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ҳ-->VIP-->ns-film-000-->ns-film-1983-1984
1983-1984 Ī￵ֵӰ
1983-1984 basic view of films composed by Ennio Morricone
1980-1989 Ӱ alias list of films >>>>>>
ʱδȫ.ҪʹGoogleϷ߻.лл
Ī￵ԭԴ⣨ܼ 5596 tracksѾţȫأӭʹ >>>>>>
Morricone soundtracks resource library (Total 5596 tracks) has been opened, Free download >>>>>>
Ī￵ڰֲ
"Ennio Morricone Fans Handbook" 2013 English edition
No.
Ӱ (/Ӣ/) Name and Director (IT/CN)
ע Note
NA-8301 (8202) A Time to Die / Seven Graves for Rogan (Matt Cimber) (ֱ ʱ/޸ʵ߸Ĺ)
A Time to Die/Seven Graves for Rogan (Matt Cimber) (ֱ ʱ/޸ʵ߸Ĺ)
 
Stars » Edward Albert
׿˹ɭ Rex Harrison
޵¡̩ Rod Taylor
Country
Runtime 91 min
Date 19850315
A World War II vet (Edward Albert Jr.) sets out in 1948 to avenge the death of his wife at the hands of Nazis. His targets are four Germans, a Sicilian, and a Hungarian who committed the atrocities. He is aided by a CIA operative (Rod Taylor), who has another agenda. One of the targeted men (Rex Harrison) is being groomed by the US to become the West German chancellor and is to be protected. Along the way, a third person (Linn Stokke) joins the team.(Here)
վ: 1948,һսڼҽ(»ذ),Ϊ˸ɴͳʱıӱ,Ŀ׼ĸ¹,һ,һ.е.õһع(޵¡̩)İ........

ע: ΪIMDBʾйֲ

Original Music by Robert O. Ragland
Music Department
Fred Aronow .... music editor (as Fred Arnow)
Donald W. Ernst .... music editor (as Don Ernst)
Ennio Morricone .... composer: additional music
Arlon Ober .... music supervisor

NA-8302 (8308) Hundra (Matt Cimber) (ֱ )
Hundra (Matt Cimber) (ֱ )
OST Music page
Stars Laurene Landon
Ramiro Oliveros
Mara Casal
Country
Runtime 90 min
Date 19830801 Ӣ

Born in a tribe of fierce warrior women, Hundra has been raised to despise the influence of men. An archer, fighter and sword fighter, Hundra is superior to any male. Hundra finds her family slain and takes a vow of revenge until one day she meets her match.(Here)

վ: һŮ岿,һĹ,ͺսʿ,ո߳,κ.ļ˱ɱ,ҪΪǸ.ֱһ,˶

La chiave/The Key (Tinto Brass) / ֮
OST Music page
Stars ˡ Frank Finlay
˹ٷ櫡ɣ Stefania Sandrelli
ʸ硤 Franco Branciaroli
Country Italy
Runtime 116 min
Date 19830921


A husband and wife lock their diaries in a drawer and also know that they read each other's entries, a device which takes them from one sexual encounter to another.(Here)


The Key is the tale of a Husband and wife in living in Venice during the run up to the declaration of the Second World War. After twenty years of marriage their sexual relationship has become stale. The husband Nino longs for his wife Teresa to set aside her modesty and inhibitions. Nina herself remains unsatisfied by their sexual encounters but is bound by her own modesty. After getting a little to drunk one night while out with their daughter Lisa and her Fianc Laszlo, Nino stumbles upon a way to re-ignite the flames of their sexual encounters. How ever has he really thought through the consequences of such a scheme?

