盛世荣宠

In Edinburgh, renowned surgeon and now teacher of anatomy Dr. MacFarlane, has been paying John Gray, a cabman, to clandestinely bring him exhumed bodies of the recently deceased for classroom demonstration purposes. With cemeteries being increasingly guarded, Gray turns to murder to provide MacFarlane with fresh bodies. Realizing that he will never be rid of Gray, who constantly taunts him with his knowledge of MacFarland's past indiscretions, MacFarlane engages the malevolent Gray in a hand-to-hand fight to the death, the ultimate results of which provide the victor with an episode of unprecedented psychological horror. 芳齡十(📹)八的妮莉，原(🐱)本長年與(yǔ )養(yǎng )母(🚰)(mǔ )同住瑞典鄉間，平(🖨)靜的生活就(🍳)從(cóng )某(🗻)天生母忽(hū(🚁) )然(rán )來(🛺)(lái )訪開始變(📜)奏。她隨(❣)著生母來到(⛪)(dào )斯(sī(🕳) )德(dé )哥爾摩(😐)一探究竟，大城市為(🕛)她(🚟)帶(dài )來(lái )從未經(♑)歷(⛺)(lì )過(guò )的(de )體驗，也(➿)啟(⛑)迪了她的愛情視(🕉)野(🎁)(yě )。但(dàn )偏偏她的愛(🔉)慕對象卻是(🛫)生母的(〽)情(qíng )人(rén )，母(🍻)女關係(📥)(xì )猶(yóu )如緊(🎲)繃之弦(🕝)，悲劇是否註(👄)定發(fā )生(shēng )？影片(🎿)當時雖然票房不佳(🍿)，卻是(shì )柏(bǎ(🏬)i )格(gé )曼(〰)初執導演筒(🙅)的處女(👥)作。 A fast-moving automobile fails to make a sharp turn of the highway from Malibu to Los Angeles. It overturns and its occupants, Tim Slade, Newspaper man turned private investigator, and Hugh Fresney, managing editor of the Los Angeles Currier, are pinned underneath. Both are seriously injured and are unable to move. As they wait for the tide to come in and cover them, Fresney recounts that his boss, Clint VAughn has been killed, presumably by gangsters in the pay of Nick Dyke, who Fresney has fought against through his newspaper columns. Slade had been hired to avenge Fresney if Dyke's gang killed him in retaliation, Slade, one-time sweetheart of Vaughn's dipsomaniac wife Julie Vaughn, believed she still loved him, but he had fallen for Dana Jons, Vaughn's beautiful secretary. Police Detective O'Haffey investigated Vaughn's death and unearthed several suspects, including Slade, Julie, Dykes and Dana, but Slade was not satisfied and looked elsewhere High school music student Sherry Williams is excited that her actress sister Jo has taken time off from her New York stage career to visit Sherry's school to see her perform in a musical play. Jo is about to step off the train when she hears that a famed Broadway show producer, Arthur Hale, is also stepping off the same train, leading Jo to depart from the other side of the train and make her own way to Sherry's play. "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." 