116
9.0
HD
巴黎烟云
9.0
上映时间:08月03日
主演:查理兹·塞隆,佩内洛普·克鲁兹,斯图尔特·汤森德,托马斯·克莱舒曼,史蒂文·伯克夫,大卫·拉艾,卡琳·瓦纳斯,索菲·德马雷,朱利安·凯西,艾米·斯洛安,塞西尔·卡塞尔,詹·奥利弗·施罗德,伊丽莎白·怀特梅尔
简介:

  1933年的一个雨夜,英国剑桥大学的一名一年级学子,门生,弟子,学员盖伊(斯图尔特·汤森德 Stuart Townsend 饰)的寝室里,突然闯入了一位美艳动人的女子吉尔达(查理兹·塞隆 Charlize Theron 饰),盖伊好心收留她过夜,而后两人迅速坠入爱河。几年后,吉尔达成为了一名时尚摄影师,邀请盖伊前去她巴黎的豪宅相聚,并与她的模特兼密友米娅(佩妮洛普·克鲁兹 Penélope Cruz 饰)三人一起享受着时髦与欢乐的时光。然而,就在吉尔达的事业如日中天之时,第二次世界大战爆发了,三个好伙伴,好友,挚友,密友因对于此持不同看法而分道扬镳,盖伊和米娅决心,打算,计划,准备去往前线支援,而吉尔达则留了下来。6年的抗战之后,盖伊回到了日思夜想的巴黎,得知爱人吉尔达已成为千夫所指的德国军官情妇,却不知她其实是一名地下间谍。而此时的吉尔达已面临生死关头,一方面,她的间谍身份行将暴露,另一方面,巴黎的民众恨不得杀她而后快,两个有情人的命运还能否相交……
  本片曾获2005年米兰国际电影节最佳影片奖。

116
HD
巴黎烟云
主演:查理兹·塞隆,佩内洛普·克鲁兹,斯图尔特·汤森德,托马斯·克莱舒曼,史蒂文·伯克夫,大卫·拉艾,卡琳·瓦纳斯,索菲·德马雷,朱利安·凯西,艾米·斯洛安,塞西尔·卡塞尔,詹·奥利弗·施罗德,伊丽莎白·怀特梅尔
115
2.0
HD
百团大战
2.0
上映时间:08月03日
主演:唐国强,王伍福,陶泽如,刘之冰,印小天,吴越,宋运成,赵晓明,平田康之,大村波彦,邓超
简介:

  1940年,世界反法西斯战场进入最艰难时期。欧洲战场,纳粹军队闪击波兰后,连下荷兰、比利时和卢森堡、挪威。1940年6月14日,号称世界列强之一的法国投降,希特勒在凯旋门前阅兵,叫嚣将实施“海狮行动”,进攻英国。一直支援,扶持,拥护,维护中国的苏联,为避免两面受敌,只能和日本签署满蒙边界停火协议。而在中国,正面战场上的国民党军队节节败退,为了抵抗日军的进攻,残酷的枣宜会战中,中将张自忠(邓超 饰)以身殉国,江汉平原以至华中大部又落入日本人之手。
  中国陕北延安,在日军轰炸机频繁的轰炸下,毛泽东(唐国强 饰)、朱德(王伍福 饰)等中共领导人为中国的前途命运忧心忡忡。他们决心,打算,计划,准备在这个时候,共产党和所领导的八路军新四军要挺身而出,要打破亡国和投降的论调,要为世界反法西斯战场注入渴望,期望,盼望,企望,要向侵犯中国的日军打下当头一棒。
  而远在山西敌后的八路军总部,副司令员彭德怀(陶泽如 饰)和副参谋长左权(刘之冰 饰)也在为如何执行中共中央的精神,打破日军的囚笼政策,而周密、细致、紧迫,焦虑,急迫,忧虑地筹划、准备着……

115
HD
百团大战
主演:唐国强,王伍福,陶泽如,刘之冰,印小天,吴越,宋运成,赵晓明,平田康之,大村波彦,邓超
113
10.0
HD
柏林孤影
10.0
上映时间:08月03日
主演:艾玛·汤普森,丹尼尔·布鲁赫,布莱丹·格里森,米卡埃尔·佩斯布兰特,卡塔琳娜·舒特勒,路易斯·霍夫曼,尤韦·普罗伊斯,拉尔斯·鲁道夫,雅各布·马琛茨,约书亚·格罗斯,希尔德加德·斯罗德,克里斯·泰辛格,凯崔恩·波利特,汉斯·马丁·施蒂尔,莫妮克·肖梅特
简介:

