剧情:导演: 吕小龙编剧: 柳建伟 / 柳静 / 李明珠 / 郭宪辉主演: 田牧宸 / 吕小龙 / 江岛 / 孙中艺 / 邱林 / 常戎 / 张山 / 岳红 / 黄楚儿 / 万中天 / 杨潇 / 石昊正 / 狄全泰类型: 剧情 / 动作 / 历史 / 战争制片国家/地区: 中国大陆语言: 汉语普通话上映日期: 2019-09-18(中国大陆)片长: 90分钟又名: 铁血英魂杨靖宇剧情简介……白雪皑皑的蒙江县关帝庙，日本关东军南满讨伐司令野副昌德率领部下为杨靖宇将军做“慰灵祭”。1931年九·一八事变后，日军强占东三省，中国人民就此开始了艰苦卓绝的十四年抗战。杨靖宇将军率领的东北抗日联军与日寇在白山黑水间展开殊死战斗。他在战场上虎虎生风的作战风格，令日军胆寒。然而，叛徒的出卖令联军遭受重创。疯狂反扑的日军调集了三十万关东军，昼夜轮番搜捕围剿，隔空喊话劝杨靖宇归顺，而回答他们的只有杨靖宇的枪声。寡不敌众的杨靖宇独自与敌激战6天6夜后，弹尽粮绝，宁死不降……影片根据真实历史故事改编，展现了东北抗日联军在生与死、血与火的磨砺中熔铸成伟大的、英勇不屈的东北抗联精神。小编点评我实名制辱骂《杨靖宇》剧组的导演和编剧。不骂演员，演员是无辜的，接这部剧真是可怜。憨比导演对不起这个故事，对不起抗日烈士，拍得什么鸡儿玩意，难看得惊天动地鬼哭神嚎。我看五分钟就看一下手表，想着怎么还不结束，史上最难度过的90分钟，总想着也许下一秒就ok了，忍痛看完，终于结束了，彩蛋拯救了我。导演你不会拍，你他妈放多点这种剪辑算了，你不要叫你是导演，你是导演，所有导演都得自杀，丢不起这个脸。你对不起这个故事，你对不起抗日烈士，你也好意思放在9.18这个时间段上映，你要不配。Mmp。难看得我要自杀了，还把片做成3D，你当你智取威虎山呢，你有那么多经费吗？经费不够老老实实拍2D，把钱用来捣鼓3D导致剧情和布局差到要死。我的心都死了。我爱看抗日故事，我爱看主旋律电影，也不是让你这样糟蹋的。憨比导演。你退圈吧。本片唯一对得起我电影票钱的是这个义勇军进行别说我没看过就差评，我给你全方面剧透剧情。1 开头杨靖宇被解剖了，日军敬佩他只吃棉花树皮，感动得给他立碑，还鸣枪致敬，说真正的东亚战士2 得力助手叛变得非常生硬，明明有抓家人，恐吓，色诱三个铺垫，都能把这段戏处理得很是垃圾，服了。还有布景的山洞，一看就是人工，墙面光滑。3 大部队说撤就撤，一点也不解释清楚原由，搞得观众一脸懵4 杨靖宇被日军抓跑着跑着，你3d做了一头老虎出来，后面一群豺狼追着。我？？？？有钱没地方花？？？？你有事吗？？？算了我不想回忆了，烂透了，请的女演员双眼皮割痕都还没修复好就来拍戏。真的白费了一群演员。看完这部片真的想自杀
剧情:导演: 安澜编剧: 雷献和 / 王杉 / 胡金新主演: 王晖 / 侯勇 / 侯祥玲 / 李泓瑞 / 黄尧 / 陶贤锋 / 脱一然类型: 历史 / 战争制片国家/地区: 中国大陆语言: 汉语普通话上映日期: 2016-10-26(中国大陆)片长: 107分钟又名: Triumphantly Join Forces / Triumphantly Reunion豆瓣评分: 3.4剧情简介……以中国工农红军第一、二、四方面军甘肃会宁会师，长征取得伟大胜利，中国革命从挫折走向胜利的伟大转折，从此，开始了由国内革命战争向抗日民族解放战争的转变，中国革命进入了一个崭新的历史阶段为背景。再现了红军三大主力胜利会师的光辉时刻，生动塑造红军指战员在铁血征程中的英勇壮举。小编点评本来是想拍一个故事片，但基本上拍成了纪录片。因为担心大家认为不是故事片，于是努力改得不象纪录片，最后不知道自己拍得是故事片还是拍成了纪录片。反正纪录片不象纪录片，故事片不象故事片。最后那个结尾太搞笑，本来两条线索是互相没有任何关系的，最后竟然来了个两条线索的大会师。相信这剧本绝不是雷献和老师写的，只是他挂了个名而已。
剧情:导演: 罗伯托·罗西里尼编剧: 罗伯托·罗西里尼 / 费德里科·费里尼主演: Carmela Sazio / Robert Van Loon / Benjamin Emanuel类型: 剧情 / 战争制片国家/地区: 意大利语言: 意大利语 / 英语 / 德语 / 西西里语上映日期: 1946-12-10片长: USA: 120 分钟 / 134 分钟(restored version) / Italy: 125 分钟又名: 游击队 / 战火的彼岸 / 老乡 / PaisanIMDb链接: tt0038823豆瓣评分: 8.2剧情简介……本片以第二次世界大战末期，在意大利登陆的美军攻破德军防线为背景，导演以令人感动的场面把美军从南部攻到北部期间所引发的一些意大利民间故事编成一部有连贯性的社会写实的电影，画面上的真实感，给予人们非常大的冲击，创下了意大利电影的新潮流……大师罗西里尼的战后三部曲的第二部，第一部是《罗马，不设防的城市》，最后一部是《德意志零年》。作为新现实主义的奠基人，罗西里尼几乎不使用剧本，并明确拒绝使用摄影棚、服装、化妆和职业演员。影片由6个小故事组成，背景是二战后期盟军在意大利登陆后攻破德军防线，从南部向北部进攻期间引发的一些民间小故事。罗西里尼在摄影机前重现了美国大兵，游击队员、修道士，妓女，以及普通平民在那个烽火连天的岁月里的真实遭遇，影片穿插了很多真实的战争镜头，令观众感同身受。战火 Paisà 获奖情况 第22届奥斯卡金像奖 (1950) 最佳故事/编剧(提名) 赛尔乔·阿米德伊 / 艾尔弗雷德·海斯 / 罗伯托·罗西里尼 / 费德里科·费里尼 / 马塞洛·巴格利埃罗第7届威尼斯电影节 (1939) 国际评论奖特别荣誉(1946) 剧情片 罗伯托·罗西里尼ANICA杯(1946) 罗伯托·罗西里尼小编点评Roberto Rossellini’s Paisan [Italy 1946] surpasses his Open City [Italy 1945] in breadth of vision and significance. Open City was still a drama; Paisan is an epic, comparable only to [The Battleship] Potemkin [USSR 1925, dir. Sergei Eisenstein], though profoundly different from it.This new Italian film consists of six real-life episodes which take place during the Italian Campaign. They seem entirely unconnected, except for the fact that their succession corresponds to the advance of the Allied armies. The first episode records the adventures of an American patrol immediately after the landing in Sicily. Led by an Italian peasant girl, the Americans explore a ruined castle—a nocturnal reconnaissance which culminates in a magnificent conversation between the girl and one of the soldiers. But this bilingual idyll does not last long. A few Germans emerg- ing from nowhere shoot the soldier and then kill the girl for having fired at them. When, alarmed by the shooting, the rest of the Americans