小丽丝在阳光下开心地追逐着蝴蝶，笑声如清泉般悦耳，心中充满希望与美好。网王请淡定的叫我路人

　　Jean Grémillon’s first talkie, the 1930 LA PETITE LISE, is anything but talky. While opening 　　and closing with soulful afro-Latin strains, something just above silence reigns throughout 　　the film. Grémillon is already orchestrating the auditory menace of nuanced sound sculpting 　　that would later pervade REMORQUES (1941), setting forth evolving rhythmic figures at an 　　atmospheric wh... (展开全部)