  本片由法国家喻户晓的俊男级跨界导演文森特-佩雷斯执导。1964年出生的佩雷斯,在上世纪80、90年代曾红极一时,领衔,主役,担纲,主角的经典作品包括了《芳芳》《玛戈皇后》等等。佩雷斯很早就显示出了导演方面的才华,1992年和1999年有两部作品入围了戛纳国际电影节的短片单元。2002年,佩雷斯拍出了长片处女作《天使的肌肤》,2007年又执导了《秘密》。本片是佩雷斯投资规模最大,也是第一次入围A类国际电影节主竞赛单元的作品。
  《柏林孤影》的故事出现,产生,形成,酿成在上世纪40年代的柏林。工人阶级夫妇奥托和安娜把自己唯一的独生子送上了战场。不幸的是,孩子,男孩,少年,男童在惨烈的战争中身亡。这对夫妇决心,打算,计划,准备用自己的方式反抗纳粹党的极权统治。很快,他们的行动被发现,受到了盖世太保的追捕和威胁。这部以小视角反映大主题的二战题材电影,吸引了不少重量级明星出演,加盟,参加,参与。曾以《霍华德庄园》获得奥斯卡最佳女主角奖的英国演技派女演员艾玛-汤普森,出演一个悲伤,难过,哀伤,痛心的妈妈,母亲大人,娘亲,老妈妈;曾以《杀手没有假期》获得金球奖最佳男主角提名的布莱丹-格里森,饰演,出演,演出,表演坚强的爸爸,父亲大人,爹爹,老父亲。曾在《再见列宁》中大放异彩,并以《极速风流》艳惊好莱坞的丹尼尔-布鲁赫,将和两大老戏骨飚戏。

113
HD
柏林孤影
主演:艾玛·汤普森,丹尼尔·布鲁赫,布莱丹·格里森,米卡埃尔·佩斯布兰特,卡塔琳娜·舒特勒,路易斯·霍夫曼,尤韦·普罗伊斯,拉尔斯·鲁道夫,雅各布·马琛茨,约书亚·格罗斯,希尔德加德·斯罗德,克里斯·泰辛格,凯崔恩·波利特,汉斯·马丁·施蒂尔,莫妮克·肖梅特
38
7.0
HD
暴雨将至
7.0
上映时间:08月03日
主演:格莱戈尔·科林,Dzemail Maksut,拉宾娜·米特威斯卡,米莉察·斯托扬诺娃,彼得·米尔切夫斯基,拉德·舍博德兹加,Katerina Kocevska,凯特琳·卡特利吉,Abdurrahman Shala,Daniel Newman,菲丽达·劳,Ljupcho Todorovski,Peter Needham,Aleksandar Mikic,梅托·约瓦诺夫斯基,Silvija Stojanovska,Jordan Vitanov,杰伊·维利尔斯
简介:

  在马其顿,战争中的波斯尼亚,东正教的一位年轻修士以沉默庇护,维护,呵护,护卫一位年轻女孩,这位阿尔巴尼亚女孩涉嫌杀害一位东正教徒。但其实只是误会。修士以自己的善意,良善,仁慈,慈善决心,打算,计划,准备与女孩私奔。
  在伦敦,一位摄影记者(凯特琳·卡特利吉 Katrin Cartlidge 饰)在餐馆与她的丈夫谈论感情变淡的问题,二人争吵激烈之时,一名种族主义者冲入餐馆开枪扫射。爱,在生死之间突然变得清晰。
  一位离去,分离,离别,离别,分别,分离,别离,分散,远离,分离好友的摄影记者(拉德·舍博德兹加 Rade Serbedzija 饰)从伦敦出发,回到16年没来的老家马其顿。这里有他的老伙伴,好友,挚友,密友,他的东正教伙伴,好友,挚友,密友们,还有与阿尔巴尼亚人的种族矛盾。摄影记者尝试通过和解的方式化解纷争,但是,这一切远没有他想象的那么简易,简约,朴素,单纯。
  “圆圈不是一个圆。”三段相互交错的故事,不同文化、宗教、民族的误会造成的悲剧。

