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戦(🐫)争(🤴)(zhēng )未(wèi )亡人として(🛃)遺(🤙)児を育てる小(xiǎo )夜子(👉)は、ふと在りし日の(🍂)夫(🐔)(fū )・真(zhēn )一との想い(🌄)出の日々を回想(xiǎng )し(🏿)て(👢)い(📎)く。学生時代の出(🧔)会(huì(🖋) )いや交際を反対(😆)す(🚾)る(🍐)親(qīn )との確(què )執、そ(📫)して押し寄せる戦(zhà(🔦)n )争(💅)(zhēng )の波……。 One Touch of Venus (1948) is a film directed by William A. Seiter, starring Robert Walker and Ava Gardner, released by Universal Studios, and based on the Broadway musical of the same name written by Kurt Weill. However, the film omits most of Weill's music and thus got poor reviews. Bang Han-whan (Nam Hong-il), who comes from a fishing village, goes to Seoul, Korea with great ambition to be successful. But he wastes his time and money on a geisha, San-hong (Han Eun-jin). One day he receives a telegram that his father is severely ill, goes back to his hometown, regrets what he has done in Seoul, and returns to the life as a sincere fisherman. One day San-hong visits him and he honestly tells her what he has on his mind. She listens to him wholeheartedly, goes back to Seoul and becomes a factory worker. When Hong-il's fishing farm faces financial difficulties, San-hong finds out about it, and sends him the money she had earned up until then. The door of happiness opens for them. 本片采用(🅱)傀(guī )儡(lěi )戏(xì )的夸张(🍎)手(❄)法，揭露国民(mín )党(dǎ(😹)ng )政(🎉)(zhè(⏩)ng )府的黑暗和腐败(🏻)。 在(⛑)一(⚡)座(zuò )木(mù )偶(ǒu )戏舞(📻)台(🕟)的后台，国民党(dǎng )领(lǐ(🏴)ng )袖正要粉墨登场，一个(🕶)帝(👫)(dì )国(guó )主义特使带着(💤)飞机大炮匆(cōng )匆(cōng )赶(🐚)来(💨)(lá(🗂)i )，他以这些武器与(🏭)这位(💡)(wèi )领袖(xiù )换取了(🐸)中(🕙)国(🛄)的主权。于(yú )是这(zhè )位(🎓)领袖便登台亮相。共(gò(🐣)ng )演(💻)(yǎn )出(chū )四(sì )出戏。第一(🌞)出：“跳加(jiā )官(guān )”，讽刺(🌠)他(🕖)们用漂亮的词(cí )句(☔)(jù(🍑) )粉(👑)(fěn )饰现实的两面(💧)手(📋)法(🚿)。第(dì )二(èr )出(chū )：“花(💛)子(🍕)拾金”，为小丑(chǒu )自(zì )白(💱)(bái )，即让他们在公众面(⛑)前(🥙)(qián )自(zì )我剖白。第三出(💧)：“大登(dēng )殿(diàn )”，嘲弄他(🧚)们(🎠)用(🐪)召开“国(guó )民(mín )代(🌚)表(biǎ(🕍)o )大会”的手段，实现(🕵)登(📣)(dē(📸)ng )基称(chēng )帝的目的。此时(🍼)皇亲国(guó )戚们(men )纷纷上(🗝)殿(🐀)庆贺，结果为了(le )一(yī )根(⬅)(gēn )骨头争吵成一团。第(🥇)四(🌓)(sì )出(chū )：“四面楚歌(🎼)”，那(🥉)位(🧓)领(lǐng )袖(xiù )正(zhèng )在(🐕)命(🦉)令(🏻)增加苛捐杂税时，探(🤸)(tà(🏡)n )子接二连三地报告各(🐟)方面(miàn )失(shī )败(bài )的消(🔛)息(💁)，这时人民反抗(kàng )，战火(🥔)四起，这位领袖终于(yú(🧡) )烧(🧝)(shā(📸)o )得焦头烂额，奄奄(💻)一息(🤹)。帝(dì )国主(zhǔ )义的(😘)又(⛅)一(🗡)个特使急忙赶(gǎn )来(🐳)给(🎸)(gěi )他注入强心剂，但也(🍁)无(🛒)(wú )济于(yú )事。那位登基(🕰)称帝的领袖(xiù )不(bú )过(🤓)(guò )是做了一场皇帝梦(🍿)。 