海角乐园(1960年的电影《海角乐园》，求链接或者在线。)
来源：星辰影院人气：526更新：2022-07-28 03:19:48
甲米有什么好玩的甲米位于泰国南部，是有如天堂的热带岛屿。千万年前遗留至今的“贝冢”，及山间岩穴里史前老祖
甲米
宗留下的绘图，都证明甲米是泰国最早有人生活的地方。甲米拥有30多个离岛，是安达曼海岸边最美丽的省份。洁白柔软的细纱，温暖清澈的海水，棕榈树随风摇曳，瀑布潺流不绝，野生动物随处穿梭，诗情画意，美不胜收。甲米拥有许多风光旖旎的岛屿和国家公园，其中最著名的当属皮皮岛，是著名电影《海滩》的拍摄地；高番本查国家公园和单卜哥云国家公园也因其丰富的植被和动物种群闻名遐尔。 石灰石山：是被视为甲米标志的KhaoKhanapNam。从船上看去，是一座绿意盎然的山，待上得岛去，才知道那是个巨大的岩洞，只是在外面很难看得出来，因为洞壁藤缠蔓绕，不知洞口隐在何处。导游说，电影《瑞士家庭鲁宾逊》，也译作《海角乐园》(SwissFamilyRobinson)就在这里取景，这个岩洞是鲁宾逊的家。在洞一侧的木板阶梯是专门为拍电影而搭的入口，而真正的洞口是隐在另一侧，从岩石的缝隙中深进去。缝隙仅容一人，人要四肢着地，葡匐前行约三四米后，就能看见一个半米见方的洞口，“钻”进去，就进入洞里了。洞里果然别有天地，是一座被掏空的山，又大又深空间，被倒悬的石钟乳和直立的石笋切割得错落有致，顶上还有个比半个篮球场小些的洞口，是洞里的光线来源，洞里明明暗暗，石影憧憧，果然颇有好莱坞“荒岛漂流”、“荒岛探险”之类的电影场景味道。
皮皮岛：位于泰国普吉岛东南约20公里处，是由两个主要岛屿组成的姐妹岛，1983年被定为泰国国家公园。这是一个深受阳光眷宠的地方，柔软洁白的沙滩，宁静碧蓝的海水，鬼斧神工的天然洞穴，未受污染的自然风貌，使得她从普吉岛周围的30余个离岛中脱颖而出，一举成为近年来炙手可热的度假胜地之一。
北京哪儿有买飞轮海写真集《海角乐园》的?
我有一本写真集
但不是你想要得
海角乐园的写真集
北京没有
不过
你可以在网上找他们在那的图片
我就找到好多呢
呵呵
老公
留
这是什么歌？
许绍洋的歌，《身边》。
里就有
1960年的电影《海角乐园》，求链接或者在线。
《瑞士罗宾逊一家》，根据同名小说改编。 1960年的电影《海角乐园》，一个瑞士家庭在移民海外时，他们所乘的那艘船不幸遭遇海难，一家人都流落到了,
新海角乐园《INTO THE WEST》影评
1
As the history of westward expansion no longer commands primetime territory in popular culture's imaginings of America, a second Western has come to cable. And unlike HBO's Deadwood, which plunges viewers into the day-to-day struggle for survival in a single town, TNT's Into the West aspires to a panorama of the entire 19th century, when both Americans and European immigrants exploited the vast land acquisitions that began with the Louisiana Purchase of 1804.
To humanize this ambition, creators Darryl Frank, Justin Falvey, and William Mastrosimone spread the saga over six two-hour films, each done by a separate director, and zoom in on two multigenerational families, those of Virginian wheelwright Jacob Wheeler (Matthew Settle), and Lakota leader Loved by the Buffalo (Simon Baker). Although the integration of a Native American perspective, complete with Lakota speakers and subtitles, follows the example of Kevin Costner's Dances with Wolves, Into the West takes a courageous step further by linking the two families through intermarriage in the 1820s. This acknowledgement of the prevalence of intermarriage creates a new perspective on the Old West.
At the same time, the focus on only two families leads the series into the curse of the mini-series: the need for plotting mired in farfetched coincidence to guarantee they play leading roles at every historical turn. The desire for coverage tips plotting towards the conventional markers of American historical self-image -- the individualistic trappers, mountain men, and family-based wagon trains that forged the way west -- so familiar from Hollywood movies and TV. In Episode Two, the crises are entirely predictable: the Wheelers' wagon train runs into a fatal cattle stampede, fatal river crossing, fatal cholera outbreak, and fatal runaway wagon. This episode follows the dramatic strategy of A.B. Guthrie's The Way West (and Andrew V. McLaglen's movie of the same name), by teasing out viewers' excessive sympathy for individual characters and then emphasizing the attrition the wagon trail exacted by clinically dispatching them with minimal fanfare or regret. The series sustains a tension between the aspiration to fill in traditional gaps and the pedestrian recollection of past fictions, leaving it more interesting as an intellectual exercise than as a drama.