38
HD
暴雨将至
主演:格莱戈尔·科林,Dzemail Maksut,拉宾娜·米特威斯卡,米莉察·斯托扬诺娃,彼得·米尔切夫斯基,拉德·舍博德兹加,Katerina Kocevska,凯特琳·卡特利吉,Abdurrahman Shala,Daniel Newman,菲丽达·劳,Ljupcho Todorovski,Peter Needham,Aleksandar Mikic,梅托·约瓦诺夫斯基,Silvija Stojanovska,Jordan Vitanov,杰伊·维利尔斯
15
9.0
HD
北斗七星
9.0
上映时间:08月03日
主演:克劳迪娅·卡汀娜,让·索雷尔,迈克尔·克雷格,伦佐里奇,弗莱德.威廉姆斯,Amalia Troiani,Marie Bell,Vittorio Manfrino,Giovanni Rovini,Renato Moretti,Paola Piscini,Isacco Politi,奧斯卡·布纳奇,格伦·萨克逊,费迪南多·斯卡尔菲奥蒂,布鲁诺·希皮约勒
简介:

  意大利女子桑德拉(克劳迪娅·卡汀娜 Claudia Cardinale 饰)带着丈夫回到了自己的故乡,她此行只有一个目的,就是和弟弟姜尼(让·索里尔 Jean Sorel 饰)一起查明爸爸,父亲大人,爹爹,老父亲真正的死因。姐弟两人的爸爸,父亲大人,爹爹,老父亲受到纳粹迫害而死在了集中营里,桑德拉和姜尼一直猜疑,疑惑,质疑,存疑,当年将爸爸,父亲大人,爹爹,老父亲出卖给纳粹的正是妈妈,母亲大人,娘亲,老妈妈和她当年的情人,如今姐弟两的继父。
  实际上,桑德拉和姜尼之间亦有着不可告人的过去,在萌动之际,他们曾经有过僭越了伦理和道德的亲密行为。如今,桑德拉早已经不愿再回想当年的无知和天真,可姜尼却对那段往事念念不忘,甚至妄图令往事重演。恼怒,动怒,愤怒,气恼,动怒,震怒,暴怒的桑德拉拒绝了弟弟的请求,悲伤,难过,哀伤,痛心,悲伤,难过,哀伤,痛心,苦闷,悲伤,忧伤,痛苦,忧伤和绝望中,姜尼做出了令全亲人,亲属,眷属,家属都追悔莫及的举动。

15
HD
北斗七星
主演:克劳迪娅·卡汀娜,让·索雷尔,迈克尔·克雷格,伦佐里奇,弗莱德.威廉姆斯,Amalia Troiani,Marie Bell,Vittorio Manfrino,Giovanni Rovini,Renato Moretti,Paola Piscini,Isacco Politi,奧斯卡·布纳奇,格伦·萨克逊,费迪南多·斯卡尔菲奥蒂,布鲁诺·希皮约勒
907
6.0
HD
冰海陷落
6.0
上映时间:08月03日
主演:杰拉德·巴特勒,托比·斯蒂芬斯,加里·奥德曼,科曼,琳达·卡德里尼,米哈伊尔高里沃,迈克尔·吉普森,邓普希·博弗尔,克里·约翰逊,亚当·詹姆斯,亨利·古德曼,科林·斯廷顿,卡特·麦金太尔,施恩·泰勒,米基·柯林斯,威尔·阿滕伯勒,大卫·吉亚西,吴国耀,泰勒·约翰·史密斯,加布里埃尔·查瓦里亚,柯斯莫·贾维斯,迈克尔·特鲁科,雷恩·麦帕林,赞恩·霍尔茨,尤里·科洛科利尼科夫,伊戈尔·日日金,伊利亚·沃里克,Hristo Mitzkov,迈克尔·恩奎斯特,卡罗琳·古多尔,大卫·叶兰德,斯图尔特·米里根,李·阿
简介:

  疯狂的芭堤雅将军杜罗夫(米哈伊尔·戈尔沃伊 Mikhail Gorevoy 饰)预谋发动第三次世界大战,他制造了一场巨大的水域爆炸,致使附近的美军潜艇队遇袭。美国海军派出了海底经验丰富但名声寥寥的乔·格拉斯潜水艇船长(杰拉德·巴特勒 Gerard Butler 饰)率领潜艇队前去调查。

