片名:《死神假期》

類型:愛(ài)情片

上映時(shí)間:1934

上映地區(qū):美國(guó)

導(dǎo)演:米切爾·萊森

主演:弗雷德里克·馬奇,伊夫琳·維納布爾,蓋伊·斯坦丁,凱瑟琳·亞歷山大,吉爾·帕特里克,凱瑟琳·霍華德,肯特·泰勒,亨利·崔佛斯,G·P·亨特利,莫洛尼·奧爾森,赫克托·薩爾諾,菲利普斯·斯莫利,Helen Westley,Anna De Linsky,Otto Hoffman,Frank Yaconelli

集數(shù): 更新至0集

語(yǔ)言:英語(yǔ)

【同輝影院】分享愛(ài)情片死神假期全集在線免費(fèi)觀看高清720P播放地址，死神假期講述了一個(gè)普通而不平凡的故事，由死神假期的演員弗雷德里克·馬奇,伊夫琳·維納布爾,蓋伊·斯坦丁,凱瑟琳·亞歷山大,吉爾·帕特里克,凱瑟琳·霍華德,肯特·泰勒,亨利·崔佛斯,G·P·亨特利,莫洛尼·奧爾森,赫克托·薩爾諾,菲利普斯·斯莫利,Helen Westley,Anna De Linsky,Otto Hoffman,Frank Yaconelli實(shí)力演繹，不管是微表情還是表演動(dòng)作上，把角色都塑造得非常成功，每個(gè)角色都有自己鮮明的個(gè)性，讓觀眾們能夠更好地融入到劇情之中。死神假期是1934年上映，非常好看的電影。

《死神假期》觀后點(diǎn)評(píng)：電影死神假期真是太好看了！死神假期劇情緊湊扣人心弦，每一個(gè)轉(zhuǎn)折都讓人捧腹大笑，同時(shí)又讓人熱淚盈眶；死神假期的音樂(lè)選材旋律優(yōu)美，不僅完美地融入到劇情當(dāng)中，還增加了愛(ài)情片死神假期的劇情氛圍，絕對(duì)值得一看。

《死神假期》抖音網(wǎng)友點(diǎn)評(píng)：死神假期的臺(tái)詞設(shè)計(jì)非常精彩，讓觀眾印象深刻；死神假期的演員弗雷德里克·馬奇,伊夫琳·維納布爾,蓋伊·斯坦丁,凱瑟琳·亞歷山大,吉爾·帕特里克,凱瑟琳·霍華德,肯特·泰勒,亨利·崔佛斯,G·P·亨特利,莫洛尼·奧爾森,赫克托·薩爾諾,菲利普斯·斯莫利,Helen Westley,Anna De Linsky,Otto Hoffman,Frank Yaconelli個(gè)個(gè)演技精湛，從對(duì)劇情的精準(zhǔn)把握到表情和動(dòng)作的發(fā)揮上，都契合了死神假期的故事主題，既滿足了觀眾們對(duì)于劇情的期待，又給人留下了思考的空間。是1934年值得一看的電影。

死神假期講述了：Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson　　If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play La Morte in Vacanza by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained.　　[Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration.　　To see what’s behind all the conversation about love, the suave but na?ve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming.　　More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching.　　(Howard Schumann, talkingpix.co.uk)　　In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it.　　(Dennis Schwartz, homepages.sover.net)　　I've heard DRACULA was advertised with the tag line The Weirdest Love Story ever told! (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts.　　(Dave Sindelar, scifilm.org)　　See also the remake Death Takes A Holiday (1971)