That intellectual exercise has value, though perhaps not 12 hours worth, for it pushes into popular view three strands of the historic occupation of the west. First, it is honest about the role of women, both Caucasian and Native American. Several women join the two Wheeler brothers as they head for St. Louis and the California trail, as representatives of the thousands of single women, often working as servants, who swelled the wagon trains west. The series, not surprisingly for a piece appearing under the Spielberg/DreamWorks imprimatur, can't quite bring itself to abjure the traditional morality that transgressive women must be punished: one drowns, another dies in agony during an amputation, and the third, Naomi (Keri Russell), is captured by the Cheyenne. But two also marry, across class lines, on the trail west from St. Louis, and Naomi quickly accepts her new life with the Cheyenne. Thunderheart Woman (Tonantzin Carmelo), who eventually marries Jacob Wheeler, survives hostile capture, sexual slavery, and widowhood to raise three children in California.
Second, this marriage to Wheeler avoids the '50s-style pussyfooting of Dances with Wolves in which the Costner character falls in love with a Lakota woman, only to discover that she was in fact a captive American (thus avoiding any crossing of racial lines). This miniseries openly recounts the intertwining of Native Americans and whites over several generations.
While the events that link the family of Loved by the Buffalo and the Wheelers, at least in the first two episodes, are somewhat strained, they do emphasize the close commercial, social, and physical relationships between Native American residents and white migrants in the first half of the 19th century, some essential for the migrants' survival. Thunderheart Woman, sister of the Lakota protagonists, first marries a white trapper, then Jacob Wheeler, and, finally, when she thinks he has died, a third, Californian husband. Naomi not only accepts marriage to a Cheyenne warrior, but also falls in love and has children with him. How the series represents the fates of the children of these cross-racial and cross-cultural marriages is an intriguing question for the next few weeks.
Finally, the initial episodes also convey Native Americans' self-aware, distinctive cultures, as they were perplexed and divided about flood of migrants. But this attention doesn't tip into the ahistorical, '60s-inflected misreadings of warrior tribal cultures as a prototype of "peace and love, man," that has marred some of the reworkings of the Western genre over the last 30 years. The Cheyenne have a reason -- the extirpation of bearers of cholera -- for massacring the wagon train, but they still massacre. While they contemplate the incursions of trappers and soldiers, the Lakota also face conflict with other tribes: it is a rival tribe that massacres Thunderheart Woman's first husband and sells her into sexual slavery.
In the same way, although the migrants are more romanticized than the characters in Deadwood, for instance, the series still manages to show, as do Eastwood's Unforgiven and McMurtry's Lonesome Dove, that the occupation of the west did not represent the clash of two cultures. Instead, it marked the face-off between one group, the Native Americans, who were attempting to preserve a culture, and another group, the dispossessed, the displaced, and the dreamers of the eastern United States (and Europe) who were attempting to create a new society where they would be respected, rather than reviled or condemned. The west of Into the West is messier and less "politically correct" than many of its critics have been able to work out, as these critics don't seem able to step beyond the bare fact of equal screen time for Native American characters.
This messiness is one of the most appealing aspects of the series, even if it's the accidental byproduct of filmmaking courageous enough to attempt to tell a new story but neither visionary nor skillful enough to disrupt genre conventions. As with Deadwood, this messiness doesn't simply represent warts-and-all grittiness, a code of authenticity as easily manipulated to mythic ends as the heroic everyman of the '50s and '60s. Instead, both series recall the picaresque literature that emerged in Europe during the 16th and 17th centuries' wars of religion, which satirizes the conventions of epic heroism and offers no consolation beyond the burden of ongoing existence. That literature emerged in response to brutal dislocations at every level of society, and its reemergence in the guise of genre fiction on primetime cable suggests that popular culture is perhaps ready to represent the anomie of the later Bush years. It also suggests that, as the premiere domestic purveyors of America to Americans, the networks may truly be entering a permanent twilight.
2
This contemporary Irish Western starts in the slums of Dublin, where Papa Riley (Gabriel Byrne), once a leader of a nomadic tribe of travelers, has settled with his two young sons, Ossie (Ciarßn Fitzgerald) and Tito (Ruaidhrf Conroy). The death of his wife, Mary, in childbirth has broken Riley and turned him against the road. It's a glum life for the boys. Then screenwriter Jim Sheridan (My Left Foot) switches gears and sends the film into the realm of magic realism. Mary's father, Grandpa Ward (David Kelly), shows up with a magnificent white horse. The boys bond with the animal, and when the police take their gift away, Ossie and Tito kidnap the horse and ride off into the countryside. In searching for them, Riley reconnects with life and the travelers, including the sexy and resourceful Kathleen (Ellen Barkin).
