天龙特工队 第20241012期

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. 电影剧(jù(🌬) )情： 由(🐰)尊(zū(💥)n )荣执导(🐗)并参(cān )予(yǔ(🖍) )演出，根据真(zhēn )人真(😓)事改编(🎚)，此场(📅)战(zhàn )争(🧐)更是美国史(🐕)(shǐ )上的一大(dà )事迹(🧤)。故事(shì )讲(jiǎ(🌅)ng )述1836年，185名(🤝)英(yī(✂)ng )勇(yǒng )的美军(jun1 )及德萨斯州士(🥓)(shì )，团结一致(⛷)，奋然抵(🎍)抗为(🛁)数7000人的墨(mò )西(xī )哥军队，毫(🥛)(háo )不(⏲)退缩，为(✡)国捐躯、为(🌓)(wéi )自由战。全片(piàn )摄于实战(🕞)场地(🕟)几公里(🏃)(lǐ )外的洲。《锦(🎂)(jǐn )秀山河烈士血》为(🐶)大(dà )家(👺)(jiā )带(🌁)来视觉(💄)上(shàng )的震撼(🛹)，同时亦为此(cǐ )光(guā(🍚)ng )辉的历(🍱)史事(🖌)迹(jì )、(🏝)英勇的战士(🎽)们致以(yǐ )欢呼赞颂(🐮)。荣(róng )获奥斯(🕦)卡(kǎ )最(🐦)佳音(😃)乐奖(jiǎng )，以及获最佳(jiā )电(dià(〽)n )影、最(zuì )佳(😳)男配角(🍢)、最(💃)(zuì )佳摄影、最佳(jiā )剪接、(🤔)最佳(🚛)主题曲(🗜)等(děng )七(qī )项(🎏)提名。 安(ān )娜（蕾雅(yǎ )·马(🕞)萨利(🕦) Lea Massari 饰(shì )）(🛳)在与外交官(🦇)父(fù )亲的一席不愉(👚)快的谈(🤕)(tán )话(🎇)之后，气(🥖)愤(fèn )地和女(🛫)友克劳迪娅（莫(mò(🎁) )尼卡·(🍲)维蒂(⏯)(dì ) Monica Vitti 饰）(🌾)驾车(chē )去找(🍚)男友桑德(dé )罗（加(🐕)比利艾(ài )尔(🧢)·费泽(🤬)蒂 Gabriele Ferzetti 饰(👼)）。安(ān )娜犹豫着进了(le )男友(🤽)的公(gōng )寓，留(🎞)下克(kè(🏾) )劳(lá(🥄)o )迪娅一人在外(wài )面等候(hò(🏍)u )。安娜虽然和(🦅)(hé )桑德罗谈(🛬)婚论(lùn )嫁，但两人早已貌合(🔆)(hé )神(🅰)(shén )离。他(🆙)们与(yǔ )一群(🐆)朋友(yǒu )驾着游艇出(chū )海(hǎ(🦕)i )时，两(🕵)人之间(🚴)(jiān )的矛盾越(🔀)发尖锐。众(zhòng )人来到(🌚)一个荒(👡)(huāng )岛(😆)上休息(🗯)，安娜与桑(sā(👳)ng )德(dé )罗言谈不和(hé(🗑) )，两人不(bú )欢(🕋)而散。正(🚚)当(dā(💸)ng )众人准备返航(háng )时，却发现(🚴)安娜神秘(mì(🍘) )地失踪(🚨)了。大(🎠)(dà )家寻遍整(zhěng )个小岛，却(què(🕵) )不(bú )见安娜(💿)任何踪(zōng )迹(🍴)。在(zài )找寻安娜的过(guò )程中(🏗)，克劳(🌡)迪(dí )亚(🖱)和桑德罗相(📍)互产生(shēng )了(le )暧昧，虽然(rán )克(🏩)劳迪(🍝)亚(yà )努(🔃)力克制心(xī(🐓)n )中(zhōng )的悸动，但在(zà(🔇)i )桑德罗(🌸)的热(🌀)情追求(😝)下(xià )，她坠入(🚤)了情(qíng )网。内疚的克(♓)劳迪娅(yà )一(❣)(yī )直无(🕤)法摆(🍸)脱(tuō )安娜的阴(yīn )影，无法心(😡)无(wú )旁骛地(🗣)与桑德(🌆)(dé )罗(🐵)在一起。而当她下(xià )定决心(🍐)与桑德(dé )罗(🥉)建立关(guān )系(🏟)时，却发(fā )现(xiàn )他与别的女(🆖)人(ré(🌳)n )在一起(❇)(qǐ )。 "La giornata balorda" is the story of a 20-year-old youth's one-day search for a job that would spell security and decency for himself, the teenager he has not been able to marry and their three-week-old son... it was banned in Italy -- not because of sexual or anti-religious content, but because of its depiction of Italian society. 行商の帰(💭)りの山道で、飛(fēi )騨山中(♏)の部(👼)落の青(🏜)年(nián )・蓑吉(🏎)は、若(ruò )い女の呻(📴)(shēn )き声(🕜)を聞(🧙)き駆(qū(🍐) )け寄った。そ(🔰)の娘は、庄屋の娘(😴)・お絹(⤵)で、(🌘)失神(shé(🐰)n )した彼女の太股には白(bái )蛇が(⛺)巻き付(fù )い(🗂)ていた(🚠)。 간신(🅿)들의 모함으로 일찍이 부모(🏢)를 잃은 그는(⏸) 탐관오리들(🧠)의 집을 털어 불쌍한 양민들(🎹)을 돕(🐠)는 의적(😄)이 된다. 이름(🚝)하여 일지매. 한편 일지매는(🖌) 부모(🌼)의 원수(🆎)를 기어코 복(➰)수한다. 어느 날 포졸(⚪)들에게(🧠) 쫓기(💅)던 일지(🏦)매는 기생집(⬛)으로 은신하게 된다(🥞). 기생은(🕦) 바로(🚗) 어릴 적(🕌)에 정혼한 여인이었다. 그녀도 또(💁)한 일찍이 간(🎥)신들의(🅿) 모함(💙)으로 부모를 잃고 살아오는(🍙) 터였다. 여인(🐞)은 일지매를(🚕) 붙잡고 놓아주지 않는다. 그(🎷)러나(🤼) 할 일이(👹) 많은 일지매(👂)는 안타까이 매달리는 여인(😽)을 뿌(🗞)리치고(🔯) 훌훌히 떠나(🏛)간다. IMDB review: "This now-campy soufflé is an indispensable time capsule of the decadent 60s, and is a lot more erotic than the harder X material that it helped open the door for. José Benazeraf, before he decided to take artistic control of his material, served as producer, and his idiosyncratic touch is ubiquitous -- gorgeous jaded players, elliptic dialog, arty milieux, jazzy (now retro) music, and bizarre striptease acts (including one at the legendary Crazy Horse Saloon), all with sensuously tactile b&w photography. Radley Metger released it in the States, and apparently added or altered some footage -- the Roman orgy party scene does bear a striking resemblance to the prison party in Camille 2000. If you can deal with the now politically incorrect view of alternative sexuality (which was de rigueur in the cinema of the era), this is a superb treat for the eyes and ears, accompanied by a martini or two."