拉乌尔·沃尔什 — 演员 (3)
神女生涯恨事多 (1928) [电影] 豆瓣 IMDb 维基数据 TMDB
Sadie Thompson
导演: 拉乌尔·沃尔什 演员: 葛洛丽亚·斯旺森 / 莱昂纳尔·巴里摩尔
其它标题: Sadie Thompson / 军中红粉
A young, beautiful prostitute named Sadie Thompson arrives on the South Pacific island of Pago Pago looking for honest work and falls for Timothy O'Hara, an American sailor who is unfazed by her unsavory past. However, Mr. Davidson, a missionary who arrived on the island at the same time, aims to "save" Sadie from her sinful life and petitions to have her separated from her beau and deported back to San Francisco.
拉乌尔·沃尔什的真实冒险 (2014) [电影] 豆瓣
The True Adventures of Raoul Walsh
导演: Marilyn Ann Moss 演员: 彼得·博格丹诺维奇 / Johnny Crear
其它标题: The True Adventures of Raoul Walsh
This is the first feature-length documentary on legendary director Raoul Walsh. In this 'memoir,' Walsh 'recounts' his career from the silent film era to the tumultuous 1960s. The documentary makes stunning use of rare, personal and production photos and footage, revealing Walsh's extraordinary, adventurous life on and off the set. From his apprenticeship with D.W. Griffith to his discovery of John Wayne and Rock Hudson, from the innovative 'The Thief of Bagdad' (1924) to the widescreen 'The Big Trail' (1930), from his classic work with Cagney, Bogart and Flynn to his mastery of every genre (musicals, comedies, Westerns, gangster, war), Walsh made Hollywood history. His life is nothing less than the story of Hollywood itself. Here's a full-bodied account of one of Hollywood's greatest legends.
表现一个人骑在马上的方式不只有三十六种 (2020) [电影] TMDB 豆瓣
No existen treinta y seis maneras de mostrar cómo un hombre se sube a un caballo
导演: Nicolás Zukerfeld 演员: 艾达·卢皮诺 / 拉乌尔·沃尔什
其它标题: 말을 타는 모습을 보여주는 36가지 방법은 없다 / No existen treinta y seis maneras de mostrar cómo un hombre se sube a un caballo
"Nicolás Zukerfeld’s third feature is a wry, surprising work of filmmaking-as-criticism that begins as a kind of supercut of moments from the work of pantheon Hollywood auteur Raoul Walsh. This rhythmically entrancing parade of images traces a mysterious and amusing arc across the director’s vast oeuvre—but at the halfway mark, the film reinvents itself as an idiosyncratic, essayistic investigation into memory, cinema, and their shared mutability." - NYFF