時代を超えて愛され続(xù )ける長谷川町(📘)子(zǐ )の漫(màn )画(🏕)原(yuá(🏋)n )作の(🎨)、人(🥤)気(qì(➰) )シリ(🛋)ーズ第(dì(🕝) )2弾。同窓会で久々に再会した友(yǒu )人らから夫婦ののろけ話(🎖)(huà )を(📰)聞か(⛺)され(🔛)たサ(🍚)ザエ(🚟)（江(🐅)利(lì(😋) )）は、好意を寄せるマスオ（小(xiǎo )泉）との結婚生活を密(🅿)かに(📿)夢見(jiàn )る(💓)よう(📸)にな(🧖)るが(🚵)、そ(👞)んな(🏕)頃、マスオが札幌から上京(jīng )した母親を連れて磯(jī(🍯) )野家を訪ねて(🔣)くる(⚽)。
A plumber is blackmailing several suburban housewives. When he confronts his latest victim, Margot Brenner, he runs into a dead end. She catches onto his scam and uses his own method to bring him to down.
1950年9月(🤕)6日(rì(🌪) )。班(bā(🦌)n )森中(😣)(zhōng )尉率领(🧝)的排(pái )在一次战斗(dòu )中和主力部队失去联(lián )系。他们在(zài )撤(📵)出(chū(🌟) )敌占(🔒)区途(🍟)中，遇(🔳)到另(🔱)(lìng )外(💖)一个(🎮)排的(de )蒙塔拿上士(shì )。他(tā )们必(bì )须把幸存者转移(yí )到师部所(🍴)在(zà(🍄)i )地465高地。在(🧙)转移(👛)途中(🚸)(zhōng )，班(🐐)(bān )森(🌘)中尉(😤)(wèi )和蒙(méng )塔拿上士意(yì )见不一致(zhì )，经常争斗(dòu )。在经过(💨)多(duō )次惊(jīng )心(👭)动魄(🧤)的遭(🎠)遇战(😬)后，他(🚂)们终(🛹)于重(chóng )出(🔠)重围，与主力(lì )部队(duì )会合(hé )。
In the 1950s Neo-realism style was given a boost, in part by what was happening in Italy. The films of Rossellini, Antonioni and De Sica made a powerful impression on Brazil's nascent film community. A series of pivotal pictures were made in the 1950s that responded to the wake-up call of the new Italian masters. Needle in a Haystack (1953) by Alex Viany, The Road (1957) by Oswaldo Sampaio and The Great Moment (1958) by Roberto Santos are a few of the better titles. The energy of these films was felt far north of Rio in the state of Bahia, where several pictures were made. (History of Brazilian Cinema)
The city is rounding up all unlicensed dogs. Spike has a license. So does Tyke. An unlicensed stray steals Tyke's license; Tyke gets collared and the chase is on.
A powerful criminal brain from the planet Arous, Gor, assumes the body of scientist Steve March. Thru March he begins to control the world by threatening destruction to any country challenging his domination. Another brain, Val, works with Marchs future wife Sally to defeat Gor. Val explains that Gor will be vulnerable when he is forced to leave March at intervals to re-energize. Gors vulnerable spot, the Fissure of Orlando, is described in a note left by Sally in Steve’s lab.
EIGHT HOURS OF FEAR (aka HACHIJIKAN NO KYOFU, 1957) offers a classic suspense plot focused on a group of people confined to a small space under threat from criminals who have taken control of them. In this case, it's a small rural bus containing about 15 passengers on their way to make a train to Tokyo after the train line they meant to ride has stopped service due to a landslide. The bus is then stopped and boarded by a pair of criminals fleeing with the proceeds of a bank robbery. The passengers constitute a microcosm of Japanese postwar society and their numbers include a businessman and his arrogant wife; a lecherous lingerie salesman with crude personal habits; a radical student couple given to singing Russian work songs; a despairing single mother with her baby; an aspiring actress on her way to an audition; a seasoned sex worker lamenting the closing of American bases in Japan; an old couple going to visit their daughter; and a detective escorting his prisoner, a convicted murderer. The driver is an old man who works rural mountain routes and the rickety bus is a relic of an earlier age. The movie itself, although filled with references to World War II and postwar problems, plays like it could have been filmed and staged twenty years earlier. It has the feel of a much older movie and deliberately recalls such Hollywood movies of the 1930s as Frank Capra's IT HAPPENED ONE NIGHT, much of which also takes place on a long bus trip through back roads, and John Ford's STAGECOACH, but with a much darker edge than either of those films.
