Mr. Brenner makes a down payment on a house. The house's owners, Cissie and Johanna Enright say that they don't want to sell. He threatens them with a lawsuit, but is poisoned. He collapses and the sisters discuss what they should do. Joanna wants to finish him off more poison while Cissie prefers a gun. Brenner revives and pitches on sister against the other. He gets the gun from Cissie and shoots Johanna. Cissie gives Brenner more poison whilst he phones the police, telling them that Johanna poisoned him and that he shot her. Finally, the poison kills him and the house is all hers.
赵(zhào )怀(huái )安为谋财(🛬)，于(🚥)(yú )客(🈲)栈(zhàn )勒毙妓女廖小乔(😭)(qiáo )，假(🍥)装乔吊颈(jǐng )亡。呆佬献修补雨(🛷)伞(sǎ(🐍)n )为(wéi )生，一晚投店(diàn )，午(🈳)夜听(⛵)得歌声凄(qī )厉(lì )，长发(🔶)厉鬼现(🏊)(xiàn )身，献惊慌万分。乔(qiáo )的鬼(🔱)魂并(🚋)无恶(è )意(yì )，向他哭诉(🧟)冤(🦗)情。乔(🏹)(qiáo )父母亡，卖身(shēn )青楼(〽)，凭容(🤐)貌赚(🥚)得(dé )无(wú )数钱财，识男(🍁)(ná(🐷)n )子安(🚂)，以为找到依归(guī )。献抱(🆔)不平(🌷)，携(xié(🐵) )油纸伞带乔的鬼魂(hú(💗)n )到(🛩)(dào )南(💣)海县衙门伸(shēn )冤，官以(🍄)为献(🎉)疯癫诬(wū )告安，拒受理(lǐ )案件(🤦)。献携(🚶)伞至安的(de )海(hǎi )味店广(👖)昌隆(🈸)，并作法戏弄安……却(🥇)(què )原来(🔔)只是梦一(yī )场。
Pierre Tercelin who used to be a prosperous industrialist is now ruined and embittered, having become a mere lock keeper. A widower, he lives with his daughter Evelyne, a music-hall dancer. Claiming he is being persecuted by his cousin Edgar he gets in touch again with another cousin of his he hates, Bernard, a millionaire gun runner,who is also a victim of Edgar. It must be said that both Pierre and Bernard once caused Edgar to go bankrupt... Pierre offers Bernard to join efforts against Edgar. Soon after, Bernard dies of poison, which is only the first of a series of acts of violence. Tiercelin is shot at while going back home, Bernard's son is gunned down while his sister Luciane disappears. Chief-inspector Malouvier - who oddly enough looks very much like the suspect- investigates.
《林白征空记(🐶)》由詹(🔷)姆斯·华(huá )特(tè )所主(🍃)演(😴)，所讲(🚖)述的(de )故(gù )事是这样的(🚘)：那(😱)天是(🎹)一九二七年(nián )五(wǔ )月(🛋)二(🎤)十日(👆)，刚(gāng )满二十五岁的查(⌚)尔斯(🖤)(sī )·(🐈)林白，他发(fā )动(dòng )了自(🤑)己(🍲)费尽(😯)心思才(cái )搞(gǎo )到手的(🚢)单人(🔭)驾(jià )驶的(de )飞机，开始向大(dà )西(🌥)洋上(🌔)空飞行(háng )。飞越大西洋(🌒)一直(🤴)是(shì )查(chá )尔斯·林白(🌼)内(nèi )心(💮)深藏了很久的一(yī )个(gè )梦(🦇)想。在(🤷)这次(cì )的飞(fēi )行过程(🦏)中(🦓)，他历(🐅)(lì )尽了千辛万苦(kǔ )，甚(❎)至因(🧡)为天(🐳)气的突(tū )然(rán )变化被(🍁)迫(🎲)采用(🚘)(yòng )超低空飞行，他险(xiǎ(🈶)n )些(xiē(🔜) )失去(🎲)生命。然(rán )而，他最终战胜(🥠)了各(🆔)(gè )种困难，在经(jīng )过(guò(🎍) )三个(🥠)半小时的艰难(nán )卓(zhuó )绝的飞(♊)行之(🕹)后(hòu )，他(tā )成功地飞越(🦒)了大(📈)(dà )西洋，完成了(le )具有历(📲)史意义(🎊)的伟大(dà )壮(zhuàng )举，在个人航(👲)(háng )空(🅾)史上添上了光彩(cǎi )的(👝)(de )一(🚜)笔。
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)
中(🧕)平康(kāng )監督(dū )が『狂(🎿)った(🐚)果実(Ⓜ)(shí )』の翌年にメガホ(👯)ン(🌽)を撮(👥)ったロマンティック(🆘)・コ(💐)メデ(🚍)ィの傑作。少(shǎo )ない出番(🎸)なが(📧)ら場をさらう芦川い(💗)づみ(🛺)の存在感にファンの絶大な(🍓)支持(😦)(chí )を得る一本。銀(yín )座(♊)で一(🐒)人娘の秀子とやもめ(🌛)暮(🙇)らし(😳)をしながら洋品店を営(yí(🐄)ng )む省(🕥)吉は、店(diàn )の2階を改(🍗)装(👉)して(✅)画(huà )廊(láng )の経営を始(🧓)める(❤)。そん(⛺)なある日、偶然にも(🚳)初(🐣)恋(lià(🚞)n )の人の娘・章子と出(💣)(chū )会(⬅)(huì )う(🔙)…・。
故事(shì )环绕着一个(📇)美国(🗯)空(kōng )军(jun1 )基地，它吸引(yǐ(🗻)n )了酒(👼)吧和妓院，和当(dāng )地的日本人(🗣)，他(tā(✉) )们需要肮脏的世界(jiè(🌥) )来(lá(🈹)i )逃避现实的世(shì )界，和(🎷)赚(🥠)钱来(😕)勉强幸(xìng )存。故事中有(yǒu )一(🍆)段三(🚆)角恋情，两个(gè )主人翁(🏊)居(🍗)住再(⛸)(zài )拆(chāi )卸的公寓大楼(🍜)，另(lì(🦆)ng )一(yī(🍱) )个是当地的强(qiáng )盗。本(😄)片(🤣)以一(⛅)种罕见(jiàn )的角度来观(🕧)看(kà(👮)n )战后(😓)的日本，中下阶(jiē )层(céng )和(📶)罪犯(🎦)的生活(huó )。
走私贩张韩(⭕)被同(🦄)(tóng )党(dǎng )醉猫昌打伤，获黄飞鸿(🔙)治愈(🚲)，鸿遂(suí )劝韩改行从商(👸)(shāng )。韩(🕥)发迹后于大沙头(tóu )妓(🥎)(jì(🔚) )院宴(📵)请鸿等，巧遇昌，二人为争歌(🥄)(gē )女(🏁)杨金娇而大(dà )打出手(👻)。妓(🗂)院失(🤸)火，昌险被烧死，幸(xìng )得(🍢)鸿冒(🥂)死相(🤝)救。