Nino Rolfe is a British born art professor living and teaching in Venice, his wife Teresa runs the guest house in which they live. Frustrated by his wifes modesty which restricts his own sexual excitement, he devises a way in which he can explain his frustrations without actually confronting her. To this end he begins to write a dairy describing his fantasies and feelings. He locks it in a drawer in his study and then leaves the keys conveniently on the floor knowing his wife will find it when she cleans. Its not long before she too is writing her own diary and as such they are able to communicate their desires covertly without having to directly mention them, this in itself becomes part of the sexual interplay between them. How ever things don't stop here, Nino recognises that he is excited by jealousy and so through his writing and a number of schemes pushes his wife slowly into an affair with his daughters young Fianc Laszlo. In the arms of Lazlo Teresa finds even greater sexual liberation and this she brings home to the marital bed.

The Key is adapted from the classic Japanese novel Kagi by Junichir? Tanizaki. The novel had been previously brought to the screen by Japanese director Kon Ichikawa under the title of Kagi which was released in 1959. Cult erotica director and some say European master of the genre Tinto Brass, had long been a fan of the novel and after several attempts was finally able to acquire the film rights from the then deceased Junichir? Tanizaki's wife. Brass moved the setting to Venice a city he describes as smelling like a female sex organ (See the interview on this DVD). On the surface The Key plays like classic soft-core erotica with an air of decadence and soft focus artistry, how every beneath the obvious Brass has in fact created a very subversive film. Brass is a pretty skilled director the film has a very European art house look and certainly does not look cheap and sleazy. Limited locations are used, but then they are all that's needed after all this is all about character interplay. The acting for the most part is of the serviceable variety, nothing outstanding but certainly not poor enough to bother the viewer. The film is dual language with the majority in English. The four main characters converse in English but if they speak to anyone outside of this circle they use Italian and are subtitled. The Italian seems more comfortable to all except Frank Finlay who plays Nino, but then he is English.

Tinto Brass clearly finds censorship especially around something as natural as sex an undesirable part of culture. His film is as much about that as the story we see on the screen. Nino in particular being an art professor constantly makes references to classic art and art history which featured nudity and erotic images, he also mentions Items that where censored in the past by church and state and the fate of some of those involved. In away it is this external censorship and the attitudes towards sexually prevalent in society that have spoiled the couples sexual relationship. The need for a woman to be modest, and overt displays of sexuality being frowned upon have shaped the way Teresa is. Brass illustrates this at several times in the movie, in particular the reaction of guests at the dance when a drunken Nino puts his hand on his wifes bottom during a dance. As with many Italian films there are also some veiled swipes at the Catholic Church and its dominating moralising presence in Italian society. Maybe the most interesting thing is the change in the balance of power with Teresa and Nino's relationship once she begins to become sexually liberated. Anecdotal evidence often supports the idea that faced with the sexually liberated woman they wish for men feel a loss of power. Often a man who pushes his wife or partner into the likes of swinging comes to regret it once she begins to enjoy it and really want to do it in her own right.

The Key is first and foremost soft-core erotica, if nudity, overt sexuality and scenes of simulated sex offend your sensibilities; this is not a film for you. Those comfortable with such things will find much to like here as its an attractive and interesting film with the kind of protagonists who would maybe not feature in more modern takes on sexuality. Depending on what pushes your buttons you may even find some of it quite stimulating, I certainly am a fan of hosiery and I am sure I am not alone in that. (Here)

һԷްѸԵռڳԷ͵ûϵԴΪڣص˽԰ĴƴӰƬβһɫ˵Ҿóҵҳϡ˼ǣ̼ͨԼĻΪɷȻ͵

ⲿӰīᷨ˹пȨӰƬǸձѧҹһɵС˵ıɣӳýΪǶƷȵһǶ̨ڻ谵ͻԵŮһĻƽʵȴ()

վӰҳ More see the page in our site
Le marginal / Professione: poliziotto (Jacques Deray) Ե/ְҵ:
97'29" Ļ
French dub Without subtitle
 
Stars áޡɶ Jean-Paul Belmondo
Jean Herman
ϯ Henry Silva
Country
Runtime 100 min
Date 19831226 Ų

 