return, they take it for granted that the girl has lured them into a trap, and her simple-hearted sacrifice passes unnoticed.The second episode, in Naples, features a street urchin and a Military Policeman—an American Negro who is thoroughly drunk. The boy, set on stealing the Negro’s shoes, guides him to a rubble heap among the ruins, where his prospective victim raves about the hero reception prepared for him in New York and his home town. But the word “home” provokes a sudden shift of moods in him. He says he will not go home; and in a state of despondency he falls asleep, an easy prey for the boy. Shortly later, the Negro captures the thief and makes him return the shoes. The boy is a war orphan living in a cave crammed with ragged women and children. Overwhelmed by pity, the Negro leaves the shoes behind in the cave. Colorful street incidents round out the brilliant thumbnail sketches of these two stray creatures. The scene in the marionette theatre in which the frantic Negro climbs the miniature stage to defend a Moor is a veritable gem sparkling with Quixotic spirit.The subsequent Roman episode is a somewhat literary love story, with a touch of Maupassant. Six months after the fall of Rome a drunken Ameri- can soldier follows a prostitute to her room. He is no drunkard but a sensi- tive boy appalled by the ever-increasing corruption around him. Instead of simply sleeping with the girl, he tells her about Francesca, the first girl he met on entering Rome on the day of liberation. A flashback, rich in charming details, renders their innocent flirtation and its premature end. Why did you never go back, asks the prostitute. He mutters that he could not find the house. The prostitute, trembling, describes it. He dozes off, vaguely realizing her identity. Next day, she despairingly waits for him, while he himself, on the point of leaving, tears up the slip of paper with her address. He mounts a truck, and the armies move on.The fourth episode shows the Allies in the outskirts of Florence, pre- paring the last assault on the city, in which the Partisans are already at grips with the Germans and Fascists. An American nurse, eager to join her Florentine lover of prewar days, learns that he is “Lupo,” the legendary Partisan leader. The whole is a pictorial report on what happens to her and an Italian friend as they slip through the front lines into the Partisan-held sector of Florence. They walk past two British officers, portrayed in all their languid fastidiousness; they pass along the corridors of the abandoned Uffizi, catching a glimpse of three German soldiers who slowly advance deep down on the street. When they finally reach a bullet-swept street corner, one of the few Partisans defending this position is fatally wounded. His comrades liquidate two Fascists on the spot. Before dying in the arms of the nurse, the wounded Partisan says that Lupo has been killed that very morning. “God,” says the nurse.In the fifth episode three American chaplains in search of shelter enter a remote Franciscan monastery in the Apennines and are accommodated there for the night. The naive unworldliness of the monks is characterized in scenes born out of respect and highlighted by an imperceptible smile. No sooner do the monks find out that one of their guests is a Protestant and the other a Jew than they involve the Catholic chaplain in a sort of religious disputation. Thesis stands