绿光森林主题曲

美し(🅾)い芸者・(🤛)滝の家清葉(yè )に片思いの医学(🏍)(xué )者・葛(🤴)(gě )木は、(🕋)ある日、(📹)思いきっ(🔤)て告白す(🏑)る(👧)が、旦(🛷)(dà(🚙)n )那に一(yī(✉) )途な清葉(🌃)に振られてしまう。それを知ったライバル芸者の稲葉屋お(🌜)孝は、葛(🦀)(gě )木をカ(🔳)モにしよ(🍨)うと彼(bǐ(🌎) )に言い寄(👐)る。一方、(👆)かつて清(🔋)葉に振ら(🔩)れた直(zhí(🛸) )後にお孝(📏)に言い寄(🚥)られ、弄(💚)ばれて捨(🐕)てられた五十嵐は、お孝(xiào )を(🎪)執拗に追(🔊)(zhuī )い回(huí(🎱) )していた(💑)…。 本片(pià(🥛)n )是出(chū )自(💑)弗(🎅)朗茨的(🍊)(de )真(👮)实故事，第(🥄)二(èr )次世(🚅)界(jiè )大战期间弗(fú )朗茨被关押在英国的战俘营里，通过不屑(👦)努力终于(🎴)(yú )逃离战(💽)俘营(yíng )回(🎧)到(dào )了德(🚸)国(guó )，成(ché(🐲)ng )为二战(zhà(🍢)n )期间(jiān )唯(🕳)一从英国(🗯)(guó )战俘营(🚋)逃脱(tuō )并(🏼)成功回到(🎗)(dào )德国(guó(🚯) )的人。 Nickie Ferrante（加(🚞)里·格(gé )兰特 Cary Grant 饰）是一个游手(🈶)好闲的有(🖱)钱人，在一(🐧)艘游轮上(💗)(shàng )邂逅了(🐃)Terry McKay （黛(dài )博(🖍)拉(🛬)(lā )·蔻(👪)儿(🎾)(ér ) Deborah Kerr饰）。两(🆑)人(rén )相谈(📫)(tán )甚欢，Nickie更是(shì )船临时靠岸(àn )的时(shí )候带着(zhe )Terry去了一个乡(xiāng )镇(🦉)上看望了(🛣)他的奶奶(🖱)，Terry发现了Nickie在(🥜)油画上的(❎)天赋。两(liǎ(📧)ng )人间情愫(🚽)暗(àn )生。船(🐇)到了(le )终点(🖨)(diǎn )站纽约(🦅)(yuē )，两(liǎng )人(📂)要分开了(🏬)(le )，约定半年(⬛)(nián )后在纽(🕠)约帝(dì )国大(dà )厦顶层(céng )重聚。半(🦁)年(nián )后，Nickie独(😡)自一人在(🤪)帝国大厦(🍕)从白天等(🌯)到天黑，未(😅)见(🚴)Terry的(de )踪影(🤡)，失(🏬)望(wàng )而去(📁)(qù )。而另(lì(🍍)ng )一边(biān )，Terry却在(zài )赶来(lái )的路上发生(shēng )了车祸而无(wú )法到(dào )达(🍽)。不(bú )能走(✝)路的Terry不(bú(❇) )愿再去寻(🦌)找Nickie，却偶然(🚅)在半年后(👗)的一场舞(🎸)会上又见(🌶)到(dào )了Nickie，此(🍮)时的(de )Nickie已经(🏉)(jīng )是小有(📠)(yǒu )名气(qì(🚶) )的画家(jiā(🌻) )。Nickie费(fèi )尽心思终于(yú )找到了Terry的住(🌏)(zhù )所，准备(🔤)再(zài )次追(🌹)(zhuī )求Terry的芳(🍛)(fāng )心。到底(👗)这(zhè )段波(💙)澜不断的(♿)爱(🏒)情结果会(💫)如何？ 英(👯)文名称：(♈)The reunion 以东京(jīng )洲崎的风月(yuè )区为(wéi )背景舞(wǔ )台，而以一(yī )对因(yī(👃)n )被父母反(💆)对(duì )成亲(😅)而出走(zǒ(🌾)u )至东(dōng )京(😵)的恋(liàn )人(🚷)茑枝及义(🌐)(yì )治为主(🎼)角，刻划他(🎎)们寄栖于(🐣)风月区小(🌐)酒馆及面(🏫)店的(de )求生(😌)故事。导演(yǎn )川岛雄(xióng )三忆(yì )述(🐂)在拍(pāi )摄(🛷)期(qī )间，在(🐮)当地(dì )新(❓)旧两帮黑(☝)(hēi )社会势(⚪)力之(zhī )间(🐎)周(🕑)(zhōu )旋，而(é(🦉)r )警方全无(😾)援手，令他(❔)充分感受到电影人正是现代“游侠”的化(huà )身──戏如(rú )人生(🍳)(shēng )，川岛(dǎ(💦)o )雄三(sān )的(🔵)电影生涯(🚺)(yá )和事业(🍠)，也(yě )正好(🌡)体现出(chū(♐) )“游(yóu )侠”的(🖌)(de )精神。 In the 1950s Neo-realism style was given a boost, in part by what was happening in Italy. The films of Rossellini, Antonioni and De Sica made a powerful impression on Brazil's nascent film community. A series of pivotal pictures were made in the 1950s that responded to the wake-up call of the new Italian masters. Needle in a Haystack (1953) by Alex Viany, The Road (1957) by Oswaldo Sampaio and The Great Moment (1958) by Roberto Santos are a few of the better titles. The energy of these films was felt far north of Rio in the state of Bahia, where several pictures were made. (History of Brazilian Cinema) 改編(😲)(biān )自美國(😋)片《太陽浴(🏎)血記》(1946). A brave longshoreman lingers on after being gunned down by 3 racketeers, as a determined assistant D.A. searches hard for fearful witnesses against the men.