纯(😀)朴善良的王大骡子(🕦)在乡下(xià )无(wú )法(fǎ(🤵) )生(🤾)存，辞别老母来到(🙂)繁(💝)华的城市(shì )。耀眼(🆑)的(😕)霓(ní )虹(hóng )灯(dēng )、川(🏥)流的人群，骡子被这(⤴)里的(de )景(jǐng )象(👸)(xiàng )搞得(💭)不知所措。饥(🛐)饿和寒(🙁)冷刺激(jī )了(🍥)(le )他求生(⏹)的本(běn )能(né(📱)ng )，他疯狂地抢走别人(🤚)刚煮熟的(de )鸡(jī )。结果(🎚)被警察丢进(⏭)监狱。罪(🕝)犯集(jí )中(zhō(🆘)ng )的(de )监狱(💒)里，骡子凭着(🌔)健壮的(🤰)体力征(zhēng )服(🎺)两个以打(dǎ )人(rén )为(🛂)(wéi )职业的家伙。从此(🙄)，竟(♓)和他们(men )成(chéng )为(wé(❤)i )朋(📄)友。然而，朴实的骡(🌸)子(💽)哪里知(zhī )道(dào )这是(🛐)两个(gè )无(wú )恶(è )不(📪)作的流氓。不(🌗)久，骡子(🌗)释放(fàng )出(chū(🎅) )狱(yù )，就(🔫)在他茫然不(🌎)知去向(💫)的时候，这(zhè(🎹) )两个人带他(tā )去(qù(🐊) )见犯罪团伙的头目(🚤)。头脑简单(dā(🐭)n )的(de )骡(luó(🏮) )子现还分不(🏞)清这里(🔯)的善恶，反(fǎ(💮)n )而(ér )感(🏓)(gǎn )谢他们收(🎥)留他，让他有吃有住(🐇)的(de )大恩大德，并(bìng )开(📡)(kā(⏫)i )始忠心地为他们(🛂)干(😨)着打人的勾(gōu )当(⌛)(dā(🥌)ng )。淫荡妖艳的丽丽是(🎩)头目的姘头，她(tā )看(⌛)上身材(cái )魁(🐌)(kuí )梧(wú(🧦) )的骡子，总想(🛤)引诱他(📱)投入自己(jǐ(🎧) )的(de )怀(huái )抱。在这罪恶(👦)的团伙里也有善良(💁)(liáng )的(de )人。翠花本(běn )有(📇)(yǒu )一个幸福(😧)的家，就(🛩)是这个犯罪(🧙)(zuì )团(tuá(👍)n )伙(huǒ )杀死她(🔐)的丈夫(⛸)，又把她抢到(🚿)这(zhè )里(lǐ )逼(bī )她干(🔌)这一行。为了孩子，翠(✝)花(📱)忍(rěn )辱活下来。骡(⛲)(luó(🗜) )子(zǐ )的出现，让他(🏛)渐(🌹)渐看到这个凶(xiōng )手(🈹)(shǒu )也(yě )是个善良的(🎵)被逼无奈的(🦍)人。纯朴(🐧)(pǔ )的(de )骡子也(😑)逐(zhú )渐(👎)(jiàn )发(fā )现翠(🙈)花不同于其它人，两(👹)人慢(màn )慢(màn )地(dì )熟(🦕)识起来。翠花几次想(🧐)把这里的(de )真(🚙)(zhēn )相给(🔶)骡子说(shuō )明(🔻)(míng )白，结(🐹)果都被人打(🔎)断。而骡(🎲)子(zǐ )始(shǐ )终(🕉)(zhōng )蒙在鼓里，做着发(⏱)财后接老母(mǔ )来(lá(🔍)i )过(🕴)(guò )好日子的美梦(📃)。一(♈)天，头目派学(xué )好(🐢)刀(🐺)枪回来(lái )的(de )骡(luó )子(🥀)砍人手指，他本能的(🔹)拒绝了(le )。经(jī(⬆)ng )不住丽(🔳)丽的花言巧(🛡)语，最终(🥕)他还(hái )是(shì(🤽) )答应下来(lái )。翠(cuì )花(🔮)不忍他这样下去，不(✨)顾一切(qiē )地(dì )赶(gǎ(🤲)n )出去把他拖(🛑)回来，跟(💯)他讲明这里(🚲)(lǐ )的(de )一(🍔)切。骡子(zǐ )终(♍)(zhōng )于明(🤦)白，他痛恨让(✡)他做坏事的(de )头(tóu )目(📵)(mù )，要离开这里。丽丽(🤔)布(💃)下圈套(tào )让(ràng )骡(⛰)(luó(🃏) )子酒后杀人，同时(🌥)，又(🍋)把他的母(mǔ )亲绑来(🌋)，要(yào )以(yǐ )母(mǔ )亲的(🕊)生死为条件(🌎)逼他干(🆑)下去。骡(luó )子(🐀)(zǐ )想救(🕳)母亲而留下(🕚)来。头目设宴款(kuǎn )待(🦋)(dài )骡子，并(bìng )当(dāng )众(😍)(zhòng )宣布他为副首领(🌘)，同时让弟兄(🧕)(xiōng )们(men )外(🛐)(wài )出通霄作(⏬)乐。夜深(⤴)人静，翠花让(😵)(ràng )骡(luó(🔟) )子母子赶快(🏙)(kuài )逃(táo )走，只叮嘱日(🔨)后照顾他的孩子(zǐ(🚼) )。骡(🚱)(luó )子谢过后保护(🤢)母(👈)亲向郊外逃去(qù(📆) )。突(⛰)(tū )然枪响，母亲中弹(🦉)倒地。骡子愤怒地手(💫)刃凶(xiōng )手(shǒ(🍓)u )，见是头(🙌)目的的人反(🐅)身奔回(✅)去算(suàn )帐(zhà(🏠)ng )。头目见骡子逃走迁(⚫)怒于翠花，在(zài )丽丽(🔕)的怂恿(yǒng )下(xià )杀(shā(🧤) )了她。等骡子(🌳)回来时(🤼)，弥留之(zhī )际(👝)(jì )的(de )翠(🕦)花只恨未能(🧤)见上孩(🕑)子一眼。骡(luó(📴) )子(zǐ )怒而拔刀奔(bē(⬆)n )到(dào )头目的住处，亲(🍰)手(🏷)杀了他和他(tā )的(🈳)(de )情(😒)(qíng )人。骡子又被投(📯)入(🎖)监狱，他痛(tòng )苦(kǔ )地(🔔)(dì )笑声响在都巿的(📜)夜空。 Agent has his only client pose as both a French chanteuse and Brazilian bombshell to fool nightclub owner. "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 Grafströ(😇)m, 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."