against thesis: the worried monks insist that those two lost souls must be saved, while their urbane coreligionist believes them able to attain a state of grace outside the Church. This duel in pious dialectics is the more exquisite since battles are raging in the neighborhood. The end comes as a surprise. The zealous monks impose a fast on themselves for the sake of the Jew and the Protestant, and the Catholic chaplain praises their humility, instead of reaffirming his stand on tolerance. It is a strange conclusion, somewhat reminiscent of the spiritual note in Silone’s novels.1The last episode is a terrible nightmare unfolding in the marshes of the Po Valley, where flat land and sky fuse into a monotonous universe. A small group of Italian Partisans, British flyers, and American O.S.S. agents engage in a hopeless combat action behind the enemy lines. You do not see the Germans at first; you see only the corpse of a Partisan floating across the water. The reeds are filled with threats; unknown dangers lurk around the lonely house which in its isolation deepens the impression of monotony. Then, after an eternity of unbearable suspense, the massacre takes its course. The people in the house are killed indiscriminately, except for a little child who, outside the house, screams and screams, deserted by the dead on the ground. The Partisans, bound hand and foot, are thrown into the water. The horrified English and American prisoners see them, one by one, disappear, unable to stop the clockwork process. Another witness is left: the Partisan leader hanging behind the prisoners.“This happened in the winter of 1944,” a commentator says at the very end. “A few weeks later, spring came to Italy and the war in Europe was declared over.”All these episodes relate the experiences of ordinary people in a world which tends to thwart their noblest efforts. The dead Sicilian girl is cal- lously slandered by those who should have honored her; Francesca, the fresh Roman girl, turns prostitute, and her decent lover sinks into emo- tional inertia. It is the war which dooms them. Yet it is not always the war: in the case of the Negro, his fate results from circumstances entirely unconnected with events in Italy.What endears these people to us is their inborn dignity. They have dignity in the same way that they breathe or eat. Throughout the film, humanity appears as a quality of man’s nature, as something that exists in him independently of his ideals and creeds. Rossellini’s Partisans never refer to their political convictions; rather, they fight and die in a matter-of- fact way, because they are as they are. And the Negro is simply a humane creature, filled with compassion, love of music, and Quixotic reveries.This emphasis on the reality of good nature is coupled with a marked indifference to ideas. Of course, the Nazis appear as hateful, but it seems they are hated only for their acts of savagery and their vulgar conduct. All judgments are concerned with human dignity, and what goes beyond it is completely omitted. There is in the whole film not a single verbal statement against Fascist rule, nor any message in favor of democracy, let alone a social revolution. And the surface impression, that Paisan advo- cates pacifism, must be dismissed also, for it is scarcely compatible with the experience of the Catholic chaplain, to whom the war has been a great lesson in tolerance. This deliberate