《夜行客》名称：夜行客 | 别名：《夜行客电影在线完整版》《夜行客在线全集》《夜行客免费观看全集高清》《夜行客电影免费观看》 | 状态：HD 在线高清版
《夜行客》演员：吉恩·哈克曼,珍妮弗·沃伦,爱德华·宾斯,哈里斯·于林,肯尼思·马尔斯,Janet Ward,詹姆斯·伍兹,安东尼·科斯特洛,约翰·克劳福德,梅兰尼·格里菲斯
《夜行客》导演：阿瑟·佩恩 | 上映时间：1975 | 国家/地区：美国
《夜行客》由星辰影院,星辰影院,策驰影院,五姑娘影院,网盘完整版资源,全集未删减版电影,迅雷下载,同一时间播出.
《夜行客》类型：动作片 | 语言/字幕：英语
《夜行客》更新时间：2025-07-06 05:15
《夜行客》剧情简介：由阿瑟·佩恩 执导的《夜行客》电影，由演员吉恩·哈克曼,珍妮弗·沃伦,爱德华·宾斯,哈里斯·于林,肯尼思·马尔斯,Janet Ward,詹姆斯·伍兹,安东尼·科斯特洛,约翰·克劳福德,梅兰尼·格里菲斯等主演倾情出演火爆第一时间上映，自1975上映至今获得了相对较好的口碑，是一部非常棒的(英语)动作片。
《夜行客》电影全集完整版介绍讲述了：
Harry Moseby (Gene Hackman), a worn-out private detective, is hired to look for a 16-year-old girl who has run away from the luxury home of her mother, formerly a small-time actress in Los Angeles. The more the weary cynic tries to get under the surface of the seemingly simple case, the harder it is for him to find his bearings among the lies and deceptions that surround him. Eight years after the key New Hollywood film Bonnie and Clyde, Arthur Penn and Gene Hackman reunited to collaborate on what was to become one of the most undervalued films of the decade. Like Polanski in Chinatown or Altman in The Long Goodbye, in his revisionist film noir, Penn also allows the 1940s classic genre to pervade the complex reality of the 1970s. The feelings of bitterness and emptiness in the modern Chandleresque protagonist originate not only in the “public” sphere of the strange, increasingly convoluted case, but in his private life as well (boyhood trauma, a broken marriage). As Moseby remarks of a sporting event, “nobody’s winning … one side is just losing slower than the other.”
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Harry Moseby (Gene Hackman), a worn-out private detective, is hired to look for a 16-year-old girl who has run away from the luxury home of her mother, formerly a small-time actress in Los Angeles. The more the weary cynic tries to get under the surface of the seemingly simple case, the harder it is for him to find his bearings among the lies and deceptions that surround him. Eight years after the key New Hollywood film Bonnie and Clyde, Arthur Penn and Gene Hackman reunited to collaborate on what was to become one of the most undervalued films of the decade. Like Polanski in Chinatown or Altman in The Long Goodbye, in his revisionist film noir, Penn also allows the 1940s classic genre to pervade the complex reality of the 1970s. The feelings of bitterness and emptiness in the modern Chandleresque protagonist originate not only in the “public” sphere of the strange, increasingly convoluted case, but in his private life as well (boyhood trauma, a broken marriage). As Moseby remarks of a sporting event, “nobody’s winning … one side is just losing slower than the other.”
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