Story follows the divergent agendas of criminals, cops and lawyers as they collide over a shipment of illegal firearms and a double homicide. Earl Pike, a criminal, tries to get his family's illegal gun collection to a safe haven.

"Jacques Tourneur at work in color on Western landscapes is something to behold. The credits roll over a matte of a damp day in Portland (slanting rooftops, a ship’s half-seen mast, boards over a muddy street) that’s practically a Grafström, the Oregon Trail that follows is finely-drawn watercolor. The nascent commune of Jacksonville would be Fordian, except that Dana Andrews’ negation of piety ("A man can choose his own gods") and Andy Devine’s acknowledgement of Indian rights ("We’re on their land. They ain’t likely to forget that") challenge Manifest Destiny. Overlapping triangles -- Andrews-Susan Hayward-Patricia Roc, Andrews-Hayward-Brian Donlevy, Andrews-Roc-Victor Cutler, Hayward-Donlevy-Rose Hobart. Hoagy Carmichael with mandolin amid the ramblers and settlers is wastrel, commentator, mediator, and voyeur ("...a little store and lots of time"). The cabin-rising sequence tips its hat to Hathaway’s Trail of the Lonesome Pine, and was studied by Weir. The wedding bash celebrates wholeness but these are forces in tenuous balance, Donlevy voices Tourneur’s ambivalence ("The illusion of peace is upon it") moments before the Indians materialize via a single reverse shot that seems to introduce a parallel world. Another space-expanding reverse shot, this time embodying tensions from within rather than from without, takes place right before Andrews’ brawl with Ward Bond, cutting from a medium-shot of the two at the saloon counter to another revealing the townspeople in the wings, waiting for the spectacle. (The fight, remarkably bloody and ugly, hinges on the haunted image of the disoriented Bond smashing his fist into a wooden pole. Hayward sits with the cheering crowd.) A film of "thin margins": The saloon doubles as a hanging courtroom, the garden becomes an inferno. The view of a dazed Roc wandering in the woods after the slaughter is from I Walked with a Zombie, and finds its way into Demme’s Beloved; Stars in My Crown revisits the territory with hope for harmony, but Wichita and Great Day in the Morning know better."

Story follows the divergent agendas of criminals, cops and lawyers as they collide over a shipment of illegal firearms and a double homicide. Earl Pike, a criminal, tries to get his family's illegal gun collection to a safe haven.

"Jacques Tourneur at work in color on Western landscapes is something to behold. The credits roll over a matte of a damp day in Portland (slanting rooftops, a ship’s half-seen mast, boards over a muddy street) that’s practically a Grafström, the Oregon Trail that follows is finely-drawn watercolor. The nascent commune of Jacksonville would be Fordian, except that Dana Andrews’ negation of piety ("A man can choose his own gods") and Andy Devine’s acknowledgement of Indian rights ("We’re on their land. They ain’t likely to forget that") challenge Manifest Destiny. Overlapping triangles -- Andrews-Susan Hayward-Patricia Roc, Andrews-Hayward-Brian Donlevy, Andrews-Roc-Victor Cutler, Hayward-Donlevy-Rose Hobart. Hoagy Carmichael with mandolin amid the ramblers and settlers is wastrel, commentator, mediator, and voyeur ("...a little store and lots of time"). The cabin-rising sequence tips its hat to Hathaway’s Trail of the Lonesome Pine, and was studied by Weir. The wedding bash celebrates wholeness but these are forces in tenuous balance, Donlevy voices Tourneur’s ambivalence ("The illusion of peace is upon it") moments before the Indians materialize via a single reverse shot that seems to introduce a parallel world. Another space-expanding reverse shot, this time embodying tensions from within rather than from without, takes place right before Andrews’ brawl with Ward Bond, cutting from a medium-shot of the two at the saloon counter to another revealing the townspeople in the wings, waiting for the spectacle. (The fight, remarkably bloody and ugly, hinges on the haunted image of the disoriented Bond smashing his fist into a wooden pole. Hayward sits with the cheering crowd.) A film of "thin margins": The saloon doubles as a hanging courtroom, the garden becomes an inferno. The view of a dazed Roc wandering in the woods after the slaughter is from I Walked with a Zombie, and finds its way into Demme’s Beloved; Stars in My Crown revisits the territory with hope for harmony, but Wichita and Great Day in the Morning know better."

老手与菜鸟飞机师驾驶的是中央情报秘密行机，运载东西更是包罗万有，从难民到军阀，从手榴弹到小猪，真是无奇不有。

老手与菜鸟飞机师驾驶的是中央情报秘密行机，运载东西更是包罗万有，从难民到军阀，从手榴弹到小猪，真是无奇不有。

19世纪末20世纪初，在日本政府的动员下，大批的日本青年女性到海外卖淫为生，以此作为谋取外汇的手段之一，由此形成世界历史上罕见的卖淫人口大流动。由于南洋群岛是其最为庞大的聚集地之一，这群妇女被称为“南洋姐”。 　　本片与《回到无法松的故乡》《追寻未归还的士兵》（《泰国篇》《马来篇》）《续·追寻未归还的士兵》被导演今村昌平本人合称为“弃民”系列，“不是他们抛弃了日本不回来，而是因为被抛弃了而无法回来。”

19世纪末20世纪初，在日本政府的动员下，大批的日本青年女性到海外卖淫为生，以此作为谋取外汇的手段之一，由此形成世界历史上罕见的卖淫人口大流动。由于南洋群岛是其最为庞大的聚集地之一，这群妇女被称为“南洋姐”。 　　本片与《回到无法松的故乡》《追寻未归还的士兵》（《泰国篇》《马来篇》）《续·追寻未归还的士兵》被导演今村昌平本人合称为“弃民”系列，“不是他们抛弃了日本不回来，而是因为被抛弃了而无法回来。”

M39studio、monwichit 联合制作

M39studio、monwichit 联合制作