民初(🐆)功夫(🚒)片类型(🎪)(xíng )，一(yī )个小镇+几条好汉(hàn )+一群恶霸，最(zuì )后一场混战正义(🦊)(yì )战(🎓)胜(shèng )邪(💥)恶。
ハ(🌇)ン(🏟)ター(😳)朱実を(🍌)総番(🛷)長(zhǎng )と(🍃)する、赤(chì )羽駅(yì )を中(zhōng )心としたスケ番グルー(😋)プ“赤(chì )羽百(⭕)(bǎi )人会(🔜)”は、(🍀)池(💩)袋(dà(👫)i )のクラ(🗾)ブの(🔛)鷹を総番長とする“池(chí )袋騎兵(bīng )隊”との戦いに敗北を重(👻)ねていた。田(🎶)(tián )口(🌟)由(🍊)(yóu )紀(🤒)子(🔊)、通(🎐)称(chē(😄)ng )音無し(🤢)由紀子(zǐ )と呼ばれる赤羽(yǔ )百人(rén )会の番格が、女(nǚ )子(🔅)特別(🌙)少年院(🥧)(yuàn )を(🦒)退(🥡)院し(🤟)た。由(yó(🥠)u )紀子(❤)(zǐ )の頭(🆘)には焼きついて離れない二人(rén )の名があった。一(🤚)人は恋人の(🥨)勝と、(🌓)少年(🦃)院(🙏)で対(🏤)立(lì )し(📐)決着(🤴)(zhe )のつかなかったアラブの鷹だった。冷(lěng )たく感情を表わ(🏗)さないアラ(🕑)ブの(⛷)鷹(🏍)に由(❕)紀(💉)子は(🛒)、一(yī )種の(🅿)憧憬と闘争(zhēng )心を燃やしつづけていた。赤(chì )羽に戻った(🧐)由紀(🍱)子は、(🎐)朱実(📖)と(⛪)アラ(🍽)ブの鷹(🎿)との(📟)総番(fā(⏹)n )長同(tóng )士の対マンの話を取り決めるべく、使者(🙇)(zhě )をかって(🛥)池袋へ(🎅)行く(🏛)が(🙉)、池(🏕)袋騎兵(👸)隊の(😅)激しい攻撃(jī )を受(shòu )け目的を果せなかった。その頃、由(🧠)紀(jì )子は城(🦇)(chéng )北(🕝)睦(🥗)(mù )会(✉)の(✏)ちん(📅)ぴらになっ(🏰)ていた勝(shèng )と再(zài )会した。勝の兄(xiōng )貴分・沖田は、かつ(🆒)てア(🤪)ラブの(🐤)鷹(yī(⛔)ng )に(🤒)頬を(🚋)切られ(🔖)復(fù(💐) )讐の機(🌧)会を狙(jū )っている。ある日、沖田は騎兵隊のリン(💪)ダを捕え、(🗳)アラブ(🦎)の鷹(🚎)の(🤙)居場(🏅)(chǎng )所を(🕝)聞き(🉐)出そうとするが、口(kǒu )を割(gē )らないため惨殺した。警察(🕙)ではこの事(😃)件(jià(🤶)n )は(⛸)由(yó(👉)u )紀(👹)子(zǐ(🐧) )の仕わざだ(📼)と疑った。だが、沖田の仕わざと見抜いていたアラブの(🚔)鷹は(🔉)、沖田(🚌)を襲(🏺)う(👣)が失(🌍)(shī )敗す(🏴)る。一(🎈)方、由(📐)紀(jì )子は、アラブの鷹をついに探(tàn )しあてた。荒(😔)川堤。二人は(⏪)向かい(📗)あっ(💚)た(🥫)。激(jī(🌮) )しい応(🚪)酬(chó(📲)u )の末、由紀子はアラブの鷹を倒した。だが、現われた沖(🌜)田と勝は、(Ⓜ)病院(🆚)へ(💢)運ぶ(💎)と(👵)言(yá(🎐)n )い残してア(😁)ラブの鷹を連れていった。沖(chòng )田は永年の怨みを動(dòng )か(🏘)ぬア(🔈)ラブの(🔣)鷹の(🍆)体(🛏)に加(🛀)え、勝(📼)に犯(🖥)させ、(💛)麻薬を射ちこんだ。証拠不十分で釈(shì )放された由(🚫)紀子が街に(🚎)戻って(👚)来た(🚀)。そ(💛)して(🈚)、ソー(🅾)プラ(🦐)ンドで働かせられているアラブの鷹を見(jiàn )つけた。由紀(🔭)子は勝を問(♎)いつ(🚐)め(🍡)るが(👬)、(🚞)彼は(🏠)シラを切る(🐡)。翌日、勝のアパートを訪れた沖(chòng )田は、ライフルに胸(🔆)を射(🆖)抜かれ(📇)血に(🈵)染(🚶)まっ(👂)た。そし(🏪)て、(🤔)信じら(👭)れない顔つきで由紀子を見つめる勝(shèng )に向って(✋)、由紀(👷)子は(🍩)ゆっく(🙋)りと(👹)引(🎣)(yǐn )金(🌼)を引(yǐ(💂)n )いた(🤳)……
Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it.
