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加油吧威基基第二季
韩国韩语2019
  第一季里邀请大学同学的李俊基(李伊庚 饰),这次把魔手伸向高中同学。  想方设法拯救仍然无法摆脱倒闭危机的民宿威基基的年轻人们的言行又将带来什么绝佳效果,引发关注。  被李俊基诱惑的第一个牺牲者是车宇植(金善浩 饰),宇植是曾当过“无名idol”的歌手志愿生,是举世无双的“难搞男”,他中了俊基的计把全部财产都投资给威基基。  在第一季里每集都是搞笑制造机的李伊庚将继续在第二季里成为欢笑的中心。虽然李俊基(李伊庚 饰)一度看到光芒,但再次变成生计型演员,为了重建威基基他把周围人都拉下水,没有一天风平浪静的日子。  另一个被俊基的花言巧语欺骗的牺牲者国奇峰由申譞洙 饰演,他曾经是备受追捧的棒球天才,但现在只能在乙级队伍里辗转,奇峰因为投资威基基,人生陷入低谷。  文佳煐 饰演威基基的青年们那些年爱过的初恋“后岩洞女神”韩秀妍,婚礼当天受到突发性屈辱的秀妍和俊基重逢后,命运般地在威基基住下来。  安昭熙 饰演金正云,她和俊基都毕业于戏剧电影科,是一个为了生计满世界打工的“打工王”,性格毫不做作、大喇喇。  金叡园 饰演车宇植的亲姐姐车宥利,她梦想着成为“第2个白钟元”,不只是宇植,连俊基、奇峰都受她差遣、使唤,她是威基基段数最高的发号施令者。

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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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