电影不敢说爱你

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) Police drama. The sleuths of Scotland Yard try to solve a series of burglaries. 在(🐴)二(🚔)次大战(zhàn )期间的南(🍱)大(🚇)西洋，美(měi )国驱逐舰海(🌜)恩斯号用(yòng )雷(🌜)达追踪(🎲)到德国潜艇(🎠)(tǐ(🎂)ng )信号，于是穆(mù )勒舰(💹)长(🔀)(zhǎng )（罗(luó )伯特.米彻(chè(👩) )姆饰）便展(✴)(zhǎ(🧣)n )开追击(💮)。穆勒原(yuán )担(🆙)任(🚁)(rèn )货轮船长(zhǎng )，因被(bè(🌉)i )鱼雷(léi )击沉而转(zhuǎn )任(🧓)海恩(ēn )斯号(😹)(hà(🏼)o )的舰长，船上多是新(✏)(xī(🕒)n )兵。德国(guó )史登堡舰长(➕)（克德.朱(zhū )尔吉斯饰(💬)）亦是船舰(⌛)(jià(🐨)n )作战好手，奉命与奇(🤠)(qí(😡) )袭舰会合并取回英国(🥩)(guó )密码，故一直(🌞)坚守航(🎬)(háng )线，却遭穆(🕺)勒(🎍)识破尾(wěi )随而来。穆(🥧)勒(😺)深怕弹(dàn )援不中而反(🐜)遭(zāo )德国舰(📉)(jià(💄)n )队围(wé(🗞)i )击，便每(měi )小(💎)时(👒)以(yǐ )深水(shuǐ )炸弹轰击(♿)(jī )以待援(yuán )兵赶(gǎn )来(✂)。德国(guó )潜艇(🚴)被(📬)(bèi )逼到(dào )深海海床(🕵)(chuá(💭)ng )以便甩(shuǎi )脱追(zhuī )击，由(🎥)于(yú )美舰不断轰击使(📧)德军(jun1 )船员受(🖥)不(🗯)了，史舰长(zhǎng )以进行(🚍)曲(🥇)鼓舞士气，这样一来更(🦅)被美军声(shēng )纳(🐻)探知予(☕)以轰击。海(hǎ(👍)i )恩(🍊)斯号也受重创，穆(mù(🦃) )勒(🤷)假装弃船引诱德潜(qiá(🖐)n )艇浮出海面，以(🔀)便轰(hō(🧘)ng )击潜艇使两(🍢)舰(🌉)(jiàn )相撞…… 影(yǐng )片描(🔛)述一(yī )群探险(xiǎn )队员(🐯)(yuán )到喜马拉(🎟)(lā(💏) )雅山去(🌄)(qù )探险(xiǎn )，却(🦁)意(🏢)外(wài )地遇上(shàng )了一(yī(☝) )头雪怪，并且逐一被(bè(🏙)i )雪怪及自(zì(📮) )己(💾)的恐怖所杀害。 人(ré(🚎)n )間(🌱)性の本能である色(sè(🔬) )と欲の生態を徹底的(😃)(de )にえぐる! Kingsley Amis' novel about redbrick university life turned into likeable but harmless knockabout farce by the Boulting Brothers. The situation of accident-prone, caustic-minded young lecturer Jim Dixon having problems with his girlfriend and his professor - he was promptly annexed as an example of 'Angry Young Man' protest - here lacks all sense of satire, not surprisingly given the casting of the wet Carmichael in the central role. Cosy, undemanding, and quite forgettable. 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)