In another typical Jean-Paul Belmondo vehicle, the French action hero plays a policeman prone to advancing the cause of justice by any means necessary. On his agenda is a powerful drug cartel working out of Paris and Marseilles, with a drug lord (Henry Silva) who is essentially inaccessible -- but not immortal. Stunts (performed by Belmondo) and chase scenes on land and water enliven the story, but the scenes with Belmondo's love interest are rather marginal themselves. (Here)

Just as Jean-Paul Belmondo's THE PROFESSIONAL (1981) recalled the Charles Bronson 'loner' action vehicles, this one evokes memories of Clint Eastwood's "Dirty Harry" cop showswhich, by extension, connects it to the Italian poliziotteschi C of which the American co-star of THE OUTSIDER, Henry Silva, was a regular! Anyway, Belmondo is a maverick cop up against drug kingpin Silva: he intercepts a consignment of heroin (chasing the speedboat transporting it via helicopter), but the criminal's influence with city officials gets him transferred from Marseille to a low-life district! As was the case with the earlier film, the credits take care to establish the fact that the ageing star performed his own (often dangerous) stunts; in fact, every fifteen minutes or so, he's seen getting into a scuffle, a chase or a shoot-out C without necessarily advancing the main plot.

Still, in spite of the protagonist's superficial nonchalance, he's shown to have a heart: befriending a hooker, saving a convict's teenage daughter from life as a junkie, and paternally overseeing the 'legitimate' activity of a young small-time crook; when the latter opposes Silva's offer of 'protection' and winds up dead, the conflict between policeman and racketeer becomes a personal one. Mind you, the overall handling is anything but subtle C and blatantly commercial (why else would we be treated to the excess of sleaze on display, including an irrelevant excursion at a gay club?)! The film features another Ennio Morricone score which virtually hinges on a single catchy riff, though it's not quite as haunting as his work on THE PROFESSIONAL. The R2 DVD I rented also featured an Audio Commentary by director Deray which was, unfortunately, unsubtitled and enticing theatrical trailers for two other films Belmondo made for director Philippe De Broca, LE MAGNIFIQUE (1973) and L'INCORRIGIBLE (1975).(Here)

һֵ͵ıɶӰ,ӰǰһʹκαҪֶάľ.ԵһǿĻԾڰĶƷ.(Henry Silva )׽.ӰɱɶݳںϺ͵׷ľ˱ӰƬ, ƬбɶϲʹԼΪһԵ ()

ɶ1981"ְҵɱ"( THE PROFESSIONAL)Ӱ,һ˹ɭʽ(ע: Charles Bronson,ӲԱ,"Ľ","","ɱȶ"ʮӰонܳ,μ)ŵӢ.һӰϯ(Henry Silva) ݳ,ӰƬΪһµϯ߰ݵĴ.ֱںϽػɸͧصĺƷ.Ƕͨ˸߹ٷоֵ˵ײϽְ.ӰƬ,֮ڵӰΪıɶ,رԼdzΣյؼ.ʵ,ÿ15Ӷһλս,׷ǹսij.

ܹڱȽwdz,ıʾһľ: ƴŮ,һʮŮ.ھΪһ˵ﷸʱ,Ĺ̶Ƿdzе.ӰƬһŷ Ī￵.ʵһһظ,"ְҵɱ"еһ,ʹ.()

վӰҳ More see the page in our site

NA-8305 (8402) Les voulers de la nuit / Thieves After Dark (Samuel Fuller) (ֱ ڰе)
Les voulers de la nuit / Thieves After Dark (Samuel Fuller) (ֱ ڰе)
 
OST Music page
Stars Vronique Jannot
Bobby Di Cicco
Victor Lanoux
Country
Runtime 98 min | West Germany:92 min (TV)
Date 1984227

