(⚫)，需要(yà(🚭)o )大笔(🧓)手(shǒu )术费。玉华请(qǐng )求明父(🏌)帮助，明父答(🚫)允(yǔn )，但要求(📷)玉华(huá )离开剑明。玉(yù )华遂(🏼)转(zhuǎn )向姨母(📯)借钱。玉华拿(⤴)着钱来(lái )到医院时，却发现(😩)明(mí(💗)ng )父(fù )早(😷)已付钱替剑(🍅)明施手(shǒu )术，并且派人(rén )守(🧠)着剑(😝)明病房(🎩)(fáng )，阻(💻)止(zhǐ )玉(🕌)华与剑明见(jiàn )面。不(🍥)久，玉(yù(🕦) )华赴(👪)姨母寿(🌆)宴时(🔌)，遭(zāo )富(fù )家子钱耀堂借(jiè(🚅) )醉调戏(👤)(xì )。此(😻)时，剑明(🤢)(míng )来(👈)到，误以为(wéi )玉华见(jiàn )异思(📷)迁，于是(shì )愤(💕)然离开，怎(zě(💍)n )知竟不慎(shèn )堕下楼梯身亡(🐍)(wáng )。玉华伤心(🍌)欲(yù )绝，痛(tò(😱)ng )斥明父害死剑(jiàn )明，更随即(🌽)跳(tiào )崖自尽(🖱)