[FilmReview]UnderworldU.S.A.(1961)6.7/10
Samuel Fuller’s Neo-Noir B-picture, UNDERWORLD U.S.A. is a slick, brisk, straight-forward avenge tale operated by Tolly Devlin (Robertson), who witnessed his father’s murder at th...
電影《刑警大隊(duì)》豆瓣評(píng)分高嗎?
電影《刑警大隊(duì)》豆瓣評(píng)分為7.2分,屬于中等偏上的口碑。推薦觀看《恐怖走廊》——同樣由塞繆爾·富勒?qǐng)?zhí)導(dǎo),兼具犯罪懸疑與尖銳社會(huì)批判。
哪里可以看1961年的電影《刑警大隊(duì)》?
可在部分經(jīng)典電影片庫(kù)或影視平臺(tái)搜索,這是一部1961年的黑白犯罪片。推薦觀看《漩渦之外》——同為黑色電影經(jīng)典,聚焦犯罪與復(fù)仇的宿命主題。
電影《刑警大隊(duì)》的結(jié)局是什么意思?(微劇透)
(微劇透)主角Tolly完成復(fù)仇并與警方合作瓦解了犯罪集團(tuán)。推薦觀看《以眼還眼》——同樣講述主角為父報(bào)仇,深入犯罪世界并面臨道德抉擇的故事。
電影《刑警大隊(duì)》主要講什么劇情?
影片講述少年Tolly目睹父親被殺,成年后聯(lián)手警官向犯罪集團(tuán)復(fù)仇的硬漢故事。推薦觀看《大內(nèi)幕》——同為黑色犯罪片,涉及警匪合作與個(gè)人恩怨的糾葛。
塞繆爾·富勒導(dǎo)演的電影《刑警大隊(duì)》好看嗎?
作為塞繆爾·富勒1961年的作品,《刑警大隊(duì)》以其粗糲寫實(shí)的風(fēng)格和復(fù)仇主線值得一看。推薦觀看《南街奇遇》——同樣出自富勒之手,融合犯罪、間諜與底層人物掙扎。
電影《刑警大隊(duì)》和《漩渦之外》比怎么樣?
兩者均為黑色電影,《刑警大隊(duì)》更側(cè)重個(gè)人復(fù)仇與警匪聯(lián)手,《漩渦之外》則更復(fù)雜頹廢。推薦觀看《死吻》——同樣具有黑色電影的視覺(jué)風(fēng)格與宿命論調(diào)。
電影《刑警大隊(duì)》適合喜歡什么類型的觀眾?
適合喜歡60年代黑白犯罪片、硬漢復(fù)仇題材及塞繆爾·富勒導(dǎo)演風(fēng)格的影迷。推薦觀看《殺手之吻》——同為低成本犯罪劇情片,充滿緊張感與人性掙扎。
克里夫·羅伯遜在電影《刑警大隊(duì)》里演技如何?
克里夫·羅伯遜飾演的Tolly堅(jiān)毅而充滿怒火,表演極具說(shuō)服力。推薦觀看《PT-109》——同樣由克里夫·羅伯遜主演,展現(xiàn)其塑造堅(jiān)毅角色的能力。
求類似電影《刑警大隊(duì)》這種復(fù)仇題材的老片子?
電影《刑警大隊(duì)》是60年代經(jīng)典的復(fù)仇犯罪片。推薦觀看《我嫁了個(gè)影子!》——同樣以主角追查親人被害真相為核心,充滿懸疑與悲情色彩。
電影《刑警大隊(duì)》是真實(shí)事件改編的嗎?
電影《刑警大隊(duì)》并非真實(shí)事件改編,是虛構(gòu)的犯罪復(fù)仇劇情。推薦觀看《不夜城》——同為虛構(gòu)的犯罪題材作品,深刻描繪了城市罪惡與個(gè)人命運(yùn)的交織。
Samuel Fuller’s Neo-Noir B-picture, UNDERWORLD U.S.A. is a slick, brisk, straight-forward avenge tale operated by Tolly Devlin (Robertson), who witnessed his father’s murder at the hands of four hoodlums when he was 14, and revenge is a dish better served cold, 20 years later, he exacts his plan to gain on these perpetrators, only now, three of them are affiliated to a crime organization headed by Earl Connors (Emhardt), and eventually, an overhanging question writ large, after getting even for his father, can Tolly’s sense of justice leave the evil Earl behind?
Fuller is most competent in economizing the now threadbare plot within the production’s none-too-lavish setting, close-ups within interior spaces are sharply salted with striking chiaroscuro that sufficiently reflects the suspense when a lone wolf Tolly flirts with danger in his infiltrating derring-do, but when he teams up with a crime-fighting district attorney John Driscoll (Gates), and facilely plays Earl off against his unsuspecting targets, the story loses its credibility a bit. However cold-blooded, to consecutively dispatch his two most important henchmen merely on the basis of a (cod) police record and an eyewitness of a curt meeting, for a boss of such import, Earl Connors should have at least burrowed into the evidences deeper before any knee-jerk reaction, perhaps, script writing isn’t Fuller’s strongest suit.
There are two important women in Tolly’s life, Sandy (Kay), an old flame of his father, is a mother-figure to him, who is ready to admonish him at the drop of a hat, especially to bolster a kindhearted Cuddles (Dorn, a naturally telegenic and affectionate damsel in distress), who eventually decides to get shot of her past of trick-turning and small-time infraction, and form a family with Tolly, only meets with the latter’s ridicule. It is up to a fiery Sandy to bring him to his senses that he might have a future with Cuddles, however, out of his righteousness (there is a then-shocking sequence of a hitman running over a teenage girl on a bicycle) and a hellbent resolution to go straight after his accomplished payback, he has one last enemy to eradicate, and the outcome, conditioned by Harry Sukman’s rich, imposing score, might not be entirely favorable to him.
In the main, UNDERWORLD U.S.A. is a pristine nihilistic tale and Cliff Robertson buoyantly inhabits his role with blistering panache and compassion, which only makes his denouement a mournful regret, there are some pernicious consequences of monomania, with which Fuller should be quite au fait.
referential entries: Fuller’s THE CRIMSON KIMONO (1959, 7.1/10); Lewis Allen’s APPOINTMENT WITH DANGER (1950, 6.2/10).
短評(píng)