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.”
洪金宝,刘德华,朱雨辰,李勤勤,冯嘉怡,陈沛妍,胡军,冯绍峰,彭于晏,宋佳,徐克,麦嘉,石天,元彪,元秋,元华,吴明才,元宝
斯科特·阿金斯,雷·史蒂文森,莎拉·费希恩,派瑞·本森,博·福勒,Faisal Mohammed,George Fouracres,Andreas Nguyen,Steffi Thake,Sarah Chang,Peter Lee Thomas
理查德·杰克尔,Keith Cooke,Sherrie Rose,唐·司徒奥德,杰瑞·特林伯,Vincent Lyn,Billy Blanks
马芯妤,冯起龙,杨奇雨,申昀中,常海波,桥曜娜
李劲峰,苏濛濛,骆达华
拉什米卡·曼丹娜,施坦·马洛萨,库玛·米什拉,Mir Sarwar
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