disregard of all “causes,” including that of humanity, can be explained only by a profound skepticism about their effects. Even the most praiseworthy cause, Paisan implies, is bound to entail fanaticism, corruption, and misery, thus interfering with the free flow of a good and meaningful life. Significantly, the Sicilian peasants are suspicious of American liberators and German invaders alike; and the Roman episode bears out their suspicions by highlighting the demoraliza- tion wrought upon the liberated in less than six months.The attitude behind Paisan is in keeping with the film’s episodic struc- ture. In stringing together six separate episodes, Rossellini manifests his belief in the independence of human dignity from any overarching idea. If humanity materialized only under the guidance of an idea, then a single, well-composed story might suggest itself to express the latter’s significance (viz. Potemkin). But humanity is here part and parcel of reality and there- fore must be traced in various places. The six isolated episodes indicate that streaks of it are found everywhere.Since Paisan confines itself to real-life experiences, its documentary style is most adequate. The style, cultivated by D.W. Griffith, Flaherty, and the Russian film directors, is genuinely cinematic, for it grows out of the urge, inherent in the camera, to explore the world of facts. Like Eisenstein or Flaherty, Rossellini goes the limit in capturing reality. He shoots on location and prefers laymen to professional actors. And instead of working from an elaborate script, with each detail thought out in advance, he lets himself be inspired by the unforeseeable situations that arise in the process of filming.These techniques become virtues because of Rossellini’s infatuation with reality and his gift for translating its every manifestation into cin- ematic terms. He masters horror scenes no less expertly than moments of tenderness, and the confused street crowd is as near to him as is the abandoned individual in it. His camera angles and twists of action owe their existence to sparks of intuition ignited by the closest touch with the given material. And directed by him, most people play themselves without seeming to play at all. To be sure, Paisan has its weak spots: parts of the Sicilian episode are shot in slapdash fashion; the Roman love story is too much of a story; the nurse and her companion in the Florentine episode are strangely flat; and the Catholic chaplain is not entirely true to type. But these occasional lapses amount to little within a film which sets a new pattern in documentary treatment. Its wonderful freshness results from Rossellini’s unflinching directness in formulating his particular notion of humanity. He knows what he wants to say and says it as simply as possible.Are examples needed? Far from capitalizing, after the manner of The Last Chance [USA 1945, dir. Leopold Lindtberg], on bilingual dialogue to sell the idea of international solidarity, Paisan presents the mingling of lan- guages in wartime Italy without any purpose. In the opening episode, the conversation between the Sicilian girl and the American soldier in charge of her is a linguistic dabbling which, born out of the latter’s boredom and loneliness, does not lead up to anything. Yet precisely by recording their pointless attempts at mutual understanding with infinite care, Rossellini manages to move