47
8.0

远东特遣队之狭路相逢

导演:
杨军,赵继烈
主演:
张甲田,杜振清
别名:
未知
8.0
47人评分
汉语普通话
语言
2005-02-04
上映时间
91分钟
片长
简介:

特遣队组建以来的第一次胜利,鼓舞了特遣队员的战斗士气,上级交给特遣队的任务越来越艰巨。这一次,还没休整完的特遣队又接到上级的一个任务:潜回敌占区,侦察设立在孙家镇的日军秘密机场。然而,出乎张飞虎意料之外的是,特遣队潜回敌战区后,不但在接头的地点没有和联络员接上头,反而被敌人包围,幸亏女子游击队及时赶到,才没有造成重大的损失。一个更大的秘密让张飞虎和他的队员没有想到的是,这支救自己于重围的女子游击队,实际上是以日本特务大野芳子为首的日本女子特工队化装的。大野芳子截获地下联络员的联络内容后,故意设下圈套,专等特遣队的到来。就在张飞虎带领特遣队一步步走进大野芳子布下的圈套时,女子游击队队长洪雪梅带着真正的女子游击队赶到,和特遣队会合后,一举粉碎了大野芳子的阴谋。大野芳子的阴谋是粉碎了,但是遗憾的是,王天晓携带的电台在激战中被敌人打坏,使特遣队暂时和上级失去了联系。此时,大野芳子一计不成又生一计。吃了败仗的大野芳子带着日本女子特工队乔装成女子游击队,摸进孙家镇,杀死了给日军机场送酒的东香烧锅的伙计和皮货店的老板。一时间,女子游击队在孙家镇大失人心、处处受阻。为了挽回特遣队员在孙家镇的影响,张飞虎决定带领队员在东香烧锅店住下来,一方面挽回革命队伍在群众心目中的形象,另一方面通过东香烧锅老板给日军机场送酒的机会,侦察敌军秘密机场的情况。结果,化装成东香烧锅老板的杜刚在机场被大野芳子识破,让东香烧锅面临被大野芳子包围的危险。千钧一发之际,麻五的及时报信让特遣队有了应敌的准备。在女子游击队的帮助下,特遣队又一次成功击退了大野芳子的进攻。战斗结束后,一个自称来投降的日本女子特工队队员惠子向张飞虎提供了大野芳子的行踪。经过缜密的分析,张飞虎、洪雪梅分析惠子的来意,将计就计,用从日军守备区盗出的大批炸药,炸毁了日军设在孙家镇的秘密机场,全歼了大野芳子的女子特工队。

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简介:A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art.  Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.
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