Dicu
搜索"Dicu" ，找到 以下影视作品
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迈克尔·柯蒂兹
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Doctor X (1932) is a First National/Warner Bros. horror and mystery film. Based on the play originally titled The Terror (New York, February 9, 1931) by Howard W. Comstock and Allen C. Miller,[1] it was directed by Michael Curtiz and stars Lee Tracy, Fay Wray, and Lionel Atwill. The film was produced before the Motion Picture Production Code was enforced. Themes such as murder, rape, cannibalism and prostitution are interwoven into the story. The film was one of the last films made, along with Warners' Mystery of the Wax Museum (1933), in the two-color Technicolor process. Black and white prints were shipped to small towns and to foreign markets, while color prints were reserved for major cities. PS. The Return of Doctor X (1939) link
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On a remote island off the west coast of Scotland in 1846 - a heavy storm hits, causing a ship to sink. Three survivors row through a thick early morning mist, lost and disorientated. The mist begins to clear and The Isle appears before them. They soon discover that it is almost abandoned except for four sole residents: an old harbour man, a farmer, his niece and a young mad woman. Once rested and recovered the sailors are desperate to leave and return to the mainland, but the promised boat never appears. One of them starts to investigate and learns of a tragedy at sea that occurred five years previously causing several young men from the island to perish. When his two shipmates meet with accidents, the myth of a ghostly siren haunting the island leads him to uncover the truth whilst he battles to save his own life.
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阿列克谢·日尔曼
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Military doctor General Klenski is arrested in Stalin's Russia in 1953 during an anti-Semitic political campaign accused of being a participant in so-called doctors' plot.
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伊凡·帕瑟
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一直作為米路斯．科曼劇本鐵三角（另一位是帕培錫，也是本片編劇之一）成員的艾雲．巴薩，當然也走低度戲劇路線。同是音樂家的彼德與卡洛老友重逢，生活狀況大不同，你有伴侶我有家庭，然而都有說不出的不明朗，唯有以酒與音樂代替口水。全片推展不問目的，只在剎那間的意圖，行行企企比起科曼更義無反顧，卻有生活淡如流水的詩意和繆思，叫觀眾聯想到二十年後的伊力．盧馬。巴薩鍾愛音樂的程度不下於文字和電影，古典音樂與民間音樂於全片迴轉迴盪，難怪成了奇斯洛夫斯基十大心愛電影之一。 康城影展青年評審團獎，美國全國影評人協會特別獎 這部1966年的珍品，是捷克新浪潮短暫生命中最佳作品之一。成名音樂家到小鎮探訪舊同學，舊同學是個窮音樂教師，有時在喪禮上吹奏樂曲。平凡的素材在巴素手裡，變出風趣復罕見的旋律，一部憂鬱的喜劇，或灰色喜劇。 - Dave Kehr, Chicago Reader Ivan Passer's (Cutter's Way and Creator) last film to be made in his native Czechoslovakia is about friends – musician Petr and music teacher Karel – reunited when Petr returns to town for a performance. Passer frequently collaborated with Milos Forman and the episodic, low-action aesthetic that was evident in Forman's early work can be seen here. Years of separation have bred apprehension between the two men, and Karel's simmering jealousy makes their meeting all the more awkward. Eventually, the barriers crumble enough for the pair to freely discuss their lives. The film's simple beauty is in the details of the men's reacquainting themselves with each other, discovering each other's regrets and unfulfilled desires. Alive with pathos, humour and insight. Special Award, National Society of Film Critics Awards Its simple city mouse-country mouse story involves the meeting of two former schoolmates as they prepare for a small-town concert. Enlivened by Passer's flair for grotesquerie, this unassuming masterpiece maintains a delicate balance between hilarity and despair. - Elliott Stein, Village Voice Source HKIFF Czech New Wave 2006
