煮妇神探 第10集

根(gēn )据纪德小说(🙎)改编(biā(🕓)n )《田园交(🔯)响曲》（《田园交响曲(🔹)(qǔ )》原(🐫)文为La Symphonie Pastorale。主角是牧(mù )师(🌟)，法语为(😞)pasteur，pasteur 的(de )形容(🍆)词为pastoral(e)，因而(ér )有的批(🏤)评家(🍇)指出(chū(🎶) )纪德使用这个书(shū(🌑) )名，另有(📹)一层含(hán )义是田指(🈸)“牧师(😢)(shī )的心(🕸)曲”。——译注）中的(🌳)牧师(shī(🌂) )，起初好心地收(shōu )养(🆎)了(le )一(🐚)名无家(🥋)可(kě )归的(de )盲女。尽管(🌴)(guǎn )妻子(🍌)(zǐ )屡次暗示他要提(🌌)(tí )防自(⏸)己的(🎅)爱心与(yǔ )爱德，但这(🎳)种感(gǎ(🧐)n )情最后(🌾)还是转变(biàn )成了爱(🥢)情。牧(🦖)师(shī )培养塑造吉特(🍥)吕德，慢(🗒)慢有了(🔠)自己的(de )企图。可是当(🙁)吉(jí(🐏) )特吕德(🥂)一旦治愈(yù )眼疾，发(🏏)现了牧(🍥)(mù )师的虚伪，不但(dà(⛑)n )向她(🎇)隐瞒他(🚤)们的(de )爱情造成的痛(⏹)苦(kǔ )，也(🈷)让她错失了(le )获得幸(📌)福的(🛐)机会(huì(🔉) )。她(tā )想的是她看(kà(🎫)n )不到(dà(💄)o )的那个人，她看(kàn )到(🚬)的却(🎵)不是她(📞)想(xiǎng )的那个人；为(✂)了(le )内心(🚫)的平静(🍼)，她(tā )不得不让自己(🌙)脱(tuō(🈷) )离这个世界。 混(hún )江(🍣)龙李俊(🌚)在揭阳(🐛)岭上(shàng )迎宋江，从李(🔘)立(lì(💆) )的人肉案板上救(jiù )出宋江(🤙)，后来又(⚪)(yòu )两度搭救宋江，从(🦄)此走(♌)上梁山(📋)。李俊在水浒传的(de )前(🎷)半部不(🚘)显山不(bú )露水，等到(🖍)后半(⚪)(bàn )部书(🍦)(shū )中，李俊的(de )功绩(jì(🎗) )却逐渐(🎑)辉煌(huáng )起来(lái )，其表(🏏)现让(💒)(ràng )人刮(🕥)(guā )目相看。李俊在(zà(🖇)i )梁山水(🏀)军头领中(zhōng )位居第一，战高(💄)(gāo )逑(👄)，李俊捉了水(shuǐ )军统(🛠)制刘梦(👂)龙；征(🍘)王庆，他在宛州率(lǜ(🌯) )水军(🛋)取得大胜；义释胡俊，智取(🎍)(qǔ )云安(🌅)，还最后活(huó )捉了寇(🚌)首王(🤐)庆；征(😀)方腊太湖小结(jié )义(🎢)一段，李(⭕)俊英(yīng )勇忠义，有勇(💐)有(yǒ(💅)u )谋，不但(📿)取了苏(sū )州，还刺死(🌬)了飞(fē(🎙)i )水大(dà )将军昌盛。 埃(🦔)尔(ě(📷)r )内斯托(🐾)和卡(kǎ )洛被(bèi )释放(💵)，从战俘(☝)营(yíng )回家。农民卡洛(luò )在回(💂)农村(👻)前，邀(yāo )请埃尔内斯(🏒)托到(dà(🛂)o )农村家(🐊)中作客，并看看自己(🎓)的女(➰)儿罗(luó )塞塔。埃尔内斯(sī )托(🙃)回到家(🏘)乡，发(fā )现自己的家(🤼)毁于(🙎)(yú )战火(🏚)，母亲去世(shì )，妹妹玛(🥂)丽亚失(😭)(shī )踪。他无家可归(guī(🏘) )，成为(🐁)流浪汉(🤑)。一天晚上，他发(fā )现(🛰)自(zì )己(🚎)的妹妹已(yǐ )当上(shà(🍤)ng )了妓(🍆)女。他(tā(💠) )们兄(xiōng )妹痛苦相认(💵)(rèn )。不(bú(⛏) )久，妹妹在同盘(pán )剥他的坏(✒)蛋争(🚩)吵(chǎo )时，被坏蛋杀害(🅿)(hài )，埃尔(💴)内斯托(😚)愤(fèn )而杀死了坏蛋(👗)。埃尔(🧢)内斯托认识了丽(lì )狄亚，丽(☔)狄亚是(🏪)(shì )一个盗匪集团的(👗)(de )头子(🔲)。他被迫(💩)入(rù )伙，并逐渐成为(🖇)(wéi )丽狄(😚)亚的情夫和(hé )盗匪(👋)集团(🕛)的头子(🕷)(zǐ )，他们劫富济贫(pí(🐰)n )。有一次(🏝)，埃尔(ěr )内斯(sī )托同(👯)丽狄(🍗)亚(yà )争(🏼)吵(chǎo )后，丽狄亚(yà )告(💭)发(fā )了(🏇)他。埃尔内斯(sī )托逃脱了，他(🌡)想(xiǎ(🍣)ng )到农村去找卡洛(luò(🕜) )，买了个(👝)准备送(🎰)(sòng )给罗塞塔的娃娃(🖼)(wá )。途(🕑)中，他被警察追捕，枪战后，他(😐)(tā )被击(👜)中，临死前(qián )，仍念念(🍞)不忘(📱)罗(luó )塞(🏄)塔 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 Mike Lambert, unemployed mining engineer, arrives in a small town with a bang when the brakes fail on the truck he's driving. After meeting seductive Paula at the La Paloma Cafe, he finds himself in trouble with the law. On the basis of a few burning glances, Paula pays his fine and finds him a room, but her motives are not what they seem. Mike lucks into a job with miner Jeff Cunningham, but against his will he's drawn ever deeper into Paula's schemes After working successfully as an actor in France during the 1930s, Eric von Stroheim, in common with such French actors and directors as Jean Gabin, Michèle Morgan, Jean Renoir and Julien Duvivier, moved to Hollywood after the outbreak of WWII. He left behind such memorable movies as Les Disparus de St Agil, La Grande illusion, Têmpete (the last to be shown) and L’Alibi which he made for Pierre Chenal. On his return to France in 1946, he worked for both Jean Boyer and Pierre Chenal in the same year, creating with Chenal a minor masterpiece in La Foire aux chimères, which may be translated as The Fair of Dreams. 一(yī )位(🕞)新墨西(🏵)哥州的(de )牧场主人，由(🤡)于(yú(💓) )过分热(🤡)心工作而(ér )逐渐疏(👾)远了他(🚅)的(de )家庭，家人并没(mé(🚜)i )有放(🎥)(fàng )弃他(🎫)，而是(shì )积极(jí )地帮(🦃)助他，最(🖱)后(hòu )使得他又重回了(le )家庭(🐤)的怀(🏳)抱。