一室一厅一卫400元出租

Stark, claustrophobic thriller about an anti-Semitic soldier who kills a Jewish war veteran, evading detection by dint of his loyal friends' protection. But a detective is determined that the crime will not go unsolved and sets about laying a trap for the murderer. Based on the novel 'The Brick Foxhole' by Richard Brooks. Struggling artist Geoffrey Carroll meets Sally whilst on holiday in the country. A romance develops but he doesn't tell her he's already married. Suffering from mental illness, Geoffreyy returns home where he paints an impression of his wife as the angel of death and then promptly poisons her. He marries Sally but after a while he finds a strange urge to paint her as the angel of death too and history seems about to repeat itself. 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. 《无(wú )人(rén )生(shēng )还》是阿(⏲)加(📘)莎(🗳)·(🍔)克(🏒)里斯蒂最著(zhe )名(míng )的(de )作品之一，在多种排名中均居(💲)(jū(🔙) )榜(🦆)(bǎ(📻)ng )首(📃)(shǒu )。 The stuffy manager of lovely opera singer Vicki Cassel and her uncle, a classical conductor, is determined to close down the noisy nightclub that's next door to the Cassels' home. The club's owners--Steve, a handsome ladies man, Jeff, his clownish sidekick--hatch a plan to keep the club open. Steve arranges to meet--and woo--Vicki and then invite her and her uncle to the club. When Vicki's snobbish aunt and the manager discover that Vicki now favors popular music to the classics, they arrange to get the club closed. But that doesn't keep Steve and Jeff down. Instead they decide to put on a Broadway show if they can get a backer. They find their "angel" in Vicki's uncle who agrees to finance the show only if Vicki is the leading lady. But once again, Vicki's aunt and manager may be the spoiler in everyone's plans. "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."