纵横诸天的武者

Commercial artist Daisy Kenyon is involved with married lawyer Dan O'Mara, and hopes someday to marry him, if he ever divorces his wife Lucille. She meets returning veteran Peter, a decent and caring man, whom she does not love, but who offers her love and a more hopeful relationship. She marries him... just as Dan gets a divorce. A good-natured saddle tramp traveling with his sidekick, is mistaken for a ruthless outlaw with a price on his head. A virtuous Spanish princess becomes Queen of Portugal, then troubled by social struggles and court intrigue. She negotiates a truce between the king's and his son's factions; and performs a miracle, by changing bread into roses, to appease the king's ire, has he had forbidden her to distribute bread to the poor peasants. After her husband's death, she entered a convent, resting her crown at the tomb of San Tiago, in Compostela. "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." Helen Brent has just received a Reno divorce. That night, she discovers one of her neighbors, Laury Palmer, and a gentleman caller murdered in their home. The killer is her neighbor's other boyfriend, who won't abide anyone "cutting in" on him. This is Sam Wilde, a man who knows what he wants, is insanely jealous of what he has, and will kill to keep it. Rather than tell the police what she knows, Helen hops a train back to San Francisco... Pinkie Brown (Richard Attenborough) is a small town hoodlum who's gang run a protection racket based at Brighton race course. When Pinkie orders the murder of a rival, Fred (Alan Wheatley), the police believe it to be suicide. This doesn't convince Ida Arnold (Hermione Baddeley), who was with Fred just before he died, and she sets out to find the truth. She comes across naive waitress Rose (Carol Marsh), who can prove that Fred was murdered. In an attempt to keep Rose quiet Pinkie marries her. But with his gang beginning to doubt his ability, and his rivals taking over his business, Pinkie starts to become more desperate and violent. Indecisive heiress Dee Dee Dillwood is pushed into marrying her sixth fiancée, but unable to face the wedding night, she flees into the adjacent hotel room of commercial pilot Marvin Payne, who just wants to sleep. Somehow, she persuades him to take her to California. Her fellow passengers include a chimpanzee, a corpse (in a coffin), an absconding embezzler, and two smoochy newlyweds. Can love be far behind?