Sam Fuller (1911-1997) directed this rather mediocre crime story about a Bonnie-and-Clyde couple -- how they got together and how they are pursued for a murder they never committed. Francois (Bobby Di Cicco) and Isabelle (Veronique Jannot) meet in an unemployment office, a likely place to find others in their profession: he is a cellist and she, an art historian. While there, Isabelle gets into a nasty incident with one of the clerks, and Fran?ois helps her out of the office with the end result that the two continue meeting and eventually fall in love. They try to make money as street musicians, though nothing seems to work out. Isabelle then suggests they rob the three unemployment office personnel who were the most obnoxious to them, a suggestion that leads to their breaking into an apartment in which the occupant accidentally falls to his death. At first both Isabelle and the police believe she pushed the man out the window -- and the chase is on. (Here)

ݧѧۧߧѧ ӧ֧ էӧ ާݧէ ҧ֧٧ѧҧߧ(٧ѧҧ֧ݧ ѧߧ), ڧӧէڧ ֧֧է ߧ֧٧ѧݧѧߧڧӧѧߧߧ ҧڧ. ֧ ѧߧ ӧ ا ҧէ֧, ߧ ҧէ֧ ݧ ا ڧާ֧ ٧ߧѧ֧ߧڧ? ݧҧݧקߧߧ է էԧ, ݧ ԧ ܧѧ ߧڧ ٧ѧܧѧߧڧӧѧ է֧ߧԧ, ֧ѧ ߧ ܧѧا, ߧ ٧ߧѧ, ٧ ߧ֧ ݧ֧է֧ ӧ, ٧ѧ֧ ֧ ֧ݧ֧ߧڧ. ҧ֧ܧѧާ էݧ ӧӧӧ ԧݧѧӧߧ ԧ֧ ӧҧڧѧ ֧, ܧ ܧҧݧ ߧڧاѧ ڧ, ا֧ݧѧ ֧ ѧާ ާڧ ڧ. ӧ֧ާ ڧ ֧ݧ֧ߧڧ ԧڧҧߧ֧ ֧ݧӧ֧, ڧӧէڧ ѧѧݧߧ ѧ٧ӧ٧ܧ. (Here)

վ: ӰƬдһʮձķ: ʧҵߵһǴûķɱ˵ĵ·.˺ɯһǴ,һʷѧ,Ƕûҵ.()żȻһʧҵԱİ´,ɯͰԱʱ,˰.֮˱˴మ.ڽͷ׬Ǯ,ʧ.ɯȥǸʧҵԱ´ԱǮ,ϣԴ.һԢжʱ,һżȻ¼һ׹¥,쿪ʼ԰ĵ鲢϶ɯǃ.....

NA-8306 (8210) Nana / Nana: La vera chiave del piacere / Nana, the True Key of Pleasure (Dan Wolman) (ֱ ȣֳؼ)
Nana / Nana: La vera chiave del piacere /Nana, the True Key of Pleasure (Dan Wolman) (ֱ ȣֳؼ)
Stars Katya Berger
Jean-Pierre Aumont
Yehuda Efron
Country Italy
Runtime 92 min
Date 19830613

In Zola's Paris, an ingenue arrives at a tony bordello: she's Nana, guileless, but quickly learning to use her erotic innocence to get what she wants. She's an actress for a soft-core filmmaker and soon is the most popular courtesan in Paris, parlaying this into a house, bought for her by a wealthy banker. She tosses him and takes up with her neighbor, a count of impeccable rectitude, and with the count's impressionable son. The count is soon fetching sticks like a dog and mortgaging his lands to satisfy her whims. She bankrupts him, arranges the debauching of his wife, and seduces his son on his wedding day. What else can she accomplish before she leaves Paris airborne? (Here)

վ: һаŮԺ,ܿѧͨԽõҪĶΪһ.һԣмΪ˷.ھһ,ֺܿĶ.Ϊ,Ѻ,ԼƲ......