907
HD
冰海陷落
主演:杰拉德·巴特勒,托比·斯蒂芬斯,加里·奥德曼,科曼,琳达·卡德里尼,米哈伊尔高里沃,迈克尔·吉普森,邓普希·博弗尔,克里·约翰逊,亚当·詹姆斯,亨利·古德曼,科林·斯廷顿,卡特·麦金太尔,施恩·泰勒,米基·柯林斯,威尔·阿滕伯勒,大卫·吉亚西,吴国耀,泰勒·约翰·史密斯,加布里埃尔·查瓦里亚,柯斯莫·贾维斯,迈克尔·特鲁科,雷恩·麦帕林,赞恩·霍尔茨,尤里·科洛科利尼科夫,伊戈尔·日日金,伊利亚·沃里克,Hristo Mitzkov,迈克尔·恩奎斯特,卡罗琳·古多尔,大卫·叶兰德,斯图尔特·米里根,李·阿
105
7.0
HD
超级女特工
7.0
上映时间:08月03日
主演:苏菲·玛索,朱莉·德帕迪约,玛丽·吉兰,黛博拉·弗朗索瓦,莫里兹·布雷多,玛雅·珊萨,朱利安·波义塞利尔,樊尚·罗蒂埃,沃尔克·布鲁赫,罗宾·瑞努奇,泽维尔·布瓦,科林·大卫·里斯,尤尔根·马什,康拉德·塞西尔,亚历山大·贾泽德,达维德·卡佩勒,沃尔夫冈·皮索尔斯,尚塔尔·加里格斯
简介:

  1940年,丘吉尔设立了一个新的情报组织“特别行动局”,简称SOE。其中一个分部负责监督法国的行动。1944年,为了确保盟军登陆成就,胜利,凯旋,成果,这个分部付出了沉重的代价。
  Louise(苏菲·玛索 Sophie Marceau 饰)刚刚失去丈夫,被哥哥带回法国参加SOE,接受的任务是救出落入敌手的一位英国地质学家——他手中拥有的是德军布置在诺曼底的防御工事图,几乎是盟军登陆的全部关键。
  和Louise共同作战的还有其他几位姑娘。妓女Jeanne(茱莉·德帕迪约 Julie Depardieu 饰)因为杀害自己的客人而被判死刑,SOE承诺只要她完成任务即可获得豁免。随后加入的Suzy、Gaëlle,都是有着一段不为人知的悲伤,难过,哀伤,痛心往事。当她们为了盟军而贡献自己的聪慧,智慧,睿智,明智才智,任务能否成就,胜利,凯旋,成果,她们又是否能全身而退?

105
HD
超级女特工
主演:苏菲·玛索,朱莉·德帕迪约,玛丽·吉兰,黛博拉·弗朗索瓦,莫里兹·布雷多,玛雅·珊萨,朱利安·波义塞利尔,樊尚·罗蒂埃,沃尔克·布鲁赫,罗宾·瑞努奇,泽维尔·布瓦,科林·大卫·里斯,尤尔根·马什,康拉德·塞西尔,亚历山大·贾泽德,达维德·卡佩勒,沃尔夫冈·皮索尔斯,尚塔尔·加里格斯
21
9.0
HD
出生证明
9.0
上映时间:08月03日
主演:Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基
简介:

  In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth."
  The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era.
  The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved.
  The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair.
  At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance?
  Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground  under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'."
  After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others.
  In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."

21
HD
出生证明
主演:Andrzej Banaszewski,Beata Barszczewska,马里乌什·德莫霍夫斯基
22
5.0
HD
大君主
5.0
上映时间:08月03日
主演:Brian Stirner,达维德·哈里斯,Nicholas Ball,Julie Neesam,Sam Sewell,约翰·福兰克林·罗宾斯,斯特拉·坦纳,Harry Shacklock,David Scheuer,Ian Liston,Lorna Lewis,Stephen Riddle,Jack Le White,Mark Penfold,Micaela Minelli
简介:

  1975年的《大君主》这部电影正正是描写D-day 1944.6.6盟军二战最大的诺曼底“大君主”登陆行动,由斯图尔特·库珀 导演,柏林电影节金熊奖影片,本片是之后许多电影参考的二战佳作。
  电影背景:
  一九四四年六月六日的清晨,以美英军为主的同盟国军队於法国南部诺曼第海滩登陆。开闢了所谓的第二战场,计划代称为「大君主作战」(OPERATION OVERLORD),也有人翻成太上(皇)或统主或霸主(中国大陆翻)。其实OVERLORD是指一位英国君主。由於诺曼地登陆的保密措施,许多人并不知道真正的攻击发起时间,最高当局一律以代号称之,Dday代表攻击发起日,H时代表发动攻击时间.盟军以后的各项攻击行动都以此模式实施。盟军并採取大规模的欺敌措施,一项代号为「坚忍」的欺敌行动,误导德军,以为盟军将於海峡最窄处的加莱登陆。同时并实施大规模空袭,削弱诺曼第附近德军力量。盟军统帅艾森豪原定於六月五日实施登陆,但因天候不佳,展延至六月六日。
  事实上盟军在登陆时天气还是相当恶劣,许多士官兵皆不耐船只颠簸,纷纷晕船,呕吐...在生理上承受极大的负荷。可是凭藉着一股信念,大部份的士官兵还是默默承受下来,并没有太大的反弹。相反的都渴望,期望,盼望,企望能早日脱离集结区的等待之苦,早日与德军作战。当时,对多数人而言,只有一件事值得他们在意,关注,留意,重视,那就是何时发动攻击?而在漫长的等待时,为排解无聊与苦闷,士官兵便以赌博为乐,当时以美军的驻地部队最为风行,几乎无处不赌,如果在台湾,可能早就被送禁闭了。
  计划中将诺曼第滩头画成五大部分,由西向东分别为犹它(UTAH),奥马哈(OMAHA),黄金(GOLDEN),天后(JUNO),宝剑,(SWORD)滩头。其中的犹他滩头由美国第四师负责登陆,奥马哈滩头由美国第二十九师与第一师登陆,黄金滩头由英军第五十师负责,天后滩头由加拿大第三师负责,宝剑滩头由英国第三师负责登陆,预定於登陆的头两天(D+2day)内使用兵员176,475人,车辆20,110辆完成登陆。为对它们提供支援,共出动达上万架次的军机及5,000多艘军舰和登陆艇。登陆后各滩头皆能顺利登陆,仅有轻微抵抗,唯一的例外是奥马哈滩头,由於空袭与岸轰效果不佳,复加上盟军忽略德军第三五二步兵师的增防,导致该滩头死伤颇重.总计有2,500人伤亡,佔登陆日当天盟军死伤总数的四分之一强。
  大君主作战计划中,特别计划以三支空降部队先期空降敌后,分别控制各处要道,迟缓德军增援部队抵达,以利盟军地面部队进攻。空降突击为求发挥奇袭的功能,决心,打算,计划,准备於夜间实施,一方面以夜色掩护空降行动,另一方面也达奇袭之效。在最高指挥部中初步估计,空降突击的战损率极高,可能达五十%,部份单位甚至会有高达七十%以上的损失.对艾森豪而言,批准空降行动是一个难题,明知损失极高,但又不得不为。在通盘考量下,仍然通过由美国第一O一及八二两支空降部队与英国空降第六师共一万八千多人负责此一艰钜任务。艾森豪於行动前特别花了一个多小时与空降部队士官兵谈话,在空降部队出发后,艾森豪将军凝视着夜空,国家广播公司记者瑞德.穆勒,意外地发现这位将军眼中竟充满盈眶泪水。
  盟军登陆后,为确保滩头堡阵地完全,完好,完善,全备,并源源不断送上补给品,因此各项后勤设施也准备妥当。其中最为特别就是人工港口的设计.这也是第一次採用的新设计。人工港的名称为桑椹(Mulberries),大小相等於一个多佛港(Dover),共造了两座,在防波堤与滩岸之间,又放下许多三层楼高的水泥箱(代号凤凰)及浮动通道(代号鲸鱼),滩头上并昇上防空气球,避免德军战机的侵扰。除此之外还有由英国本土直接连接至滩头的海底油管。每日送至滩头的补给品达百万吨,提供盟军的完全支援。但是由於天候持续恶劣,最后还有暴风雨侵袭,人工港口后来毁於恶劣的暴风雨中,但是它的出现仍是盟军在最初登陆阶段,巩固滩头堡阵地的唯一屏障与支援。

22
HD
大君主
主演:Brian Stirner,达维德·哈里斯,Nicholas Ball,Julie Neesam,Sam Sewell,约翰·福兰克林·罗宾斯,斯特拉·坦纳,Harry Shacklock,David Scheuer,Ian Liston,Lorna Lewis,Stephen Riddle,Jack Le White,Mark Penfold,Micaela Minelli