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剧情(qíng )简(jiǎ(🏢)n )介(✂)： 日本殖民(🏬)朝(😽)鲜时期，日(rì(🎚) )本将军之孙长谷川辰(📵)雄（小(xiǎo )田切(🤴)(qiē(📯) )让(ràng ) Jô Odagiri 饰）(📋)与(📭)贫贱子弟金俊植(zhí )（张东(dōng )健 Dong -gun Jang 饰(🍯)）竞逐长跑，直(➿)至(🧓)(zhì )奥运(yùn )选(🛷)(xuǎ(📶)n )拔。尽管俊植涉险夺冠，却(què )被诬(wū(🔱) )陷(🥢)违规。愤愤不(🐦)平(🥝)的民众与(yǔ )军(jun1 )方发生冲突，最终俊(🌫)植被(bèi )充(chōng )军(📬)。他(🍗)和兄弟们屡(🥄)遭(✝)日军凌辱。一(yī )次野战，俊植意外俘(😘)获(🍀)了(le )专(zhuān )门射(❔)(shè(😏) )杀日军的狙(✋)击手斯莱（范冰(bīng )冰(🦉)(bīng ) 饰）。上将辰(⏩)雄(🏄)来前线督(dū(📬) )战(💻)(zhàn )，令(lìng )俊(jun4 )植受辱。他每晚坚持长跑(⭕)(pǎ(😋)o )，却被(bèi )烧了(🆙)跑(🐽)鞋。他不愿做(🍒)敢(🎛)(gǎn )死队(duì )，索性集体出逃。俊植看到(🏷)(dà(🔢)o )苏(sū )军压(yā(🍗) )境(🎀)，决定跑回送信。结果，日(rì )军惨败，辰(🥝)雄和俊植被俘(🦖)(fú(🌉) )。冰天(tiān )雪地(🗽)，俊(🤩)植见到了此前出逃(táo )的(de )兄弟众泰(🎲)，但(🧞)后者已成冷(🥇)(lě(🎓)ng )血(xuè )。一(yī )次(🥉)骚乱之后，俊植和辰雄(🤜)角(jiǎo )斗(dòu )，结果(🕙)俊(🤡)植宽容了对(🌃)手(🏈)。此(cǐ )后，德(dé )军疯狂反扑，俊植和辰(📤)雄(🐔)(xióng )在(zài )敢死(🎖)队(🦋)同历生死。他(🌺)们(💒)为了(le )逃命(mìng )，同甘共苦，翻山越岭，来(👙)(lá(🐍)i )到(dào )德军(jun1 )占(🏷)领(🛏)地。两人失散，再见竟(jìng )是(shì )诺曼底(🎳)的德军阵营，辰(🐦)雄(🤝)(xióng )再(zài )次见(💭)(jià(🈸)n )到了那个奔跑着的身影…… 歌(gē(❣) )星(🚵)Alan（谭咏麟 饰(🍟)）(🚻)的最后一(yī(😽) )场(chǎng )演唱(chàng )会结束了(🎋)，Alan在人群的喝彩(🏼)及(😐)(jí )记(jì )者的(⛵)采(🍼)访中走出了舞台…… The story of an 11-year-old girl from a poor rural community who dreams of becoming a racing driver. Pantheon filmmaker Carlos Saura bounced back from a handful of failures with 1989's La Noche Oscura (The Dark Night). Juan Diego stars as San Juan de la Cruz (St. John of the Cross), the legendary 16th-century poet-prophet. Galvanized into action by the spirit of Santa Teresa de Jesus, San Juan fought to install reforms in the Carmelite Order. Like many another visionary, he was regarded as a heretic, and promptly subjected to the most appalling of tortures. Writer-director Saura manages to draw several parallels between the religious persecution of the 1700s and the political despotism of Fascist Spain. Considering all the critical attention Howard Hawks has received over the years it's rather surprising that this film, the sixth he directed, is so little known. Admittedly, FAZIL is not at all typical of Hawks' work and lacks most of his recognizable directorial motifs, and on top of that features stars whose names only buffs will recognize, but it's a beautifully filmed, sumptuously mounted late silent drama that's worth seeing for its production values alone. For viewers of our era the most striking aspect of the film is that its story is based on a culture clash of West vs. East, specifically, the difficulties that arise when a European (presumably secular) woman who prides herself on being "free" and modern marries an Arab man who follows the old ways and is a devout Muslim. This material lies in a danger zone that Hollywood has rarely ventured into, even in recent years, and while to our eyes FAZIL is quite dated and very much a product of its time in its depiction of Arabic culture, it's nonetheless surprisingly even-handed in presenting both sides of the case in a painful divide that, needless to say, is still with us.