亚历克斯克洛斯

伊丽(😆)莎白(❤)和约翰结婚后，第(🤢)(dì )一(😋)(yī )次世(🚟)界大战爆发了，约翰(hà(📠)n )应(yīng )征入伍，去了(🚒)前线(♍)。不久伊(⤴)(yī )丽莎白(📮)接到噩耗，约(🥗)翰在一(yī )次战斗(🤽)中死(😥)亡。但约翰约翰(hà(🤡)n )并(bìng )没有死(😽) 亡，他经历了多次(🛳)手(shǒ(👟)u )术容貌有了很大(🌈)的变(📰)化。所(suǒ(😫) )以当他多年后回到美(🚒)国，几(jǐ )乎(hū )无法(🎊)辨认(🙄) 根据纪德小说改(🏁)(gǎi )编(biān )《田园(🗒)交响曲》（《田园交(🥨)(jiāo )响(👍)曲》原文为La Symphonie Pastorale。主角是(🏋)牧师(🚤)(shī )，法语(🥄)为pasteur，pasteur 的形容词为pastoral(e)，因(yīn )而(🦔)(ér )有的批评家指(➡)出纪(💎)德使用(🥛)这(zhè )个书(👒)名，另有一层(⏯)含义是田(tián )指“牧(🌆)师的(➰)心曲”。——译(yì )注(🤟)(zhù )）中的牧(🚼)师，起初好心地收(💌)(shōu )养(🙍)了一名无家可归(🏷)的盲(📅)女。尽管(🌜)妻子屡次暗示他要提(🔯)防(fáng )自(zì )己的爱(📱)心与(🚗)爱德，但这种(zhǒng )感(🖖)(gǎn )情最后还(🏆)是转变成了爱情(🙃)。牧师(🚥)培养塑造吉特吕(🏄)德，慢(🏣)(màn )慢(mà(🈲)n )有了自己的企图。可是(😜)当(dāng )吉(jí )特吕德(🧥)一旦(🗡)治愈眼(🧤)疾，发现(xià(🏨)n )了牧师的虚(🥗)伪，不但向她隐(yǐ(🅿)n )瞒他(🎲)们的爱情造成的(🏟)痛苦，也(yě )让(🅱)她错失了获得幸(✂)福的(🔻)机会(huì )。她想的是(❄)她看(🥡)不到的(🔏)那个(gè )人，她看到的却(🔛)不是她想的(de )那(nà(😮) )个人(❇)；为了内心的平(🥨)静，她(tā )不得(🏽)不让自己脱离这(🕥)个世(🌹)界(jiè )。 第二次世界(📟)大战(💖)结束后(📫)，曾(céng )经的大都会东京(🍺)放眼望去(qù )一(yī(💸) )片疮(📣)痍，破败(🍇)凄凉。在穷(⛽)苦(kǔ )百姓聚(🌥)集的长屋街，活不(👧)容(ró(💛)ng )易活下来的人们(😻)用勤劳的双(🤷)(shuāng )手(shǒu )重新修缮(✳)自己(🌛)的生活，他们(men )团结(⌛)一心(📺)，向往美(🤔)好的未来(lái )。某天，田代(🛷)领回来一个名(mí(😛)ng )叫(jià(🥝)o )幸平（青木放屁(📎) 饰）的男孩(🕝)(hái )。幸平的父母双(🔞)双死(🚪)于战火(huǒ )，他一个(🕥)人孤(⬆)苦伶仃(🦉)，朝不(bú )保(bǎo )夕。虽然善(📨)良的人们都很(hě(🤸)n )同(tó(🌝)ng )情幸平的遭遇，可(🐞)是维持自(zì(💽) )身的生计已然勉(🆒)强，如(🥛)何再(zài )应付新添(🍶)的一张嘴呢(💺)？几经(jīng )合(hé )计(👺)，田代(📗)决定将幸平托付(🍰)给(gě(😊)i )经营店(💝)铺的老板娘阿胤（饭(🍡)(fàn )田蝶子 饰）。然(🎑)而阿(🌪)胤由于(yú )自(zì )身(⬅)的痛苦经历(💰)，对孩子表现(xiàn )出(🎃)抗拒(🗨)厌恶的态度。不过(🤗)随(suí(🍝) )着时间(👐)的流逝，她心底的温(wē(🤧)n )柔(róu )母性慢慢地(📟)苏醒(🛶)过来…… Susanne Wallner returns to the ruins of Berlin from a Concentration Camp after WW2 to discover that someone else lives in her apartment: Dr. Hans Mertens, the war made him depressive and he drinks a lot of alcohol. Susanne asks him to go but he doesn't want to, so they share Susanne's apartment and even discover their sympathy and then their love for each other. That encourages him a little, of course. But then he hears that Ferdinand Brückner is still alive and also lives in Berlin. Brückner was his Captain during WW2, he gave the order to kill more than 100 innocent people, many children and women among them, on Christmas 1942 in Poland. 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. "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."