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相棒第十四季
日本日语2015
相棒第14季终于启动了。  杉下右京(水谷丰)的新搭档是法务省国家公务员冠城亘(反町隆史)!  相棒历史上第一个既不是调查员又不是警察的搭档诞生!  在法务省管辖范围的监狱里发生了杀人案。服刑人员美仓(小柳心)杀害了狱警田代(栩原乐人),此类案件前所未闻。审讯中犯人美仓三缄其口,法务事务次官日下部弥彦(榎木孝明)则派原部下冠城亘(反町隆史)加入调查。  亘是以人事交流为名从法务省调到警视厅的国家公务员,现在被安排在原特命科使用的办公室。从其他省厅掉过来的国家公务员,在警视厅享受的是客人待遇,基本没有事干。就在这时他接到日下部的命令,和伊丹(川原和久)等人一起进行审讯,过程中从美仓那里得知了意外的事。竟然说三个月前去世并被当作病死处理的服刑人员梅津(井之上隆志)其实是被田代狱警杀害的。美仓称自己是为了替他报仇,并说在梅津死后从本人那里听说自己是被田代杀害的。也就是说,如果美仓所言不虚,那就变成了梅津的幽灵在说话,实在让人难以置信。当然,调查人员并没有把这当回事,唯独亘很在意这个供述。  与此同时,正处于无期停职处分的杉下右京(水谷丰)正在某个国家进行意外的调查。

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荣耀六十年1938
英国英语1938
  Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.  The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).  The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.  The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.  Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.  Roger Philip Mellor

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