夜行客
- 主演：吉恩·哈克曼 珍妮弗·沃伦 爱德华·宾斯 哈里斯·于林 肯尼思·马尔斯 Janet Ward 詹姆斯·伍兹 安东尼·科斯特洛 约翰·克劳福德 梅兰尼·格里菲斯
- 导演：阿瑟·佩恩
- 类型：动作片
简介：Harry Moseby (Gene Hackman), a worn-out private detective, is hired to look for a 16-year-old girl who has run away from the luxury home of her mother, formerly a small-time actress in Los Angeles. The more the weary cynic tries to get under the surface of the seemingly simple case, the harder it is for him to find his bearings among the lies and deceptions that surround him. Eight years after the key New Hollywood film Bonnie and Clyde, Arthur Penn and Gene Hackman reunited to collaborate on what was to become one of the most undervalued films of the decade. Like Polanski in Chinatown or Altman in The Long Goodbye, in his revisionist film noir, Penn also allows the 1940s classic genre to pervade the complex reality of the 1970s. The feelings of bitterness and emptiness in the modern Chandleresque protagonist originate not only in the “public” sphere of the strange, increasingly convoluted case, but in his private life as well (boyhood trauma, a broken marriage). As Moseby remarks of a sporting event, “nobody’s winning … one side is just losing slower than the other.”
《夜行客》详细介绍
影片拼音/别名：yexingke
视频集数：未知
上映时间：1975
视频更新时间：2025-05-28 07:30:31
国家/地区：美国
影片语言：国语
影片导演：阿瑟·佩恩
影片演员：吉恩·哈克曼 珍妮弗·沃伦 爱德华·宾斯 哈里斯·于林 肯尼思·马尔斯 Janet Ward 詹姆斯·伍兹 安东尼·科斯特洛 约翰·克劳福德 梅兰尼·格里菲斯
视频总人气：554
剧情介绍：阿瑟·佩恩 导演执导的《夜行客》，该影片在1975年美国发行，上映至今获得了较好的口碑， 每集分钟由吉恩·哈克曼 珍妮弗·沃伦 爱德华·宾斯 哈里斯·于林 肯尼思·马尔斯 Janet Ward 詹姆斯·伍兹 安东尼·科斯特洛 约翰·克劳福德 梅兰尼·格里菲斯 等主演的一部不错的英语的电视剧。
Harry Moseby (Gene Hackman), a worn-out private detective, is hired to look for a 16-year-old girl who has run away from the luxury home of her mother, formerly a small-time actress in Los Angeles. The more the weary cynic tries to get under the surface of the seemingly simple case, the harder it is for him to find his bearings among the lies and deceptions that surround him. Eight years after the key New Hollywood film Bonnie and Clyde, Arthur Penn and Gene Hackman reunited to collaborate on what was to become one of the most undervalued films of the decade. Like Polanski in Chinatown or Altman in The Long Goodbye, in his revisionist film noir, Penn also allows the 1940s classic genre to pervade the complex reality of the 1970s. The feelings of bitterness and emptiness in the modern Chandleresque protagonist originate not only in the “public” sphere of the strange, increasingly convoluted case, but in his private life as well (boyhood trauma, a broken marriage). As Moseby remarks of a sporting event, “nobody’s winning … one side is just losing slower than the other.”
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