and fascinate us. For in the process these two people, left speechless by their mother tongues, increasingly reveal what as a rule is buried under conventional phrases.Each episode abounds in examples. When the drunken G.I. tells the Roman prostitute about his yearning for Francesca, he is seen lying on the couch, with his legs apart in the foreground—a shot which renders his physical disgust and moral disillusionment to perfection. Though long shots are ordinarily less communicative than close shots, Rossellini draws heavily on them in the last episode to picture the marshes. He does so on purpose, for these shots not only convey the impression of desolate monotony, but, through their very flatness, they make the ensuing mas- sacre seem more dreadful. A model of artistic intelligence are the street scenes in the Neapolitan episode. First it is as if these loosely connected shots of performing jugglers, ragged natives, blackmarketing children, and idling G.I.’s were inserted only in the interest of local color. Shortly, however, it becomes evident that they also serve to characterize the Negro. As he reemerges from the marionette theatre, his companion, the wily boy who does not want to lose him, begins to play a harmonica; and, enticed by these heavenly sounds, the Negro follows the little Pied Piper through streets teeming with the crowds and diversions that have already been impressed upon us. So we are all the more struck by the impact of the trickling harmonica music on the Negro.This last example well illustrates the way Rossellini organizes his mate- rial. There is a veritable gulf between his editing style and the “montage” methods used in Potemkin and other early Soviet films. For Rossellini deliberately turns his back on ideas, while the Russian film directors aim exclusively at driving home a message. Paisan deals with the human assets of ordinary people; Eisenstein’s Potemkin shows ordinary people wedded to the cause of revolution. All editing devices in the Eisenstein film are calculated not only to render a historic uprising, but to render it in the light of Marxist doctrine. In Potemkin, the priest’s face, besides being his face, stands for Tsarist oppression, and the sailors are made to appear as the vanguard of the proletariat. Nothing of that kind occurs in the Italian film. On the contrary, Rossellini so composes his narrative that we never feel challenged to seek symbolic meanings in it. Such instances of oppres- sion or humanity as Paisan offers are strictly individual facts which do not admit of generalization. Rossellini patiently observes where Eisen- stein ardently constructs. This accounts for the thrill of a few shots which represent border cases. I am thinking in particular of the documentary shot of the three German soldiers in the Florentine episode. Reminiscent, perhaps deliberately so, of similar shots in official Nazi documentaries, it is inserted in such a manner that it affects us as a true revelation of German militarism. The allusiveness of this shot is sufficiently strong to drive us beyond the bounds of immediate reality, and yet too unobtrusive to make us lose contact with it.Paisan is all the more amazing as it defies the traditional patterns of film making in Italy. The Italian prewar screen was crowded with historical extravaganzas and beautifully photographed dramas that displayed inflated passions before decorative settings—a