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. 根(🈺)(gē(👰)n )据(jù )纪(jì )德小说(🏁)改(👒)编(🚂)《田园交响(xiǎng )曲(qǔ )》（(🐛)《田(🛐)园交响曲》原文为(wéi )La Symphonie Pastorale。主(🌰)角是牧师，法语为pasteur，pasteur 的(de )形(🔧)(xí(⏩)ng )容(róng )词为pastoral(e)，因而有的批(👳)评家(jiā )指(zhǐ )出纪德使(🖊)用(🥌)这(🏷)个书名，另(lìng )有(yǒ(🗣)u )一层(🚰)含义是田指“牧师(😟)的(🐐)心(👯)(xīn )曲”。——译注）中(🤒)的(🦇)牧师(shī )，起(qǐ )初好心地(🙊)收养了一名无(wú )家可(kě(🏘) )归的盲女。尽管妻子屡(🍍)次(cì )暗(àn )示(shì )他要提(🕑)防(🍹)自(🦁)己的爱心与(yǔ )爱(🕴)(ài )德(📐)(dé )，但这种感情最后(😾)还(📺)是(shì )转(zhuǎn )变(biàn )成了爱(🐂)情。牧师培养塑造(zào )吉(💱)(jí(👪) )特吕德，慢慢有了自己(💱)的(de )企(qǐ )图(tú )。可是当吉(🐤)特(👓)吕德一旦(dàn )治(zhì )愈(🎉)眼疾(🍌)，发现了牧师的虚(🕣)(xū(🐴) )伪(😂)(wěi )，不但向她隐瞒他(❕)们(📝)的爱情(qíng )造成(chéng )的痛(🎿)苦，也让她错失了(le )获得(dé(🎻) )幸福的机会。她想的是(🚓)(shì )她看(kàn )不到的那个(👠)人(🎵)，她(✖)看到的(de )却(què )不(bú(🥧) )是她(😴)想的那个人；为了(🐲)(le )内(💩)(nèi )心(xīn )的平静，她不得(📁)不让自(zì )己(jǐ )脱(tuō )离(➗)这(😫)个世界。 尼克贝（Derek Bond 饰(shì(😛) )）的父亲死后，他找了(⌚)叔(🦇)叔(shū )拉(lā )尔夫（Cedric Hardwicke 饰(🕙)）去(🤤)帮忙。拉尔(ěr )夫(fū(🐇) )为(🌚)了(⛑)“帮助”他，便让他(tā )到(🔙)(dà(🕣)o )士括尔斯（Alfred Drayton 饰）的寄(📊)宿学校(xiào )当助(zhù )教。尼克(🏚)贝对士括尔斯(sī )的教(👋)(jiāo )育方式十分厌恶，所(🎦)以(✖)(yǐ(😔) )他释(shì )放了被士(🗡)括尔(🈶)斯虐待多年(nián )的(de )史(⌛)(shǐ(🥝) )密格（Aubrey Woods 饰），然后就离(🍄)(lí )开(kāi )了(le )。史密格跟尼(😜)克(🐲)贝一起(qǐ )到(dào )伦(lún )敦(⭕)与诺格斯（Bernard Miles 饰）一块(🐔)儿(🥡)(ér )住(zhù )。然后，他们又(😠)到了(🤓)朴茨(cí )茅(máo )斯当(✈)演(🦉)员(🍫)。当尼克贝听到(dào )拉(💋)(lā(😺) )尔夫虐待尼克贝的妹(💓)妹（Sally Ann Howes 饰(shì )）时，就回到伦(🕛)敦，为切尔(ěr )以布(bù )兄(🏣)弟工作。随后，他拯(zhěng )救(🏊)了(😄)(le )被(👭)拉尔夫伤害的白(🏻)雷（(😮)Jill Balcon 饰(shì )），并与她结婚(🔷)。 Based of the Graham Greene novel about a revolutionary priest in Central America. A priest who is The Fugitive is trying to getaway from the authorities who have denounced Christianity and want anyone linked to it dead. The Fugitive finds shelter with an Indian Woman (The Woman), a faithful parishioner, who gives the priest directions to Puerto Grande, where he could then board a ship and sail to freedom in America. On his journey to Puerto Grande, he meets up with a man who says he will protect him. In reality, he is the Police Informer and once The Fugitive realizes this, he is back on the run, but the Police Informer is never far behind along with the authorities. "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." 这是一部1947年(nián )的(de )英(🚙)(yī(🐼)ng )国惊悚片。迪克·特雷(🕦)(léi )西(xī )遇(yù )见了一个(🍓)用(🧡)神经毒气作为(wéi )武(🔩)(wǔ )器(📈)来抢劫银行的人(😑)。