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锁定美军特使
中国大陆2011
《锁定美军特使》讲的是抗日战争期间新四军以及国民党军队肩负的一项特殊使命。为了先营救到掌握军事机密的飞虎队飞行员,郑大勇带领新四军,与王江义率领的国民党营救队展开竞赛,不过经历重重困难,两支本为对手的部队由猜忌走向信任,由相互较劲走向合作。《锁定美军特使》展现了一段非常的岁月,一番悲壮的战斗,炮火之中的友情,生死线上的爱情。 在接到营救飞虎队飞行员的命令之后,连长郑大勇带领新四军营救队奔赴最危险的地带,而国民党军官王江义也接受了相同的任务,但因为被营救的美国军人掌握军事机密,王江义一定要抢在新四军前面营救成功。开始这两支肩负特殊使命的部队互相猜疑,处处较劲。但面对共同的敌人日本侵略者,爱国之情让他们结成兄弟连,共赴生死。危难之际,郑大勇与王江义慷慨取义,完成了最终的任务。20出头的顾晓雨是新四军南下支队卫生员,美丽,善良,含蓄,生性随和,却外柔内刚。她临危受命,随郑大勇连行军,成为随军卫生员。在营救到罗伯特之后,她担负起照顾罗伯特的重要任务。面对罗伯特大胆的追求和表白,她内心感激,但她心里真正喜欢的人是郑大勇。特殊的环境,几乎让她无法拥有爱情。在最后时刻,她被推上了飞机,却眼睁睁看着郑大勇在炮火中倒下……

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镜子的另一面:纽波特民歌艺术节1963~1965
美国英语0
"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.

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