龙须沟电影

Two crooks are hired to rob an eccentric old lady's estate, but once they get to know her, they can't bring themselves to do it. 主人(🕹)(rén )公(💿)(gōng )是一个(gè )叫(🗽)戴维(wé(🐒)i )·曼恩(⚫)(ēn )（丹尼斯·(🎀)韦弗 Dennis Weaver 饰）的中年男(🤱)人，这天(🐐)他在空(🤯)无一人(🖤)的州际(🧘)公(gōng )路上独(dú )自驾(👊)车(chē )。随(🚪)后(hòu )一(😍)(yī )辆大(🏦)(dà )卡车出(chū )现了，挡在戴(dà(🏭)i )维前面(🌋)(miàn )，他毫(👩)(háo )不客(🙎)气(qì )地超过(guò )对方。而后两车在公(⛔)路上互(📱)相超了(😩)对方的车，一开始戴(🏌)维还气冲冲地(🍳)(dì )想超(🚻)过(guò )对(🤘)方走(zǒu )在(zài )前(🐦)面(miàn )，后来(lái )他却发(〽)(fā )现大(🕧)卡(kǎ )车(👻)司机(jī )像发疯(💿)(fēng )一样想(xiǎng )置他于(🤮)(yú )死地(📵)。他只好(🕟)停下来(🌎)，在路边(🏾)餐厅整顿一下准备(🕷)继续上(🍵)路，发现(🖱)那辆(lià(🅱)ng )形如鬼(guǐ )魅的大(dà )卡车停(🕦)(tíng )在外(🤞)面(miàn )，戴(🖕)维(wéi )甚(📽)至不(bú )知道司(sī )机是谁(shuí )。随后(hò(🦀)u )大卡车(🥥)(chē )一直(🐉)追(zhuī )逐着戴维，他想(🧠)尽办法也甩不(🍠)掉这辆(😻)大卡车(🦁)，他只好与这辆(🥪)如影随形(xíng )的卡车(🏍)(chē )展开(🌼)决(jué )斗(👣)(dòu )…… 描写了(🏏)(le )一个总(zǒng )理候选(xuǎ(🐷)n )人身上(😝)(shàng )发生(📑)的(de )一系(🛴)列(liè )趣事。车王舒马赫则在(🙋)中客串(🌄)了一个(♌)给总理(🍨)候选人开法拉利跑车的司(🎹)机。 一(yī(👳) )座废弃(⬛)(qì )多年(🔃)的(de )城堡监(jiān )狱，三(sān )个年轻(qīng )人出(🥡)于(yú )好(💝)奇的(de )探(🥣)访，一场噩(è )梦即将(🚮)(jiāng )开始，黎明到(😐)来之前(🥞)，谁能活(🛍)着走出这座“鬼(🐋)堡”…… 英国首相前(🕹)往巴黎(😙)参(cān )加(🕞)一个(gè )国际性(♈)(xìng )裁(cái )军会(huì )议，途(🆓)(tú )中受(🏘)袭(xí )而(📱)遭到(dà(🔬)o )绑架，唯一目(mù )击证人(rén )、(🥙)司机(jī(🌌) )等各色(💎)人等全(🆘)部神秘失踪。 Die sonst so erfolgsverwöhnte Fotografin Cora Hübsch durchleidet gerade Höllenqualen. Vergeblich wartet sie bereits den dritten Tag auf einen Anruf ihres Traummanns, Dr. med. Daniel Hoffmann. Mit diesem hatte sie am Mittwoch den besten Sex ihres Lebens. Und für Cora steht außer Frage: Der Mann muss anrufen. Allerspä(🥕)testens nach drei Tagen – und mittlerweile ist schon Samstag! Sonst ist das vergangene Tête-à(🏬)-Tête für den “Doktor” nur ein kurzfristiger Ausgleich seines Hormonhaushalts. Das besagen ganz ausdrü(🍒)cklich die Spielregeln, an die man sich in Sachen Liebe strikt zu halten hat, sagt ihre liebste Freundin Jo. Und Jo kennt sich mit diesem Thema besten aus und rät ihr, den Kerl einfach zu vergessen. Das allerdings, ist leichter gesagt als getan! ◎片(🐵)　　长　121 Mins 本片根(gēn )据《聊(liáo )斋志异(🌃)(yì )》中同(😒)(tóng )名故(🚑)事(shì )改编。 This is a fascinating, colorful and very-well made film that looks like an epic and is in fact an intelligent drama about sculptor-painter- architect-poet Michelangelo Buonarrotti. Here portrayed by the much taller Charlton Heston, and admirably, he is presented as a man who want only to create beauty, a man without "people skills" or interest in much of anything else--not women, nor war not the dynastic dreams of men--only the Renaissance idea of utilizing one's abilities. He even pays attention to religion only because the world interests him, and he equates his heaven with what men can achieve--and Earth with the same sort of place he expects to find as an afterlife. Carol Reed directed and produced this fascinating look at the Renaissance, with its warrior priests, its worldly dreamers and its subtle change toward a politics of gunpowder, secular pursuits and worldly morality. Philp Dunne, author of "David and Bathsheba" wrote this thoughtful spectacle film as well. In the cast besides Heston are Rex Harrison as Pope Julius, close-fisted patron, admirer and nemesis, Harry Andrews as his rival Bramante, Diane Cilento as the woman who would like to love him, Alberto Lupo, Adolfo Celli, Fausto Tozzi and a narration by Marvin Miller. The opportunity to see the real landscapes in which Michelangelo was born, worked and became inspired is a wonderful one for the viewer; the entire Carrara marble quarry section is stunningly beautiful. The film has battle scenes able done by Robert D. Webb, Leon Shamroy's cinematography, a prelude by Jerrald Goldsmith and sterling music by Alex North, production design by John Cuir and Jack Martin Smith and memorable costumes by Vittorio Nino Novarese. The basic thrust of the storyline is twofold; against the wars conducted by vigorous and all-too-worldly Pope Julius, the war to win secular hegemony for his Papal rule, the counter-current is Michelangelo's desire to further his career in Rome by obtaining a commission from the Pope. He does, an assignment to refurbish the Sistine Chapel for him. But after an attempt at some saints, he leaves Rome, and flees to his beloved Carrara. There, surrounded by mountains, he has a vision at sunset and suddenly knows what he must do. Obtaining Julius's reluctant permission, he sets to work covering that modest ceiling with tremendous figures, a bearded Jehovah, a recumbent Adam touched to life by a divine spark, the world's most famous fresco painted from a homemade scaffolding; in spite of illness, missed meals, filth, deprivation, cold, an injury that nearly costs him his eye and more, including the Pope's indifference to his intense passion for his art, Michelangelo endures. "When will you make an end?" Julius cries. "When I have done," the artist insists. And at the end, Julius, beaten on the field of battle, admits he may also have been wrong about the ceiling...that his fostering of Michelangelo's work may be the most important thing he has ever done. Of course the puritans of the era object to the nakedness the artist has depicted, but Michelangelo says he painted people as God made them. The movie, based on the biography "The Agony and the Ecstacy" by Irving Stone here concentrates on a seminal moment in the great artist's career. He may be a sculptor as he insists; but after seeing this moving and fascinating film, no one can doubt that he is also a stubborn and single-minded man--and a painter of genius. Most underrated; often fascinating fictionalized biography. Heston and Harrison are good, everyone else good as well. Worth seeing many times, if only for Dunne's dialogue and the scenery.