With only a few detours into blarney, Sheridan and director Mike Newell (Enchanted April) steer a steady course to the heart. It's fun to watch Kathleen put a spark back into Riley's haunted eyes. Byrne and Barkin, married in real life, give their roles a piercing urgency. And cinematographer Tom Sigel catches the mournful beauty of an Irish winter. But it's the scenes of the boys on horseback, riding this moonbeam of a movie to a fairy-tale ending, that provide the essential ingredient: a sense of wonder.
3
Into The West was released thirteen years ago so it might seem odd to be writing a review of it at this time. But I thought there could be interest for a couple of reasons. One, the director was Mike Newell, who has just wrapped shooting of the newest Harry Potter feature Harry Potter and the Goblet of Fire, and two it's that rarest of creatures, a movie for the whole family.
Although the young stars of Into The West are younger than their counterparts in Goblet of Fire, the movie show that Newell, even in the early stages of his career, could elicit natural performances from child actors. Instead of the mugging for the camera tactics that are so prevalent in Hollywood movies featuring children - Home Alone springs to mind - the children in this film are believable within the context created for them by the script.
Into The West tells the story of a widowed Irish gypsy (better known as Tinkers, or Travellers) named Papa Reilly (Gabriel Byrne at his brooding darkest best) and his two young sons, Ossie (Ciaran Fitzgerald) and Tito (Ruaidhri Conroy). After his wife died giving birth to Ossie, Papa has taken the boys off the road and joined the world of the "settled" folk.
Life in the settled world is living in council flats, lying to the welfare people, and the children begging for food money when their parents have drunk away the checks. Papa is slowly drowning his sorrows in the bottom of a glass, falling away from his former glory of King of The Gypsies.
Into this mess enters the boys' grandfather. (David Kelly, who looks the same then as he does in the more recent Waking Ned Devine) Grandfather still lives on the road in a caravan pulled by a horse. In his travels he has acquired a beautiful and mysterious white horse that immediately befriends Ossie.
Living in a council flat and keeping a horse is not the most compatible of situations. Eventually the police are called to impound the horse. But as they attempt to pack the horse into the van to haul it away, it briefly breaks free and demonstrates an innate talent for jumping by leaping a parked police car.
You can see the dollar signs roll up into the eyes of the police inspector leading the impounding squad. All he need do is coerce Papa into signing the horse over to him so he can sell it. Brendan Gleason (who will be playing Mad-Eye Moody in Goblet of Fire is all bigotry and violence as the corrupt Inspector Bolger, so it comes as no surprise to see him force Papa to put his X on the deal agreeing to the transfer of ownership.
The boys are devastated, Ossie in particular, as the horse had miraculously cured him of his asthma. One day while browsing in a video store they see their precious horse on television being ridden in a showjumping contest.
When Papa is hauled into the police station to be shown the clip of his sons calling the horse off the course and riding off into the west towards freedom, his face comes alive for the first time in the movie. Of course the forces of law and order, and the industrialist who bought the horse, won't just let our boys run away with the prize horseflesh, and the chase is on to catch the outlaws.
Papa is forced to return to the people he turned his back on in a desperate attempt to find his sons before the police and others. Although there is reluctance to help him, he finds two allies in the form of Kathleen (Eileen Barkin) and Barreller (Colm Meany of Deep Space Nine fame), who are willing to aid in tracking the children down.
But it's more than just the trail of the children Papa ends up following; he's following a trail that will bring him back home to his people. Mysteriously the horse is taking the boys along one of the traditional routes taken by the Travellers, including a stop at the grave of their dead mother.
Grandfather had told the boys that the horse had come from Tir na nOg, a mythical Irish land of eternal joy to the west of Ireland that could only be reached through death or feats of glory. Ossie had named the horse for its mythical birthplace, and it seemed to live up to its magical origins by showing a unique ability to elude pursuit, and laying a trail through particular places for Papa to follow.
Grandfather has long accused Papa of abandoning the spirit of his late wife by ignoring the traditional funeral ritual of burning her caravan upon her death. Papa has fought long and hard to forget the pain of losing the woman he loved, but the horse seems intent on breaking down that wall.
Everything comes to a head on the west coast of Ireland. The boys and Tir na nOg , the police, the private army of the industrialist, and Papa, Kathleen, and Barreller all converge on the same narrow stretch of beach. Apparently panicked the horse plunges into the ocean waves carrying Ossie on her back.
While Papa is frantically searching for Ossie under the waves after he is swept from the horse's back, the camera cuts to a scene of the small boy floating under water; a woman's hand and arm appears, and pulls Ossie up to the surface to be found and revived on the beach by his father.