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亚当（Robert Gonera 饰）和斯蒂芬（杰克·波楚许 Jacek Borcuch 饰）是两个充满了理想抱负的年轻人，他们想要开设属于自己的单车工厂，于是囊中羞涩的两人决定找银行贷款，可是，银行并不相信他们的这笔生意可以赚到钱还贷，拒绝了他们的请求。 就在这个节骨眼上，亚当和斯蒂芬的老朋友杰拉德（安德热·柴拉 Andrzej Chyra 饰）出现在了两人的面前，并且愿意对他们施以援手。很快，工厂就建立了起来，一切似乎都走上了正轨，可此时，亚当和斯蒂芬却发现，杰拉德表面和善，可内心贪婪自私，正在觊觎着未来本该属于他们的财产。亚当和斯蒂芬决定结束和杰拉德的合作，可事情并没有他们想象中的那么简单。商人亚当·博雷茨基（Adam Borecki）的妻子有怀孕的危险，他正准备建造自己的房子。他们打算与合作伙伴 Stefan Kowalczyk 一起建造一家意大利踏板车组装厂，双方都在努力获得30 万美元的银行贷款。但银行要求提供担保与意大利经纪人的合同即将到期，斯特凡将亚当介绍给他的老邻居杰拉德·诺瓦克。他同意对一个有利可图的矿场主管的案件感兴趣，多亏了他，商人才得以获得贷款。然而，事实证明，该董事要求支付更高的贷款佣金。合伙人辞职，但杰拉德声称，通过将矿长从西班牙带到西里西亚，他产生了他有权获得报酬的费用。在亚当拒绝支付任何费用后，杰拉德在他父母家跟踪他并索要 6,000 美元，第一次殴打了亚当[2] [3]。杰拉德试图通过强盗手段来强制执行不存在的债务。因为他付钱给自己的暴徒，所以他强迫身体和精神上的暴力来送出剩余的积累的钱。但他不免除债务，仍索要保护费，加上虚息。由于警察拒绝帮助亚当和斯特凡，两人拼命赚钱来偿还债务。亚当在一家比萨店工作，而斯特凡则受雇于一位德国商人。与此同时，杰拉德仍然要求贡品：通过侵犯亚当的妻子，导致她流产，并迫使斯特凡说出亚当的下落[2]。斯特凡透露了亚当的住宿信息，亚当和他的朋友塔德乌斯（学生）住在一起。杰拉德入侵了亚当，并在此过程中让塔德乌什陷入了债务之中。被讹诈的人见别无他法，只好采取孤注一掷的办法。他们将杰拉德和他的保镖骗进塔德乌什的公寓。然后三人制服了歹徒，然后计划将他们带出城镇。塔德乌什在朋友面前假装腿脱臼，以免与他们一起骑行，因为担心后果。出城后，商人将杰拉德和他的助手绑了起来。杰拉德提到了亚当未出生的孩子，这激怒了商人，导致他刺伤了杰拉德，然后刺伤了他的助手。筋疲力尽的商人将受害者的衣服剥光并斩首，让俄罗斯黑手党的判决看起来像是谋杀案。然而，亚当无法原谅自己从受害者变成凶手。在最后一个场景中，他向警方报案[2]。
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纽约警员跟查察官的故事,逾越15个年龄,1990年首播,至今仍遭到亿万不雅众注视标长剧。 law & order第55届艾美奖最大的遗憾,已持续11年入围剧情类最佳电视剧奖提名的这部热点电视剧,此次却不测埠未被提名,破碎了它本来想要创造的12次提名新高。 本片融警匪与法庭于一体的电视剧,片中报告的犯法根来源根基于实在生涯,每每是近期报纸上的头条消息。节目分为两部门,上半部门先容警员研讨现场,咨询证人,提审怀疑犯等一系列的侦破运动,后半部门细致记载结案件侦破的前期任务,案件转交到检讨官手里,检讨官权衡案情,告状,直到庭审,节拍紧凑,动平易近气魄。因为终极坏人不用定被绳之于法,以是不雅众看的时间每每暗自捏一把汗。 这个剧集除了曾经播出的15季之外,还包含3个特殊的系列,一个是 Special Victims Unit 系列（6季）,一个是Criminal Intent 系列（4季）,跟Trial By Jury 系列。可见其火爆水平。可谓NBC汗青上,以致美国影史上最雄伟的剧集。 "In the criminal justice system, the people are represented by two separate yet equally important groups: the police, who investigate crime; and the district attorneys, who prosecute the offenders. These are there stories. " 这是Law & Order十四年如一日,也是我百听不厌的终场白,是以Law & Order franchise(包含spin-off的SVU)都兼有捕快的办案进程跟查察官在法庭上的滚滚雄辩,这二者互相平起平坐成为Law & Order奠基其cop drama之教父位置的奇特魅力,然而迩来每回看Law & Order,都彷彿只是在期待后半小时的法庭戏上,也不是说后面的办案就不杰出,然而总要在进入告状进程中才显出本剧的成熟!圆滑,精致精妙处的出神入化；一男一女老小两位查察官的差别考量而激盪出的互动!辩证,告状的策略目标每每不仅是彩色清楚的司法公理考量,而牵涉到当面司法轨制及其偏狭破绽!纤细的政治氛围,Law & Order更不仅是关在拍照棚里假造天马行空的新奇案件,它每回老是不犹豫地定睛盯上社会中的敏感命题。 Law & Order: 跟L&O: SVU一样,是Law & Order家属的老迈,Wolf Dick的作品。自我认为它有点像一个drama版的本日说法,固然Law & Order要好许多。Law & Order的最大卖点是它的order部门。看order部门对美国criminal law跟criminal procedure law有很大的懂得。
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UTurnisaMysteryThriller.Ayoungfemalereporterisupsetabouthowpeoplebreaktrafficrules,shewantstodoastoryaboutitandhaveitpublished.Inthispursuitshefindsherselfstruckinapolicecasedealingwithseriesofmurders.Thefilmisabouthowshetriestofreeherselfoftheseaccusationsandalsobecomespartoftheinvestigationprocess.Therestofthefilmisaboutthemysteriousdeathsandhowtheyareallinterconnectedwitharoadaccident.
