被消失的凶案
3.0 |2023年10月10日 |HD国语
简介:

  跨國販毒調查科警長駱英財(張兆輝飾)被捲入受賄事件,被上司馬文超(任達華飾)調至地方警署,由重案組督察張嘉茵(邵美琪飾)手上接手調查一宗屍體發現案件。死者胡英勇(何華超飾)屍體被維修工人在舊樓重建工程中發現,死去已經八年。駱英財鎖定嫌疑犯為爛面超(洪天明飾),及死者妻子言鳳萍(陳靜飾),二人犯案動機通姦殺人。案件被律政署高級檢控官山度士(Joe Junior飾)質疑。死者生前無惡不作,涉及強姦、迷姦、販毒及勒索,更觸及駱英財與黑幫大佬肥威(林雪飾)的一些不可告人的勾當。在山度士質問下,駱英財由查案者而變為被調查者。到最後許多令人奇怪的情節不斷從駱英財的口供裡頭展現。究竟誰才是真正的殺人兇手?駱英財又是否誣陷好人?又到了最後為何此件案件無緣無故成為一件懸案?究竟是誰人將這一件凶案消失?

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  Salomé (1923), a silent film directed by Charles Bryant and starring Alla Nazimova, is a film adaptation of the Oscar Wilde play of the same name. The play itself is a loose retelling of the biblical story of King Herod and his execution of John the Baptist (here, as in Wilde's play, called Jokaanan) at the request of his stepdaughter, Salomé, whom he lusts after.
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  Despite the film being only a little over an hour in length and having no real action to speak of, it cost over $350,000 to make. All the sets were constructed indoors to be able to have complete control over the lighting. The film was shot completely in black and white, matching the illustrations done by Aubrey Beardsley in the printed edition of Wilde's play. The costumes, designed by Natacha Rambova, used material only from Maison Lewis of Paris, such as the real silver lamé loincloths worn by the guards.
  No major studio would be associated with the film, and it was years after its completion before it was released, by a minor independent distributor. It was a complete failure at the time and marked the end of Nazimova's producing career.
  A longstanding rumor, which seems to have started while the film was still in production, suggests that its cast is comprised entirely of gay and bisexual actors in an homage to Oscar Wilde, as per star and producer Nazimova's demand. It is, of course, impossible to say, but one of the extras in Salomé reported that a number of the cast members—both featured and extras—were indeed gay, but not an unusual percentage of them, and certainly not all of them. What can be said is that Nazimova herself was a lesbian, the two guard characters (who, next to Salomé, have the most screen time) are at least played very stereotypically gay, and several of the female courtiers are men in drag.
  Salomé was screened in 1989 at the New York International Festival of Lesbian and Gay films and in 1990 at the New York Gay Experimental Film Festival.
  In 2000, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry.

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