NA-8307 (8305) Sahara (Andrew V. McLaglen) /
Sahara (Andrew V. McLaglen) /
 
Stars С˿ Brooke Shields
ءɭ Lambert Wilson
˹ Horst Buchholz
Country Ӣ
Runtime 111 min
Date 19840309

After her father dies, young Dale takes his place in a trans-African auto race, but ends up being abducted by a desert sheik. (Here)

The setting is in the year 1927. After her father dies, a young woman (Shields) disguised as a man, takes the place of her father in a race across the Sahara. She ends up prisoner to Rasoul (John Rhys-Davies), but is rescued by Jaffar (Lambert Wilson). However, more trouble awaits her before she can finish the race. She ends up marrying Jaffar (Lambert Wilson) and Jaffars uncle (Rasoul) ends up dying in the end. She does end up winning the race, becoming the first woman to win this race.(Here)

1927꣬ɶ޹˾һʱΪ150³ˡù˾ϰΪռгŮ϶ݴ˳μɳĮеĹ˭ϣһҵ¹ʶȥ˿ɹǰŮһҪڱж϶űʹŸ׵Сװǰ
ǰϦʹٷȰλѡ֣ҪԽ߽ݾΪǶս׷ɣ֮սϡ죬ѡ׷Ҹϣʮּҡ϶ſɶٳܣİٱزǰɳۣܿرңңȡʱȴŮӲܲĹ涨ȥñӣȥºӣָԼıòΪʱһٵҸڶ⣬Խս׷ɵвһȺ⺷IJܡΪ׵һ绨񡢳һ۾ĵ϶½ѺͻؼңռΪС϶ʱ͵ƴ򷭣һ֡϶ûѡIJأͱһץأܵ̿򡣸峤ܶǸߴӢ֪ˣ˽˵϶˵ԭʮԸΪ˴оȳ϶Լ˵϶ȢΪޡ峤Υŷռе϶ͷ
ڶ峿жԵĹIJ壬϶뿪IJûᣬðǹֵ꣬Լȡ˴ŵըҩ븥ܶһը˹װ׳ȡ˴ҵΡڹͬսУԸܶ˺øСһƬϲԵ˸ܶӣǣųΣDZ˯ĸܶı;У°񣬹ںڱݾڡܶʱʱȳ˵϶ΣDZ˯ĸܶı;У°񣬹ںڱݾڡܶʱʱȳ˵϶ӽβ϶һȵյ㣬ȴһƬ͸ܶеĿ⣬ѣ渥ܶIJ塣һƬ͸ҶеĿ⣬ѣ渥ܶIJ塣()
NA-8308 (8302) Scarlatto e nero / The scarlet and the Black - tv - (Jerry London) / Ļ/ٸʥ()
Scarlatto e nero /The scarlet and the Black - tv - (Jerry London) / Ļ/ٸʥ()
2-1 73'24"
2-2 69'15"
 
Stars ɿ Gregory Peck
˹и¬Ĭ Christopher Plummer
Լŵ John Gielgud
Country Ӣ
Runtime 143 min / Spain:136
Date 19830202

Exciting WWII drama based on a true story. Gregory Peck stars as a Vatican official who hides escaped POWs and refugees from the Gestapo under the eyes of German officer Christopher Plummer. With John Gielgud, Edmund Purdom, Raf Vallone, Barbara Bouchet, Kenneth Colley. AKA: "The Vatican Pimpernel." 156 min. Standard; Soundtrack: English Dolby Digital stereo Surround.(Here)