米拉在很小的时候就为了家族(zú )的兴(xìng )旺被父(fù )母(🚒)给(gěi )定了婚(🎛)事，但美(🐌)丽的(🤽)卡(🐈)米拉(🧞)在(zài )成年(niá(💼)n )后爱(ài )上了别(bié )人，由于她对家族的不忠，被父母(mǔ )送到(dà(🎭)o )了修道院被(🏙)迫做(🦀)(zuò(✈) )了修(🌳)女，美丽(🀄)(lì )的(💐)卡米拉(📚)不甘忍(rěn )受修(xiū )道院清心寡欲的(de )非人生活曾多(duō )次偷情(🥪)，为了(😁)自(zì )由(🖖)和(hé(🏼) )爱(🥚)情她(🏗)付出了(💻)……(💊)
本片为倪匡(kuāng )编剧(jù )，何莉(lì )莉、李修(xiū )贤及谷峰领衔主(⚽)演。故事描述(🚘)(shù )，葛(gě(😕) )衣情(🥎)（(🥜)何莉(🛀)(lì )莉）乃江(⛵)南越剧戏班台柱，为(wéi )其母(mǔ )之摇(yáo )钱树；后葛(gě )邂逅了(🤔)船主舵伯（(😣)谷峰(⛺)）(💳)的义(🕣)(yì )子野(🚧)(yě )壮(🍵)子（李(🧢)修贤），两情相悦，决意结婚，但葛(gě )母故(gù )意索取巨额聘礼(🔰)(lǐ )；(🛣)舵为促(🍶)成这(⛺)(zhè(🖥) )段姻(❎)缘，借钱(♈)给(gě(🎾)i )野。可惜戏班到了宁波县城，葛母(mǔ )唯利(lì )是图，把女(nǚ )儿许(🆕)(xǔ )给纨裤子(🥒)弟；当(🐴)野找(🏿)葛(🕣)问究(💷)竟(jìng )，葛(gě )却(💵)表明(míng )移情(qíng )别恋；野决定听从舵的劝告，充当(dāng )其助(zhù(🧚) )手，暗中作(zuò(♉) )贩毒(😂)勾(📜)当…(🚣)…
Paul Naschy plays a supporting role as a deranged gravedigger in this zombie movie, set in a small highland village in 19th-century Scotland, where a stranger's arrival to claim an inheritance is met with apocalyptic visions and other evil omens. The town unearths a crypt full of horrors, including a devil-worshipping coven and throngs of the living dead.
Farcical sex-comedy based on the long-running West End play by Ray Cooney about a womanising furrier trying to provide his mistress with a cheap mink coat. There are half-naked women aplenty, underwear everywhere, tricky situations and doubles entendres galore in this very stagy bedroom farce.
Returning from retirement, Frank Sinatra gives a concert that includes both old standards like "I Get a Kick Out of You" as well as newer fare such as "Send in the Clowns". Much of the program consists of Sinatra solo, but he is reunited with former MGM co-star Gene Kelly during one charming segment.