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杜(dù )莎菲(🕷)是千金(jīn )小姐,有不(🔏)少(🗂)富(fù )家子弟追(⏰)求(qiú ),但(🔞)她独爱勤(qín )奋(🍶)上进的张平(píng ).张平是(📥)某公(gōng )司的小(🌅)职员(yuán ),为取悦莎菲(🧞),甘(🛸)(gān )愿冒充为公(🤯)(gōng )司经理,幸好此事(😛)未(🈶)有影响(xiǎng )二人(💾)感情.张(🌭)(zhāng )平甚得杜(🥙)翁(🔱)欣赏,不久便跟(🥡)(gēn )莎菲(👍)结婚.可(kě )是婚(🌄)后夫妻常(cháng )因小事(✝)发(⏩)生(shēng )磨擦,张平(🚶)虽(suī )多次迁就,终不(🏫)(bú(🌇) )能忍受莎菲(fē(🈯)i )的脾气,一怒(nù )之下(🍝)离(🤣)家出走(zǒu ).二人(😻)分开后(🕰)(hòu ),张平的事业(🍱)(yè )蒸蒸日上,杜家(jiā )却(💸)家道中落(luò ).莎(😰)菲经父亲(qīn )劝解,主(🥇)动(🦖)找张(zhāng )平见面(⏮),二人(rén )得以复合.张(🛅)(zhā(😶)ng )平自恃莎菲对(🔸)(duì )他依(🚃)赖,多番(fān )戏(🌝)弄(😹)她,莎菲(fēi )愤怒(🌬)之余,决(🎎)定(dìng )离开张平(🕡),自(zì )力更生.张平为(💑)此(🦂)十分后悔(huǐ ),亲(⛏)自到莎菲(fēi )任教的(🏇)学(😩)校,希(xī )望跟她(👲)复合(hé ).二人外游时(🕍)(shí(🔽) ),到一农家避雨(🛂)(yǔ ),目睹(🚦)农夫女(nǚ )儿不(📂)能为自(zì )己婚事作主(🕘)之(zhī )苦,顿悟自(🈺)由(yóu )恋爱的幸福(fú(💥) ),更(📜)明白到夫妇(fù(🍸) )相处应互相(xiàng )体谅(💆). Shortly after WWII, flashbacks tell the story of Marise, her husband Paul, and Jean, who was imprisoned with Paul in a German camp. While attempting to escape from the camp Paul is shot, and Jean goes to see Marise, confirming the news she had gotten already about Paul's death. Jean has fallen in love with Marise through the stories Paul told him, and wants to stay with her in the seaside town in Brittany where Paul owned a small business. 本(🍺)片是(shì )描写的(🔊)是17世纪(🍏)(jì )法国一位(👻)名(🧘)(míng )叫文森特·(🍐)德保罗(🐟)的“圣(shèng )徒”的一(🍌)生(shēng )。他有着贫(pín )苦的(🏤)童年，曾(céng )在阿(🦊)尔及尔(ěr )度过了一(🏇)段(🤰)奴隶般的生活(🐵)(huó )，但他最终(zhōng )成为(🕧)一(🐥)个慈善(shàn )事业(🏽)工作的(🎌)(de )牧师，他选(xuǎn )择(♓)放弃世俗的(de )财(🆒)产，把一(✴)(yī )切献给帮助(💼)(zhù )穷人的慈善事(shì(😿) )业(🍚)，并劝说(shuō )贵族(😝)出钱出(chū )力。 In 1904, Uncle Latsie comes to New York from Hungary with two little nieces, who immediately take to cafe dancing. In 1912 they're still at it, but to pay Uncle's card debts they decide to go into vaudeville. Singer Harry Fox, whom they meet en route, schemes to get them an audition with the great Hammerstein; but their resulting success takes them far out of Harry's league. Lots of songs with a little story. Before the period of the innocent musicals (known as chanchadas), the Atlântida Company produced this unique bittersweet melodrama in the early brazilian cinema. Directed by José Carlos Burle, who would be a famous due to chanchadas, this movie is till now very searched by historians and fans of Grande Otelo and mainly of Cacilda Becker. While waiting at a train station, Nikki Collins witnesses a murder from a nearby building. When she brings the police to the scene of the crime, they think she's crazy since there's no body. She then enlists a popular mystery writer to help with her sleuthing The film is best known today for Scorsese’(🐃)s claims that it was his inspiration for New York, New York, but it’(🏣)s not the plot that found its way into his film. It’s the shadowy culture of working class folks tangled in the post-war culture of seductive night life, of dive bars and the itinerate musicians and singers and underworld types who frequent them, and in the tough attitude that Walsh and Lupino bring to the film. They made a great pair and she is the perfect Walsh heroine: tough, smart, experienced, and still something of a romantic at heart. This is one of the great “women’s pictures” of the era, never showy but always simmering with complicated relationships, frustrated desires and unfulfilled affections that are more authentic and conflicted than most Hollywood pictures