In 1943, Nazi Germany completely occupies Rome. The Pope (John Gielgud) is approached by General Max Helm and SS Head of Police for Rome Colonel Herbert Kappler (Christopher Plummer). The Colonel expresses concern that escaped Allied prisoners may attempt to seek refuge in the Vatican, and requests permission to paint a white line across St. Peter's Square in order to mark the extent of Vatican sovereignty. The Pope grants his permission, but upon the departure of the SS officers, looks out the window to see the white line had already begun being painted. Kappler's main rival is Monsignor O'Flaherty (Gregory Peck), an Irish clergyman who runs an underground organization which provides safe haven and eventual escape to Jews, escaped PoWs, and refugees in Nazi-occupied Rome. He is assisted in this enterprise by several other patriots such as Ms. Francesca Lombardo. Kappler attempts to end their activities and destroy the group, but is increasingly frustrated by O'Flaherty's repeated successes, due to a combination of his clever plans, numerous disguises, and stressing the very limits of international law. Met with continuous failure, Kappler begins to develop a personal vendetta against O'Flaherty. Despite O'Flaherty's efforts, Kappler manages to recapture many escaped PoWs, deport many Jews to death camps, and exploit and oppress the general population; a number of O'Flaherty's friends are also arrested or killed.As the war progresses, the Allies succeed in landing in Italy and begin to overcome German resistance, eventually breaking through and heading towards Rome itself. Kappler worries for his family's safety from vengeful partisans, and, in a one-to-one meeting with O'Flaherty, asks him to save his family, appealing to the same values that motivated O'Flaherty to save so many others. The Monsignor, however, refuses, disbelieving that after all the Colonel has done and all the atrocities he is responsible for, he would expect mercy and forgiveness automatically, simply because he asked for it, and departs in disgust.As the Allies enter Rome, Monsignor O'Flaherty joins in the celebrations of the liberation, and somberly toasts those who did not live to see it.Kappler is eventually captured and questioned by the Allies. In the course of his interrogation, he is informed that his wife and children were smuggled out of Italy and escaped unharmed into Switzerland. Upon being asked who helped them, Kappler realizes that it must be O'Flaherty, but responds simply that he does not know.The film epilogue states that Kappler was sentenced to life imprisonment, but was frequently visited in prison by O'Flaherty, eventually becoming a Catholic and being baptized at his hands in 1959.(Here)

Ӱʵʷڵ¹ռиڼһʦ٣רŲӪɴ⵳˵˾ս.½¾פһdzҪ׷ҼӵٸѰӻ˾սʿȻڵΣٸԵλ̻ʲ֧κΰЩǰѰӻˣ¸Ȼ˸˰Σڼѵ£ְκһǰˡ۸񸦵Ӱ㷺ΪͷĿռڳĸ󻼡Կܻв¸ٴȻݲȡǵر任ֲͬݽľ쵼£ǧӵ¹ӳ˰ȫȹս ()
No.
Ӱ (/Ӣ/) Name and Director (IT/CN)
ע Note
NA-8401 (8408) Don't kill God ( DOCUMENTARY) (Jacqueline Manzano) (ֱ Ҫɱ)
Don't kill God( DOCUMENTARY) (Jacqueline Manzano) (ֱ Ҫɱ)
ǸƵ Sorry No Video
 
ע: ƬIMDB,ЩվԲ鵽 01, 02, 03, 04, 05, 06, 07, 08, 09
Stars
Country United Kingdom
Runtime 83min, 1 hr. 23 min.
Date
 

In this docu-drama that defends a faith in "one God" against the real or perceived evils of consumerism, war, unbridled sex, drugs, and nonconformists, director Jacqueline Manzano has a resonant male voice intone comments such as " ...by killing God we kill ourselves." The Pope is seen in various encounters with worshipping Catholics around the globe, and the epitome of evil is shown in clips of dictators or rulers as diverse as Hitler and Gamal Abdel Nasser. Rather silly enacted scenes fill the space between docu clips. Devoutly religious viewers will be the most supportive audience for this film, while atheists, agnostics, and Buddhists might take exception to the perspective of the director. In the same vein, the intermixing of documentary footage and acted scenes was an excellent concept, but it was spoiled by the artificial, stilted nature of the fictional segments. (Here and here

վ: һ"ϵ"ڽ¼Ƭ.ʵĻǸ֪а,ս,ŵ,Ʒͽ."...ɱϵ۾ǻԼ".ϵĽͽⲿӰᶨĹڣߣ֪ߺͷͽ......

