乘客丟失財物 司機拾金不昧
哈弗猛龍燃油版上市 售價15.69-16.69萬元
無畏金蘭冒新芽！年輕球員挑大梁，中國女籃17日起迎兩場熱身賽
蚌埠市：個體工商戶移出經營異常名錄“免申即修”
印向巴發射導彈、巴擊落印戰機：一夜之間印巴兩國大打出手 國際專題
《海陸空大逃亡》由拉蒙特 · 約翰遜執導，愛爾蘭和英國聯合制作。故事背景是位于蘇格蘭的一個德軍戰俘營。機智的愛爾蘭間諜杰克 · 康納被派進這個戰俘營去臥底。因為司令部懷疑戰俘營中的德軍俘虜故意制造暴動來轉移視線，以掩飾他們準備發動大逃亡的陰謀。進入戰俘營后不久，杰克便從一個男同囚犯的喃喃自語中找到了一些線索，但很快這個囚犯就遭勒斃。隨著調查的逐步深入，杰克懷疑戰俘營中的潛水艇指揮官施昌特是幕后的首領。于是杰克策動其他俘虜交出施昌特藉以換取自由。可惜他的如意算盤后來失控，德軍俘虜真的發動了大逃亡。電影結局非常具有戲劇性：策劃整場越獄的德軍將領施昌特沒有逃脫，但他的部下卻大部分成功地逃走了。布賴恩 · 基思飾演表面酗酒內里精明的間諜表現出色， 他與赫爾穆特 · 格里姆飾演的施昌特之間貓捉老鼠 互相斗智的過程相當精彩。
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與Stefan Uher和Elo Havatta一樣，Eduard Grecner也是60年代斯洛伐克新浪潮電影的締造者之一。他的三部影片《一周七天》（1964）《尼絨月亮》（1965）和這部《徳拉克的回歸》都是斯洛伐克新浪潮電影的代表作。這部敘事方法獨特帶有明顯意識流風格的黑白影片甚至間接影響到了后來法國導演格里耶在捷克拍攝的兩部影片《說謊的人》和《Eden and After》。 A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called intellectual film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak Muz, ktory luze; French title L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).