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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夜行客 HD

評(píng)分:
3.0 還行

分類:動(dòng)作片 美國 1975

導(dǎo)演:阿瑟·佩恩  ?

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《VIP電影》名稱:夜行客 | 別名:《夜行客完整版》《夜行客全集》《夜行客免費(fèi)觀看全集高清》《夜行客免費(fèi)觀看》 | 狀態(tài):HD 在線高清版

《藍(lán)光動(dòng)作片》名稱:夜行客 | 別名:《夜行客完整版》《夜行客全集》《夜行客免費(fèi)觀看全集高清》《夜行客免費(fèi)觀看》 | 狀態(tài):HD 在線高清版

《夜行客》類型:動(dòng)作片 | 語言/字幕:英語

《夜行客》出演演員:吉恩·哈克曼  珍妮弗·沃倫  愛德華·賓斯  哈里斯·于林  肯尼思·馬爾斯  Janet Ward  詹姆斯·伍茲  安東尼·科斯特洛  約翰·克勞福德  梅蘭尼·格里菲斯  

《夜行客》拍攝導(dǎo)演:阿瑟·佩恩   | 上映時(shí)間:1975 | 國家/地區(qū):美國

《夜行客》全集完整版劇情內(nèi)容:

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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