Production Credits (Here)
Director - Jacqueline Manzano

Screenplay - Jacqueline Manzano

Producer - Mubarak F. Al Sabah

Cinematography - Daniele Nannuzzi
Editor - Peter D. Taylor

Music - Ennio Morricone
Song Performer - Barbara Henricks

Composer (Music Score) - Ennio Morricone
Cinematographer - Daniele Nannuzzi
Company Information
Armand Rubin - Domestic Theatrical Distributor
Europex - Foreign Theatrical Distributor
Beamleaf Ltd - Production Company
C'era una volta in America / Once upon a time in America (Sergio Leone) / /ĺֵ(̨)/屡()
Ӣﺺ 228'52"
English dub Chinese subtitle
 
Stars ޲ء Robert De Niro
ղķ˹ James Woods
ɯס Elizabeth McGovern
ǡ Joe Pesci
ء Burt Young
˹졤Τ Tuesday Weld
Country
Runtime 229 min | USA:139
Date 198461

Epic tale of a group of Jewish gangsters in New York, from childhood, through their glory years during prohibition, and their meeting again 35 years later.(Here)

How you top one of the best openings in the movies ever (......... in The West) - darkness and footsteps. Leone's film like its predecessor was very long and I suspect cut but its first version was at least lucid and the shocking finale to the opening isn't fully explained until the end. We are in gangster land and death is cheaply bought. Anyone deemed to be a "rat" and the de Niro character starts out without friends and we see why.So after the violent opening we jump forward to the later 60s and a older de Niro come back to face his ghosts and we then go back to his life as a child in the deprived background of New York and his drifting into crime with four friends and his love for Deborah (Jennifer Connelly first and Elizabeth McGovern the adult).No rules and no-one is lovable but all are believable and the lost of one of the 5 is tragic even though they are criminals and the younger Noodles lands in jail for avenging the lost of his friend. Jump forward again and it seems although years before he had "escaped" - his enemies knew all the time where he was and had allowed him to grow old but now wanted something from him for their largess. He retrieves the money he thought he had stashed 30 years before but it was to buy something and he remembers the adult 4 gangsters making waves all over New York. They had stuck by him whilst inside and he was a made man.Crime had changed but it was still changing loyalties, brutal dealings, unions and politics now. And quietly one of their number turned himself into a respectable man whilst carrying on as a gangster. He had ambitions but friendships remained until it stood in the "one" persons way and it was sold with everything else. Noodles met but couldn't relate to his childhood sweetheart and their coupling was awful and effectively "rape".And Noodles decided that crime was not for him and after warring with himself "ratted" on the trio not realising he himself was being played.And the beginning of the film - the manhunt with victims who wouldn't or couldn't talk is thrown into sharp contrast to the confusion at the beginning and an opium den and a ringing phone that will drive you mad.And the final reckoning when Noodles is offered a chance of revenge - to apologise to "Deborah" and found out why he has been living on borrowed time. A sliver of friendship remained but "Noodles got his own revenge for the treachery and what happens at the end is up for discussion.The metaphor of garbage collection - possibly - has never been so apt but joyous modern life drowns out old times and an odyssy comes to an end. Older - not wiser but sadder.And the music. I turn away from the film sometimes but Morricone's excelled himself in this one and the soundtrack is worth getting and stands alone.Robert De Niro, James Woods, William Forsythe, Joe Pesci, Treat Williams, Elizabeth McGovern and Tuesday Weld.I am pleased Leone made this after the ridiculous - in my opinion - "Duck You Sucker". It was a fitting legacy. ( here)

Ƭɪŷںʮ꣬ŦԼ̫ΪĸСһ𳤴֮ͯĶԹ

Ӱ޲ء(Robert De Niro)λҪеǣƬ԰¡ķΪᣬһдҳϺͱѵԳͻĺڰʷʫӰʱԽôֻšһսʷϵҪ¡

ݼԱղķ˹(James Woods)ҲƬгһǣƬΧѵݣΪಿ˿ڵĵӰ֣ʦİ¡Ī￵Ennio MorriconeҲԱƬý򽱵ԭ¡Ī￵˻ɵ֣ڴضǰŦԼ̫շ顣

ɪŷڡ֮һе20-60󡣵һĺ봫ͳƬĸ֣Զصӽ˳
ʮºšŦԼͼͬһʶ˴˹ǿʼ˽ãһеɱؽΡ

ͷųСѾ˳콡׳ꡣ˹Ĵ£زپҵʼһϵе١ԡթŷIJ룬˹ƺʤͷԡȻȡʹ˽Ƶһҹ֮仯ΪУΪһﵽĿ꣬˹ȻҲжĿꡣйĵۿ͵͵绰˹֡չǹս˹ȫɱڼ˵Ļںʹ֮£뿪Լĵط뿪İĹԶ硣

