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Four armed men hijack a New York City subway car and demand a ransom for the passengers. The city's police are faced with a conundrum: Even if it's paid, how could they get away?
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4 L" J! E0 R- F' F% }6 U0 ], l◎译 名 骑劫地下铁 - o2 H q. h1 H4 K! f, F
◎片 名 The Taking of Pelham One Two Three $ v3 m( y z4 l1 L0 P$ M6 E
◎年 代 1974
. C1 p0 p, ]- F9 l9 J& L% ?) O3 A/ V* \◎产 地 美国- B1 @- L7 f. h. Q
◎类 别 动作/犯罪/惊悚* _: w/ B' V9 s, G
◎语 言 英语/西班牙语
8 x: H: s6 ^; Y( v% z. k/ y' ~" w◎上映日期 1974-10-02/1974-11-14(西德)
/ d) {9 b7 j0 Q2 q6 N◎IMDb评分 7.6/10 from 33,836 users
y$ ?! J1 [0 p1 m$ x◎IMDb链接 https://www.imdb.com/title/tt0072251// u; |* ?5 c% @6 ^
◎豆瓣评分 7.6/10 from 1,186 users
5 |% t5 ]" ?. e3 c, h7 ~◎豆瓣链接 https://movie.douban.com/subject/1293385/: c8 U. D, Y: m% O0 c B- ?* \
◎文件格式 x264 + DTS
) K8 ]5 U6 Y# {. C# a: R4 a◎视频尺寸 1920 x 1080 \8 i2 S2 \- l2 x0 t
◎文件大小 1DVD 40.53 GiB
3 @* c1 ~. l6 R; ~: l◎片 长 1:44:34.458 (h:m:s.ms)
5 ?! s) Y0 U, ^8 a! H( e; g◎导 演 约瑟夫·萨金特 Joseph Sargent- M1 J9 C) z$ z$ v7 Y+ x
◎编 剧 约翰·戈迪 John Godey
, w; H; i4 o" z- Z6 j. {" i4 h 皮特·斯通 Peter Stone
5 w' u" F6 \8 |$ J( h' ]# Y) y: Y◎演 员 沃尔特·马修 Walter Matthau- z- H, e( Z: N' y
罗伯特·肖 Robert Shaw" h+ Y6 I9 ~* o) H! w3 d: z: Y
马丁·鲍尔萨姆 Martin Balsam' T$ o" n& q, }* b/ ~% Q4 A
埃克托尔·埃利松多 Hector Elizondo$ U+ W7 q. w- V/ D* Y
厄尔·欣德曼 Earl Hindman
" f. H. \: {% b2 r 詹姆斯·布罗德里克 James Broderick- F% H$ m" }0 _4 _" G" z4 {
迪克·奥尼尔 Dick O'Neill
' w6 U1 l5 v) i/ {5 y0 x( I4 E 李·华莱士 Lee Wallace
2 @7 ]- v* P T' s0 u4 L 汤姆·佩迪 Tom Pedi; T! q9 w- u4 B4 j
比阿特丽斯·温德 Beatrice Winde
, A; d6 V! Y3 Q/ a 杰瑞·斯蒂勒 Jerry Stiller
* A4 J2 Z* F# G1 d 内森·乔治 Nathan George3 L8 d" T8 H# x7 p, s3 y. X
鲁迪·邦德 Rudy Bond
1 p# m5 d, y2 E5 W- R$ T6 Q 肯尼思·麦克米伦 Kenneth McMillan
]- B/ ^! A% x, A* h' L' ^ 多莉丝·罗伯茨 Doris Roberts
! x' _& x3 E1 C# R: N U9 \ 尤利乌斯·哈里斯 Julius Harris
) n9 t, j+ E- a) v7 f 辛西娅·贝尔格雷夫 Cynthia Belgrave" p* Z0 U% D& p