long progression of glossy products, led by d’Annunzio’s world-famous Cabiria, of 1914. Taking advantage of their audience’s love for theatrics, these films reflected both the glitter and the hollowness of the regime under which they flourished. . . . It is a far cry from d’Annunzio to Rossellini, from the spectacular to the real. The sudden emergence of such a film as Paisan indicates that many Italians actually loathe the grand-style manner of the past and all that it implied in allegiances and sham beliefs. They have come to realize the futility of Mussolini’s conquests and they seem now determined to do without any messages and missions—at least for the moment.And this moment is a precarious one for the Italians. Fascist rule has ended, the new government is weak, and the country resounds with inter- nal strife. During this interregnum the Italians might feel completely lost, were it not for a compact cultural heritage which protects them from dis- integration. Theirs is an articulate sense of art and a tested way of putting up with the tragedies common to mortals. And under the undiminishing spell of custom they knowingly enjoy the rites of love making and the gratifications of family life. No doubt, the Church has played its part in shaping and civilizing these people throughout the ages. That they are aware of it perhaps accounts for the surprise ending of the Monastery episode in Paisan—that scene in which the American chaplain bows to the religious ardor of the Italian monks, thus disavowing what he has said about the inclusiveness of true tolerance shortly before. His deliber- ate inconsistency can be considered a tribute to Italian Catholicism and its humanizing effects.Italian everyday life, then, is rich in meaningful outlets for all imagin- able needs and desires. So the Italians do not sink into a vacuum when they refuse, as they are now doing, to let themselves be possessed with ideas. Even without ideas they still have much to rely upon. And since their kind of existence, mellow and sweet as it is, has long since become second nature to them—something that seems to them as natural as the blue sky or the air they breathe—they may well believe that their repudiation of ideas relieves their lives of excess baggage. What remains, in their opinion, is humanity, pure and simple. And in their case, as Paisan demonstrates, humanity assumes all the traits of self-sufficient reality.This is a mirage, though, which may appear as more than a mirage only at a very particular moment, such as the Italians are now going through. Paisan is delusive in that it virtually makes the triumph of humanity dependent on a world released from the strain of ideas, or “causes.” We cannot feel this way. As matters stand, we know humanity would be irre- trievably bogged down if it were unsustained by the ideas mankind breeds in desperate attempts to improve its lot. Whatever their consequences, they hold out a promise to us. Rossellini’s film dismisses the audience without any such promise. But this does not invalidate its peculiar greatness. And precisely in these postwar years with their tangle of oblique slogans and propaganda artifices, Paisan comes to us as a revelation of the steady flow of humanity beneath the turmoil of sheer ideology. So, if Paisan does not kindle hopes, yet it reassures us of the omnipresence of their sources.原文出处：Siegfried Kracauer's American Writings Essays on Film and Popular CulturePaisan (1948) P156
