剧情简介
一九三七年八月三十一日淞沪会战中，姚子青奉命率部五百余人守卫宝山县城。日军为扩大登陆地域，对宝山进行了海陆空协同的疯狂攻击。在装备落后，地势不利，没有援军的情况下，智勇双全的姚子青带领全营以寡敌众坚守孤城，灵活运用战术战略，从主动出击攻袭敌军到固守阵地顽强抵御，七日内击退了日军一次又一次的进攻，全营五百余人先后战死沙场。九月七日日军破城，姚子青率残部二十余人在城内展开激烈巷战，最终壮烈殉国。
av在线一区二区
一九三七年八月三十一日淞沪会战中，姚子青奉命率部五百余人守卫宝山县城。日军为扩大登陆地域，对宝山进行了海陆空协同的疯狂攻击。在装备落后，地势不利，没有援军的情况下，智勇双全的姚子青带领全营以寡敌众坚守孤城，灵活运用战术战略，从主动出击攻袭敌军到固守阵地顽强抵御，七日内击退了日军一次又一次的进攻，全营五百余人先后战死沙场。九月七日日军破城，姚子青率残部二十余人在城内展开激烈巷战，最终壮烈殉国。
ԬҰ
回复 :塞西尔．B．戴米尔执导的这部影片，获得第二十五届奥斯卡最佳影片和最佳电影故事两项大奖。面对电视界的蓬勃发展，饱受威协的电影界，在这届选择了一部足以压倒电视气势的超级豪华大制作，作为这一届的最佳影片得主。故事描述一个在财政上出现问题的马戏团，为了让团员继续作一整季的表演，签下了有着名空中飞人圣巴斯蒂安加盟的演出。这使一心想在新一季成名的女空中飞人哈莉大为不满，另外经理布莱特为了事业一直刻意冷落暗恋他的哈莉。蒂安却因一次表演危险性高的动作发生意外，跌断了一只手而断送了表演前途。同时一名十年前失手杀妻的医生以小丑身份在马戏团里表演，后因火车翻覆而救布莱特，被警察发现。哈莉因此而被感动，于是对布莱特重燃爱火，并负起整顿马戏团表演的工作。查尔顿．赫斯登和康奈尔．威尔德的表演相当不错。
回复 :《愿无岁月》这部电影讲述了梦想成为长跑冠军的陈武（李岷城 是），在失去父亲之后和妹妹变得无依无靠。父亲老友李建国得知后带兄妹二人回了老家，妹妹升学受到阻挠，兄妹俩在村里也常常受当地小混混的欺负。在这种艰难的环境下，陈武却意外收获了爱情，然而他能否突破重重阻碍，重拾理想呢？这部影片带领观众回首往昔，也许有过痛苦，也许充满欢乐，正是曾经的经历造就了今天的我们，《愿无岁月》是一部关于回忆，关于梦想，关于未来的影片。
成诗京
回复 :Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