卡罗尔·科尔 Carol Cole
: ~1 i6 {4 q8 o* H# _ 亚历克斯·科伦 Alex Colon$ v3 B" U U' D, s/ s
乔·菲尔兹 Joe Fields& ]: u8 q) R. u9 K
马里·戈尔曼 Mari Gorman& g) ^2 s B5 {
迈克尔·戈林 Michael Gorrin2 t1 r9 Y) W- j7 R* }4 B
露西·萨罗扬 Lucy Saroyan! i2 B* U$ z3 v
罗伯特·威尔 Robert Weil. i; d4 T3 o7 s( W* @/ w8 ?( @- z
克里斯托弗·莫尼 Christopher Murney
' o) h6 L1 A& [2 R2 A 蒂莫西·迈耶斯 Timothy Meyers
% U$ p2 }' C+ X7 d2 u. b 露丝·阿塔韦 Ruth Attaway% [0 ]2 b' q/ W n+ G. p
托马斯巴伯 Thomas Barbour
/ b) f. y( F9 _% w2 T+ O9 ` 尼尔·布鲁克斯·坎宁安 Neil Brooks Cunningham- p! i# C! L- g' z+ m
萨尔·维斯库索 Sal Viscuso
5 k: y. v, T: \8 X$ q3 t; D 伯特·哈里斯 Burtt Harris) a- L t u+ k: m9 S; @9 V, O) S
吉恩·格罗斯 Gene Gross7 N9 j7 [9 c8 f5 F( O. Z, t
约瑟夫·阿特尔斯 Joseph Attles
" W+ ?) X4 f" _* ~ 伊莎贝拉·霍普斯 Isabella Hoopes
2 Z Z: d7 z+ x0 a 比尔·考布斯 Bill Cobbs
4 ^6 {; m+ E% O+ b& s 乔·塞内卡 Joe Seneca
! w! d' F V0 Y9 o7 u' g. V 托尼·罗伯茨 Tony Roberts
7 ]" [' x7 |& W% q 亨泽尔 Hy Anzell/ M: ]2 V" [- |, R1 L6 h7 I
伊内斯·海伦德尔 Ines Hellendall# O* T0 \ f. _
让·保罗·海伦德尔 Jean-Paul Hellendall( C, }/ \% N9 S$ ^% k* T8 w, D
凯里·洛夫廷 Carey Loftin
4 q( _7 d& C; U% Q# j1 i9 c 查尔斯·西尔文 Charles Silvern) F2 L5 R/ }2 _6 i9 S l) Q
多尔夫·斯威特 Dolph Sweet
8 Y8 H$ F- q' A" Y7 Q8 M 弗兰克·文特根 Frank Ventgen
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◎标 签 犯罪 | 美国 | 1970s | 美国电影 | 1974 | 悬疑 | 剧情 | 经典; l$ _, [) ?' l4 d: R8 `8 j: w
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◎简 介 , q8 q6 G+ s* d' U
* M7 n9 P3 y, H* G. {) l! ?" x 以罗伯特·肖为首的四名歹徒洗劫纽约市的地下铁,劫持十八个乘客作人质,威胁市政府在一小时内交一百万美元赎金,否则开始杀害人质。沃尔特·马修饰演的警长一边代表市府与歹徒周旋,另一边又跟地铁公司的职员怒目向相,使危机随着时间过去而升高。不料在四个歹徒得手之后,警长竟凭巧计识破了其中一名劫匪的身份。: |( ^2 q$ M' r$ y
/ ~3 \6 f6 O( M' S$ e9 r A gang of thugs who have hijacked a subway train near New York's Pelham Station threaten to kill one hostage per minute. Forced to stall the assailants until a ransom is delivered or a rescue made, transit chief Lt. Garber must somehow ad-lib, con and outmaneuver one of the craftiest, cruelest villains ever.