剧情:导演: 乔·拜尔编剧: 乔·拜尔主演: 塞巴斯蒂安·科赫 / 乌尔里希·图库尔 / 哈代·克鲁格 / 克里斯托弗·巴克霍尔兹 / 尼娜·昆岑多夫 / 史蒂芬妮雅·若卡 / 阿克塞尔·米尔伯格 / Olli Dittrich / Katharina Rivilis / Karl-Heinz von Liebezeit / Michaela Wiebusch / Michael Lott / Christine Sommer / 索斯藤·默滕 / 尤沃钦·毕斯梅尔类型: 剧情 / 历史 / 战争制片国家/地区: 德国语言: 德语上映日期: 2004片长: 96分钟又名: 瓦尔基里行动 / 刺杀希特勒 / 斯陶芬贝格 / 施道芬贝格 / Operation ValkyrieIMDb链接: tt0388437豆瓣评分: 7.1剧情简介……故事发生在第二次世界大战期间，一部分德国军官亦对希特勒（乌多·申克UdoSchenk饰）的残酷暴政感到不满，他们希望能够除掉纳粹党，同盟军和解。然而希特勒生性谨慎多疑，其行踪更是飘忽不定让人捉摸不透，之前的诸次暗杀计划均以失败告终。唯一有希望接近希特勒的，是一位名叫史道芬贝格（赛巴斯汀‧柯赫SebastianKoch饰）的年轻军官，他战功赫赫，深得独裁者的赏识和信赖。和副官赫福特中尉（哈代·克鲁格HardyKrügerJr.饰）一起，史道芬贝格带着装填着炸药的行李箱踏上了充满未知和危险的旅途。炸药虽然成功引爆，史道芬贝格亦顺利逃脱，但遗憾的是，希特勒并未丧命，这次暗杀计划的策划者们将要面对的命运，只有死亡。小编点评德国之所以让人尊敬，是因为他们敢于面对自己的历史，所以看德国人拍的传记很真实。 就像影片最后电台里报道的一样，这次事件是一小撮人的叛国行为，在当时也确实如此。 刺杀希特勒，不仅仅是刺杀元首，而是刺杀德国疯狂的纳粹主义希特勒精神。然而就像影片中展示的那样，德国军官都是狂热的纳粹分子，那种根深蒂固的信仰，怎么可能被一小撮人去改变。失败也是理所当然的。不过影片也同样展示出德国军官的教养人性和热爱和平，这同样也根植于德国人的血液之中。
剧情:导演: 阿尔弗雷德·希区柯克编剧: 乔·斯沃林 / 约翰·斯坦贝克 / 本·赫克特主演: 塔卢拉赫·班克黑德 / 休姆·克罗宁 / 威廉·本迪克斯 / 沃尔特·斯勒扎克 / 玛丽·安德森 / 约翰·霍迪亚克类型: 惊悚 / 战争制片国家/地区: 美国语言: 英语 / 德语上映日期: 1944-01-12片长: 97 分钟又名: 战地惊魂 / 救生船 / 救生艇IMDb链接: tt0037017豆瓣评分: 7.9剧情简介……二战中，某客运船在在北大西洋海域与德国潜水艇激战后沉没，船上旅客5男3女蹬救生艇逃命。这其中包括著名作家康妮·波特（塔卢拉赫·班克黑德TallulahBankhead饰），轮机工约翰·科瓦奇（约翰·霍迪克JohnHodiak饰），发报员斯坦利·加勒特（休姆·克罗宁HumeCronyn饰），受了腿伤的格斯·史密斯（威廉·班迪克斯WilliamBendix饰），富豪查尔斯·里滕豪斯（亨利·赫尔HenryHull饰），船上黑人服务员乔（加拿大·李CanadaLee饰），护士艾丽丝（玛丽·安德森MaryAnderson饰）和因婴儿死去而精神错乱的海莉太太（希瑟·安吉尔HeatherAngel饰）。众人还救上来一位德国潜艇上的纳粹威利（沃尔特·斯莱扎克WalterSlezak饰），由此引发了无数尖锐问题。本片获奥斯卡最佳导演、最佳黑白摄影和最佳原创故事三项提名，并获纽约影评人协会最佳女主角奖（塔卢拉赫·班克黑德）。怒海孤舟 Lifeboat 获奖情况 第17届奥斯卡金像奖 (1945) 最佳导演(提名) 阿尔弗雷德·希区柯克最佳原创故事(提名) 约翰·斯坦贝克黑白片最佳摄影(提名) Glen MacWilliams小编点评二战中，某客运船在在北大西洋海域与德国潜水艇激战后沉没，船上旅客5男3女蹬救生艇逃命。这其中包括著名作家康妮·波特（塔卢拉赫·班克黑德 Tallulah Bankhead 饰），轮机工约翰·科瓦奇（约翰·霍迪克 John Hodiak 饰），发报员斯坦利·加勒特（休姆·克罗宁 Hume Cronyn 饰），受了腿伤的格斯·史密斯（威廉·班迪克斯 William Bendix 饰），富豪查尔斯·里滕豪斯（亨利·赫尔 Henry Hull 饰），船上黑人服务员乔（加拿大·李 Canada Lee 饰），护士艾丽丝（玛丽·安德森 Mary Anderson 饰）和因婴儿死去而精神错乱的海莉太太（希瑟·安吉尔 Heather Angel 饰）。众人还救上来一位德国潜艇上的纳粹威利（沃尔特·斯莱扎克 Walter Slezak 饰），由此引发了无数尖锐问题。本片获奥斯卡最佳导演、最佳黑白摄影和最佳原创故事三项提名，并获纽约影评人协会最佳女主角奖（塔卢拉赫·班克黑德）。©豆瓣
剧情:太平洋战争初期，美军将兵力投入欧洲战场，无力挽回菲律宾战事，导致一万名美军、六万名菲军在巴丹半岛被俘日军一直残酷对待这些战俘，军部更于1944年一月决定屠杀俘虏，这部电影，讲述的就是发生在44年一月四天中的故事。 游骑兵上尉普林斯分属幕西中校的队伍，他们接受了在麦克阿瑟将军北上过程中营救某战俘营里500名美军的任务，由于日军对待战俘毫不留情，此次行动必须高度隐秘。同一时间，战俘营中的少校吉布森（约瑟夫?费因斯 Joseph Fiennes 饰）正艰难的为生存和获取外界信息而努力，虽然当地有护士玛格丽特等人想法设法为战俘提供帮助，但缺药的状况一直存在。为执行屠杀命令，宪兵军官长井接管了战俘营，而战俘营外，游骑兵战士们经过秘密行军终于抵达了目的地，营救成败，很快就要揭晓……
剧情:导演: 罗伯托·罗西里尼编剧: 赛尔乔·阿米德伊 / 费德里科·费里尼主演: 阿尔多·法布里齐 / 安娜·马尼亚尼 / 马塞洛·巴格利埃罗 / Vito Annichiarico / 南多·布鲁诺类型: 剧情 / 战争制片国家/地区: 意大利语言: 意大利语 / 德语上映日期: 1945-09-27片长: 103分钟又名: 罗马不设防 / Rome, Open CityIMDb链接: tt0038890豆瓣评分: 7.9剧情简介……1944年，罗马，被纳粹侵占下伤痕累累的大街。德军肆无忌惮的搜捕着保卫家园的游击队，意大利地下反抗组织领袖、工程师乔治·曼菲蒂（马塞罗·巴格利埃罗MarcelloPagliero饰）遭到德军追缉。危急中，曼菲蒂逃往朋友弗朗西斯科家中暂避，在弗朗西斯科的未婚妻碧娜（安娜·玛妮雅妮AnnaMagnani饰）的帮助下，曼菲蒂见到了唐·彼得罗神父（阿尔多·伯立兹AldoFabrizi饰），并请神父将一笔巨款交给游击队。弗兰西斯科为了掩护曼菲蒂而被捕，碧娜也中弹身亡。然而绝处逢生的曼菲蒂被女友告密，曼菲蒂和神父被捕入狱。纳粹故意在神父面前严刑拷打曼菲蒂，两人最终在敌人的酷刑和枪弹下英勇牺牲。本片根据塞吉欧·阿米迪的原著改编。