在璀璨的都市霓虹光影下,85 South 街头传奇如一曲华美交响,细述着那些在城市街头,被遗忘却又绚烂的故事。这部令人心驰神往的纪录片,以其深邃的镜头语言和细腻的情感描摹,带领我们踏上一段感慨万千的旅程。在这个充满着烟火气息的城市角落,每一帧画面都如一幅精心勾勒的画作,描绘出生活的多彩斑斓。85 South 街头传奇,以其独特的视角,捕捉到了街头文化的魅力与张力。在这个充满了欢声笑语和梦想的世界里,人们的生活被无声地记录下来,成为一部流动的史诗,见证着时代的变迁和人性的坚韧。这部纪录片不仅仅是对街头文化的致敬,更是对城市底层生活的深刻探索。它将我们带入一个充满温情和力量的世界,让我们感受到生活中那些不被人注意却又触动心弦的瞬间。在这个喧嚣的城市中,每一个人都有着自己的故事,每一条街道都承载着无数的梦想。因此,当我们跟随着摄影师的视角,漫步在街头的繁华与沧桑之间,我们不禁被那些平凡而又伟大的人们所感动,被那些被岁月雕琢的街道所打动。85 South 街头传奇,不仅是一部记录片,更是一次心灵的洗礼,一次对生活的深刻反思。
Novelist Joseph Shearing specialized in using real cases which took place in Victorian England, altering them for fictional purposes. MOSS ROSE in 1947 was the first film to be made from his novels, then in 1948 two of his works were adapted for the screen, this film and THE MARK OF CAIN. The movie stars Todd as a recently widowed missionary returning to her home in England from Jamaica. During the voyage, she meets Milland, a charming though dangerous rascal who is wanted by police in connection with some unsavory dealings. Milland contracts malaria while onboard the ship and Todd nurses him back to health. In London, Todd settles into her home, taking in boarders to make ends meet. Milland arrives, moves in, and proclaims his love for her. Todd is thrilled, but it seems rather obvious that Milland is only toying with her. Milland finds some letters written to her by her friend, Fitzgerald, in which Fitzgerald reveals some of her sexual indiscretions. Since Fitzgerald is now married to the wealthy Huntley, Milland believes he can use the letters to blackmail Fitzgerald. Todd's love for Milland is so great that she goes along with the plan. Huntley, however, learns of the scheme and also uncovers details of Milland's shady past. Fearing for her lover's safety, Todd poisons Huntley, then remains silent when Fitzgerald is arrested for the murder. Milland has by now genuinely fallen in love with Todd and the two make plans to leave England. Before they can depart, one of Milland's former lovers shows up and Todd, in a jealous rage, kills Milland, then turns herself into the police.
This is an intriguing film, although a little on the talky side. The performances are excellent throughout, with Milland shining as the cad, the type of role in which he excelled. Though he spent most of his time making films in the US, he occasionally returned to his native England for a production and this was his first British film since FRENCH WITHOUT TEARS in 1939. Director Allen was also an Englishman who chose to work in the US, this being his first directorial effort in his homeland. This was the fourth and last time Milland and Allen would work together, their pairing having begun in 1944 with the wonderfully eerie THE UNINVITED.