第一部(bù )・妖怪博士(shì )－－(➖)警戒(🆗)厳重(🆘)な日(😫)本(bě(🏒)n )原子(⚽)力第(💻)一(yī(🛒) )工場(chǎng )に、ある夜、怪盗が侵入。新聞(wén )は国際スパイ団(tuá(🍰)n )首領(🐷)(lǐng )、怪人(💊)二十(🛡)面相(🖥)(xiàng )の(🎉)仕業(⚓)と報(🚗)(bào )じる。幸い、狙われた原(yuán )子炉設(shè )計図(tú )は名探偵(📹)明(míng )智小五郎(📹)(láng )の(🚰)機転(🎅)で相(🚾)(xiàng )川(🚦)技師(📘)長の家に(🚤)隠されていた。明智(zhì )は中村捜査(chá )課長に今後の警(jǐng )戒を(😽)注意(🤬)(yì )。明(🦆)智の(💐)事(shì(🌡) )務所(📏)に集(🍻)った(🦇)小林、相川、篠崎(qí )、斎藤、大(dà )野、上村君ら少年探偵(👟)団(tuá(🛹)n )は、相川(🎠)君(jun1 )の(📱)お父(🌚)さん(⏹)のた(🏸)めに(🚤)も逮捕を誓い、捜査に散る。とある屋敷町で異(yì )様な(🔴)風態の老乞(qǐ(🕖) )食を(🐶)尾行(🏚)した(💮)相川(🐮)君(jun1 )は(🌷)古びた西(⛎)(xī )洋館で縛られた少女を発見するが、それは蝋人(rén )形。驚(☕)く中(🕸)、紳(📴)(shēn )士(🔡)に変(🤣)装し(😩)た二(♒)十面(🎃)(miàn )相に掴まり地下牢に幽閉され、妖婆の魔術(shù )で魂(hún )を(🤥)抜か(🚼)れてしま(🈴)う。明(🈳)智や(🦍)助手(🎀)(shǒu )マ(💸)リ子(🍍)、少(shǎo )年達(dá )が不審がる矢先、相(xiàng )川君は無事(shì )帰(🏉)宅するが、妖(✊)婆の(🔨)指金(📍)(jīn )で(🛅)設計(🔌)(jì )図(🆚)を奪い去(🛀)った。時を移さず非常警(jǐng )戒、対策を練る明智らの前にロ(🖨)ンド(🌕)ン警(🐡)察客(💔)員(yuá(📻)n )探偵(💍)殿村(🎲)と名(🤵)乗(chéng )る男(nán )が現われ、三日(rì )間で事件解(jiě )決を宣言、明(🦃)智と(😼)対(duì )決す(➕)る。彼(🥛)(bǐ )を(🐒)ツケ(🏯)た篠(⌛)崎と上村二君(jun1 )は又もや二(èr )十面相の罠(mín )に掛(guà )り、相川(🚏)君のいる地(dì(📥) )下室(🍹)へ。約(🗂)(yuē )束(🎢)の日(🧟)、殿(📻)村は相川(🛫)(chuān )技師(shī )長や中(zhōng )村捜(sōu )査課長を伴(bàn )い西洋館へ急行、(🕯)四(sì(🎓) )少年(🙄)を救(🦇)い設(✒)計(jì(😑) )図も(🥧)取り(🧠)出す。だが彼の仮面をはいだ明智は一(yī )同と落し穴へ転落(🤢)。流れ(🙂)出る石(shí(👞) )膏の(🛰)中で(❕)もが(🌪)く一(🛅)同(tóng )の上(shàng )に怪人(rén )の哄(hǒng )笑が響く。
1950年代中期(qī )，“海燕”号轮(💓)船上，一千(qiān )多(🎉)名各(🎞)种职(🤲)业的(🐦)旅客(🚖)(kè )同(🎴)船共渡。白天平静地过去了，夜暗(àn )伴着浓(nóng )雾降(jiàng )临，由于附(fù )近暗礁(🐫)很多(🎉)，二副(📡)（李(🖕)农 饰(🛢)）向(🛒)(xiàng )船长(zhǎ(🙋)ng )（穆宏 饰）建议低速(sù )航行，其他(tā )人则建议抛锚。但船(chuán )长(🍻)依仗(🤷)自已几十(🗃)(shí )年(🌆)航行(🍂)经验(🔘)(yàn )，命(🍁)令原速航行，结(jié )果轮(lún )船触礁(jiāo )进水(shuǐ )，睡梦中的乘客纷纷(⏲)(fēn )涌上甲板，情(🐾)况非(⚽)常危(🚃)(wēi )机(🏍)。这时(🕵)，海军(🔕)政委（齐(qí )衡 饰）挺身(shēn )而出，指挥全体复转(zhuǎn )军人(rén )安抚旅(lǚ )客，保(🐍)持船(🧜)体平(🎺)(píng )衡(👞)。船长(🍴)负责(🤷)领航，但由(💠)于船头(tóu )受损(sǔn )严重，被迫抛锚。发(fā )报机在发出(chū )求救信号(🌦)后碰(💩)坏(huài )，上(shà(🎺)ng )级无(🦑)法确(🚃)定出(🎒)事(shì(😠) )轮船的位置(zhì )，只好派出飞机和舰(jiàn )艇在(zài )海上寻(xún )找。雾海(🔚)茫茫，潮水汹涌(💴)(yǒng )，军(🏖)人和(🐣)船(chuá(🌛)n )员手(🐂)拉手(🍢)挽(wǎn )起了(le )“人墙”......