搜索「Otto Hoffman」- 魔盒影视

下载客户端

搜索「Otto Hoffman」，找到 3 部影片

更多精彩内容，请安装客户端 >下载APP查看更多 >

电影
三楼的陌生人
1940 / 美国 / 剧情 / 黑色电影
彼得·洛 / 约翰·麦圭尔 / Margaret Tallichet / 查尔斯·沃尔德伦 / 小伊莱莎·库克 / 查尔斯·霍尔顿 / 艾塞尔·格里菲斯 / 克利夫·克拉克 / Oscar O'Shea / Alec Craig / Otto Hoffman
故事讲述一名有良知的记者出庭作证后，怀疑自己冤枉了好人，之后在自家一直心神不安，接着撞见鬼鬼祟祟的邻居之后，又目睹另一起凶案的发生，自后携同当秘书的女友一起侦查。--甜蜜电影字幕组
电影
诺亚方舟1928
1928 / 美国 / 战争 / 剧情
多洛雷斯·卡斯特洛 / 乔治·奥布莱恩 / 诺阿·比瑞 / 露易丝·法增达 / 吉恩·威廉姆斯 / 保罗·麦卡利斯特 / 玛娜·洛伊 / 安德斯·兰道夫 / 阿尔芒·卡利兹 / William V. Mong / 马尔科姆·韦特 / 奈杰尔·德·布鲁里亚 / 诺贝·约翰逊 / Otto Hoffman
After a short split prologue showing riches as the root of evil in ancient and modern times, the film settles into 1914 France, where the Orient Express is about to be wrecked when a bridge washes out. Among those on board are Al and Travis, Americans who are traveling Europe spending Travis' money, and Marie, a German girl. The boys save Marie after the wreck and Travis falls in love with her. When World War I breaks out Al wants to enlist, but Travis can't, feeling loyal to Marie, a German. By 1917 Al has enlisted, and Travis follows him shortly after marrying Marie. Accused of being a German spy by a Russian agent, she is sentenced to die but is recognized by Travis, who is part of the firing squad. The town they are in is shelled and they are all trapped underground, during which a minister makes a lengthy parallel to ancient times when the King of Akkad persecuted his subjects and defied Jehovah, who finally sends a flood to wipe out mankind, except for Noah and his family, whom he has instructed to build an ark and fill it with two of every creature on earth.
电影
死神假期
1934 / 美国 / 爱情 / 奇幻
弗雷德里克·马奇 / 伊夫琳·维纳布尔 / 盖伊·斯坦丁 / 凯瑟琳·亚历山大 / 吉尔·帕特里克 / 凯瑟琳·霍华德 / 肯特·泰勒 / 亨利·崔佛斯 / G·P·亨特利 / 莫洛尼·奥尔森 / 赫克托·萨尔诺 / 菲利普斯·斯莫利 / Helen Westley / Anna De Linsky
Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play "La Morte in Vacanza" by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained. [Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration. To see what’s behind all the conversation about love, the suave but naïve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming. More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching. (Howard Schumann, talkingpix.co.uk) In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it. (Dennis Schwartz, homepages.sover.net) I've heard DRACULA was advertised with the tag line "The Weirdest Love Story ever told!" (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts. (Dave Sindelar, scifilm.org) See also the remake: Death Takes A Holiday (1971)