But Tir na nOg, the horse has disappeared. She has gone back to where she came from now that her job is done. The movie ends with the burning of the mother's caravan. The family is reunited with their heritage and can start over again.
The opportunity for this film to slip into mawkishness or sentimentality is avoided primarily through the work of the director in ensuring that not once does the movie stray from its gritty depiction of the life of travellers in Ireland. No romantic gypsies with kerchiefs and other elaborate costumes for this movie.
The encampment that Papa goes to recruit help from is made up of mobile homes that have seen better days, and a very few old-fashioned carriages. It is a movie about magic of a different sort than Harry Potter's, one based in the world of a people's lives and mythology not spells and potions.
It is truly a movie that people of all ages would enjoy. The performances are consistently believable and the story moves along at a good pace while never sacrificing content for speed. These are all factors that bode well for the quality of the upcoming Harry Potter and The Goblet Of Fire, in which there will be a need to cram lots of information and story into the constraints of a 21/2 hour movie.
Mike Newell has proven himself in the interim as being capable of telling a story and eliciting excellent performances from his actors in such movies as Four Weddings and a Funeral, Donnie Brasco, and Pushing Tin. Fans of the Harry Potter series can look forward to the second well-directed movie in the series following hard on the heels of a great Prisoner of Azakaban
Into The West is worth seeing based on its own merits. For those of you who would like to preview the work of the man who has been entrusted with part four of your beloved Harry, this will make a good introduction. Either way, it's well worth watching, and even more remarkably holds up to repeated viewings.
4
When Into The West aired this past summer I did not get a chance to watch it so when Nick offered it up for review I immediately ask for it. Before doing a review the first thing I do is search the CHUD forum for discussions and was surprised that this series only had a few posts in the TV folder. It appears the consensus was the very thing that I found hindered this mini-series (more on that later.) Unlike those who watched it on TV, I had the luxury of seeing each episode back to back and to be honest, I cannot imagine getting all that anxious waiting an entire week to see another episode. It seems, from the forum discussion that is another thing that hurt the success of this fifty million-dollar series.
Into The West is the story of the old west as told through the lives of two families, one a Lakota Indian and the other a descendant of European settlers. The series starts out in 1827 where we meet Jacob Wheeler in Virginia who has dreams of traveling and seeing the west but for now is stuck with his family who runs a wheel making shop. One day a stranger comes in and tells Jacob that he is heading out to join Jedediah Smith, a legendary mountain man, who is planning an expedition to California. This is all Jacob needs to hear and off he goes, with another brother, to join Jedediah.
In the other story we meet a young Lakota holy man, Loved By The Buffalo who begins to have visions of the Buffalo�s extinction. This is significant because the Indians believed that as long as the Buffalo ran this meant the Indians would prosper. Loved By The Buffalo also saw the coming of the white man and the prominence of a wooden wheel which troubles him even more. His sister, Thunder Heart, who was married off to a white trader is abducted after her husband and child were murdered by Indians. She is to be sold and this is where Jacob comes into her and the Indians lives. Jacob wins Thunder Heart after a duel and initially had plans of setting her free but winds up falling in love and marries her. This is how the two families of Jacob and Loved by the Buffalo come together and it is through their family/people that Into The West is told for the remainder of the series.
The first two episodes, Wheel to the Stars and Manifest Destiny, are superb in laying the foundation of what direction the series seems to be going and in these two episodes some characters are fleshed out enough to where my interest was peaked in following their story to the end. The two characters I am referring to are Jacob Wheeler (Matthew Settle/John Terry) and Loved by The Buffalo (Simon Baker/George Leach.) By the time I got to the third episode these two characters were placed on the backburner and this is where the series is difficult at times to follow. There are several new characters introduced while the ones I was more interested in following were immediately placed in the background.
I believe where the series falls flat is it gets bogged down with too much information that is compacted into 12 hours. This series tries to cover 63 years of history and during the time between 1827-1890�there was just so much going on in the U.S. that it is impossible to cover all of this in a short time frame and keep things flowing at a smooth pace. Instead what they do is give us bits and pieces of pertinent events yet allow too many characters to have center stage. Now the series is not a complete failure because everyone involved should be proud of the fact that they did do something rarely, if ever, done before on TV. They treated the Indians with respect and took the time to introduce us to their culture, which by the way had me going online and seeking more information about several key events. Another thing I enjoyed was they included several characters who actually existed however their stories are mainly used to further other characters and events.
惊讶！迪士尼儿童频道下架小飞象和彼得潘，到底发生了什么事情？
主要是说小飞象和彼得潘里面有些内容涉及了种族的刻板印象，比如说把小飞象里面的乌鸦刻画成了黑人口音，彼得潘里面把一个土著人称作是“红皮人”。
无锡哪里有好玩的游乐场啊？
现在无锡没有像你说的那种游乐场了，遗憾啊