罗马，不设防的城市 Roma, città aperta 获奖情况 第19届奥斯卡金像奖 (1947) 最佳编剧(提名) 赛尔乔·阿米德伊 / 费德里科·费里尼第1届戛纳电影节 (1946) 主竞赛单元 罗伯托·罗西里尼小编点评In Roberto Rossellini’s neorealism pièce-de-résistance ROME, OPEN CITY, melodrama and cinéma-vérité are magically blended together to elicit oceanic amazement and pathos, it is a panegyric of ordinary Italian citizens’ bravery and heroism under Nazi occupation, and in an exceptional note, religious belief doesn’t stand in the way.The most devastating moment (underscored by Renzo Rossellini swelling accompaniment) in the first half comes when a devout Catholic widow Pina (Magnani), is offhand shot dead on her wedding day when she runs after the truck that carts away her soon-to-be-husband, the Communist partisan Francesco (Grandjacquet), here, a matrimony uniting two different persuasions is squarely squashed in the open, wartime savagery lays waste to any opposition indiscriminately, and the magnificent Anna Magnani leaves a defining moment in the world cinema with Pina’s final gesture of attaining the unattainable, the shock stemming from the sudden dispatching of Pina’s vivid, even ebullient spirit is tenacious to be dissipated.In the second half, it is another pair comes to the fore, the Catholic priest Don Pietro Pellegrini (Fabrizi) and the Communist engineer Giorgio Manfredi (Pagliero), a leader of the Resistance group and Francesco’s comrade, who is hunted by Nazi party and on the lam right from the start, also varied in their fundamental beliefs, their camaraderie gels naturally due to the same noble cause, when the crunch comes, Don Pietro is forced to witness Giorgio being tortured to death, who refuses to divulge any information no matter how, Rossellini shows his ballsy grit to peer into Nazi’s heinous brutality with unflinching gaze, and Fabrizi phenomenally internalizes Don Pietro’s pulverized emotion with both dignity and poignancy, which, then he parlays into a resigned determination when he faces his own execution.Frankly, the story has a typical structure of an ensemble drama, with Don Pietro stands out as a nominal leading figure, apart from Magnani’s cracking presence, Pagliero shows off a steely facade that befits Giorgio’s heroic designation, and Maria Michi, as Giorgio’s treacherous mistress Marina Mari, also impresses with her perceptible oscillation between a self-serving fink and a soft-headed victim herself, not to mention the sheer sapphic entanglement between her and Ingrid (Galletti), the German officer that corrupts her with a mink coat, another bold move bearing out Rossellini’s integrity as a boundary-pushing artist. Finally, Harry Feist, who plays the chief antagonist Major Bergmann, sporting a mechanical Italian accent with a distinctive emphasis on every single syllable and exaggerating his unabashed swagger and hubris (that Master race and Slave race remark is abominably grating), comes off as a curate’s egg, one-note maybe, but also superbly watchable nonetheless.While Rossellini surveys meticulously for exterior locations that maintain high fidelity of Rome’s immediate state under the occupation, he also makes good with available if limited means to establish striking indoor settings, in particular the tripartite space of Bergmann’s office where the interrogation takes place, one end of the office room is connected to the spare, hellish torture chamber, and another to a saloon proffered with booze and tuneage where German officers revel in their dooming fantasy and superiority, by transiting from one place to another, Rossellini hits the bull’s eye of making his point, ROME, OPEN CITY is unapologetically dichotomous in its moral stance, and aesthetically, arresting from A to Z.referential entries: Rossellini’s EUROPA ’51 (1952, 7.3/10); Luchino Visconti’s OSSESSIONE (1943, 8.7/10); Vittorio De Sica’s BICYCLES THIEVES (1948, 8.8/10).