ʮ󣬼ĺʵ磬ⷢԭһж˹ľIJ߻;ֳ֮ȥ飬ԼѿǣûŻľ޿ͷ֮磬ΪϲİĹΪСԶָ޷˹ɱԼԴԼѷɵУܾ˹Ͷ·֮ɱ

Ƭ1984ӰѧԺ֡ѷ˹1985ѵ

Ļ һдҳϺͱѵԳͻĺڰʷʫӰƬǡִڡ֮һе20-60󡣵һĺ봫ͳƬĸ֣Զصӽ˳ӰƬƣһʫ⡣ʱԽ40꣬Ӿôһսش¼ΪӰƬֻѡȡԭеļͼ¼õ͵ĺ½ṹͬǣӰƬʱսṹɫͨ˹Ļ佫չʼ˹֮һҵծнС

ڵӰ ¡һԵƬȻ3070ʢĺڰƬлȡӰƬű(ƬС˵ԭ߹ҲȷǸǰɷ)ڰӰֻṩһѡӰƬ˹һͳڰӰкڰһڻֱƽ֮ˣͬʱҲΪ˸һĴѰյľꡣʵϵǡ(Sergio Leone)ǷdzϸĵضⲿӰƬѡãҲΪΪˣȴѴƬ̫ڰı֮¡󲿷ڰӰĶɻ߰ɣڽʱڿǰԾ̫ȴеӰἰ

¡ij̶ֳϽһߵӰصǵǡеġᡱ(ǡڱ˲δ)ҪIJһ߼Ĵͳ£˶һӰʷĻ뾫һδҵıΪڴ˰ⲢƲڽֱ߳ɳˣͨĻϵӰúͻ۵ģŻһŷʵĵĵӰԼһ֤

ڵݡ Sergio Leone1921ĬƬVincenzo LeoneĶӡԴ조Ƭ(spaghetti westerns)1964㡶A Fistful of DollarsɵʱClint EastwoodݡڶA Few Dollars More͵The Good The Badand the UglyEastwoodݣҽɫ˱ˣLeoneγԼصķMorricone(Ennio MorriconeLeoneСѧͬѧӡa fistful of dollarsʼ)ϷԵľͷƶԼɫ۲ļд1968Leoneijľ֮Once Upon a Time in the West־LeoneĵһηԾƬ滺𺳣һسʵ¾ڴ֮ġDuckYou Sucker˳(Zapata Western,1877-1919, īĸҡظĸ˶,ũָ)͵һȳݵġBurn18ͳҶ졣1984꣬Leoneĵڶ(ҲһƷ)Once Upon a Time in AmericaӰƬ4Сʱʱ⵽ʮֶӵɾLeoneƷõһ಻죬աsergio Leone1989ꡣ

֡Ӱִʦ¡Ī￵ѡȷdzӰƬءλáɫԶʡλƮֺĺϳģʹֱ˻޷ĶعɵʱĪ￵ʹ滺͵ĽɣİʾʱıǨµţƽǿŶġھƹᷲʱĪ￵ᣬ˵ᷲ⣬ίࡣ͸Ÿˣƺ̵DzҵĽ֡˳ĻվĿעʧȥᷲĻ𳵻ȥʱŮ質ҰǰˡƮݵԺڶֱֳԹʧȥĸоҰ¡Ī￵ƾƬ޿Ļ1984˹ֽܶΪƬڸӰƬijɫ................()

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2011.10.30
 
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