忍冬艳蔷薇演员表

"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." High school music student Sherry Williams is excited that her actress sister Jo has taken time off from her New York stage career to visit Sherry's school to see her perform in a musical play. Jo is about to step off the train when she hears that a famed Broadway show producer, Arthur Hale, is also stepping off the same train, leading Jo to depart from the other side of the train and make her own way to Sherry's play. The stuffy manager of lovely opera singer Vicki Cassel and her uncle, a classical conductor, is determined to close down the noisy nightclub that's next door to the Cassels' home. The club's owners--Steve, a handsome ladies man, Jeff, his clownish sidekick--hatch a plan to keep the club open. Steve arranges to meet--and woo--Vicki and then invite her and her uncle to the club. When Vicki's snobbish aunt and the manager discover that Vicki now favors popular music to the classics, they arrange to get the club closed. But that doesn't keep Steve and Jeff down. Instead they decide to put on a Broadway show if they can get a backer. They find their "angel" in Vicki's uncle who agrees to finance the show only if Vicki is the leading lady. But once again, Vicki's aunt and manager may be the spoiler in everyone's plans. Who's killing showgirls in sun-drenched Malibu ? Sidney Toler appears as venerable Chan for the final time in a snappy whodunit that includes Victor Sen Young and Mantan Moreland. Indecisive heiress Dee Dee Dillwood is pushed into marrying her sixth fiancée, but unable to face the wedding night, she flees into the adjacent hotel room of commercial pilot Marvin Payne, who just wants to sleep. Somehow, she persuades him to take her to California. Her fellow passengers include a chimpanzee, a corpse (in a coffin), an absconding embezzler, and two smoochy newlyweds. Can love be far behind? 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} 柯尔波特是早期美国流行乐坛(tán )最(zuì )著(zhe )名的(de )作曲家，从二十年代后期(qī )即(jí )已(yǐ )在娱乐圈崭露头(🐊)角(🥪)，在(🚾)三(👙)十(🌧)年(🚤)代(😆)(dà(⛲)i )的(🌠)(de )"黄(🤢)金时代"更有不少名曲出自他的(de )手(shǒu )笔(bǐ )。然(rán )而波特的祖父一直不同意(yì )他(tā )走(zǒu )作曲家的路，甚至在波特成名后(hòu )仍(réng )加(🐆)以(♏)排(⌚)(pá(🗃)i )斥(🏎)。他(🃏)在(🤷)壮(🚦)年(🤭)的(🍢)事业高峰(fēng )期(qī )1937年(nián )坠马(mǎ )受伤，双腿不利于行，对(duì )他(tā )的(de )身心造成甚大影响。幸而波特克(kè )服(fú )困扰，继续发挥其作曲才华，并(😭)(bì(💄)ng )扬(🎡)(yá(😾)ng )名(🦃)(mí(🐁)ng )好(🎮)莱(🎮)坞(🚔)。 Jean Arthur stars as Congresswoman Phoebe Frost in Wilder's satire of American sexual mores. She arrives in bombed-out postwar Berlin in 1947 as part of a congressional delegation assigned to investigate the moral behavior of the American occupying troops. As part of her mission, she delivers a cake baked by his fiancee to Capt. John Pringle (John Lund), who immediately trades it on the black market for a mattress, which he takes to the apartment of his current girlfriend, Erika von Schluetow (Marlene Dietrich), an alluring German nightclub singer. While touring the city, researching the G.I.s appetite for blond German women and alcohol, Phoebe, mistaken for a German, is picked up by some of the soldiers and taken to a club which features the singing of Erika. When she sees a familiar cake being served, she becomes suspicious and orders John to watch the woman's apartment to identify her American lover. After seeing some newsreel footage of Erika with Hitler, Phoebe asks John to show her the woman's file, but he distracts her from further investigation by coming on to the congresswoman, who responds with surprising passion. A comedy edged with cruelty, it features one of Dietrich's quintessential performances. The proprietor of an ice-skating revue promotes a peanut-vendor at the show to a management position based on suggestions he made to improve the act of the show's star, who also happens to be the owner's wife. However, he soon begins to notice that his new manager is paying more attention to his wife than he believes is appropriate, and begins to suspect that his new manager has designs not only on his wife but on his business. Meanwhile, someone from the new manager's past shows up with information that could wreck his plans.