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" o r' Y& u, Q9 ?3 H- [9 m' C- Disc Title: The.Taking.of.Pelham.One.Two.Three.1974.REMASTERED.1080p.BluRayCD.AVC.DTS-HD.MA.5.1-MiXER
0 I1 Y6 X0 I: F% k5 P0 A! O; d2 t( \ - Disc Size: 43,518,950,222 bytes; x M1 {: ?) o' ~
- Protection: AACS
& ]9 R+ W$ n. G- J - BDInfo: 0.7.5.9 (compatible layout created by DVDFab 12.0.9.4)) h2 C' H& ?' d4 |$ M
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- Name: 00000.MPLS
( K( v: z; z. a) H8 H, O, V - Length: 1:44:34.458 (h:m:s.ms)
% U8 D5 l6 ~* h3 g0 w* ^/ X - Size: 35,236,331,520 bytes
$ q/ ]% y. A! S r+ G9 | - Total Bitrate: 44.93 Mbps$ f% G( I! }4 g% e6 a
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- Video:
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- Codec Bitrate Description
9 w; g2 C5 p, G - ----- ------- ----------- 8 [5 X* D- [ \
- MPEG-4 AVC Video 37921 kbps 1080p / 24 fps / 16:9 / High Profile 4.19 a& x: f, a+ n9 G8 u; F
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- ----- -------- ------- -----------
6 Y1 m! g$ T" ]. G8 O - DTS-HD Master Audio English 2480 kbps 5.1 / 48 kHz / 2480 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)8 D' `8 B3 [7 p( v+ q& L
- DTS-HD Master Audio English 1616 kbps 2.0 / 48 kHz / 1616 kbps / 24-bit (DTS Core: 2.0 / 48 kHz / 1509 kbps / 24-bit)( E5 t; A9 G0 A; \7 Y1 i! o+ v
- Dolby Digital Audio English 192 kbps 2.0 / 48 kHz / 192 kbps
" I! |' @/ K. o+ m - Dolby Digital Audio English 192 kbps 2.0 / 48 kHz / 192 kbps
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- SUBTITLES:
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' G5 f9 f$ D; r7 y+ u - Presentation Graphics English 55.48 kbps
复制代码 The Taking of Pelham One Two Three Blu-ray, Video Quality ! ?" C3 v5 Q& G A# z5 w5 W' l, C
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& B4 l8 Z% X0 u3 h8 o" \/ V9 XEvaluating the Blu-ray presentation of Pelham One Two Three presents a challenge, because most of us haven't seen the film except in sub-par home video versions. (The region 1 DVD wasn't enhanced for 16:9.) Even those of us who saw the film in theaters can't rely on memories of a viewing over three decades ago.% D/ I9 ]3 ?) ~: S% I1 y$ @
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Viewers who are allergic to anything grainy on Blu-ray won't like this disc. Those who appreciate efforts by colorists and compressionists to preserve the vintage look of the era in which a film was made should be delighted. The inherent softness and grain structure of the image appear to be undisturbed throughout the film, and no apparent effort has been made either to reduce the grain or sharpen the image. This is a Seventies film, and it looks like one.# b9 j B' ?4 _( v, M: t
% J) V1 h, B' t8 s* ?" cWhere the transfer is more likely to generate controversy, even among those who don't object to grain, is its darkness. This transfer of Pelham One Two Three is considerably darker than previous versions, although never so much so that one cannot see what is going on. Black levels are sufficiently strong, and detail is sufficiently well maintained, that one can always make out what's happening, even in the long stretches in the subway tunnels with scant illumination. In the absence of an answer print or any input from an authoritative source such as the director or the cinematographer (the distinguished Owen Roizman, whose credits include The French Connection), it is impossible to say whether this darker version is more accurate than previous renditions. I can only note that scenes set in full daylight or brightly lit interiors appear to have adequate white levels and do not appear overly dark.
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The color palette is drab and muted, and a haze of brown grime seems to overlay everything. This is not unusual for films of the period set in New York and is generally an accurate reflection of the city's condition at the time. In addition to the reds and blues of police lights, the most vivid colors on display are those of Garber's yellow tie and loud plaid shirt. The Seventies were not a good era for fashion., ?4 t% M' ~+ s
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Minor gate weave is evident during both the opening and closing titles, but it was not a distraction during the film. The source materials appear to be in very good condition.
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6 R& M* [" r# q+ n' MThe Taking of Pelham One Two Three Blu-ray, Audio Quality o' d3 i& g R5 ^
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8 x* _" T+ _. ~The original mono soundtrack is presented in DTS lossless; however, the track has been mastered in 5.1 format, with identical channels, so that the viewer has a choice between playing it directly through the left and right front speakers or through a matrix decoder, which will collapse the sound to the center. I chose the latter option. The track holds up well for its age. Dialogue is clear, and all the sound effects are realistic, although obviously they lack the impact of contemporary soundtracks. Subway noises in the higher ranges (e.g., screeching brakes, clattering wheels) are reproduced best, whereas the lower end is more lacking, as one would expect. Overall, I found this track much preferable to the artificially hollow and boomy results one often gets when mixes of this vintage are subjected to a 5.1 "update"./ z& k- t5 d! _1 A6 R! } I7 x3 J. X
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