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廣東人張三(💱)波(梁(👵)醒波(bō ))與(yǔ )外省人(🥇)李(🚗)四寶(劉(liú )恩甲)同屋(🎴)共(🐌)住，各(gè )自(zì )經營的洋(🍯)服店又開在隔壁，因(yī(🎂)n )語(yǔ(💷) )言(yán )、觀念、文(🦌)化(🛥)不(🤧)(bú )同，加上生意上(shà(🕕)ng )的(🧀)(de )競爭，兩人頓成(chéng )冤家(🈂)。集合國粵(yuè )語(yǔ )片(pià(💼)n )演員(🚥)同場演出，國粵語(🎃)對(🦗)白(🌠)同(tóng )時(shí )出(chū )現，開(🍻)風(🌕)氣之先(xiān )，大受歡迎(🎊)，因(🦄)(yīn )此(cǐ )拍成系列片。故(❗)(gù )事取材社會現實(shí(🏢) )卻(què(🎫) )拍(pāi )得趣味盎然。上(💱)一(🛡)代雖有隔膜，但(dàn )下(😆)一(🧞)代已在香港(gǎng )社會落(🌩)地生根，他(tā )們如常工(🦋)作、(🔣)交友、戀愛，融洽(🥨)(qià(🖖) )共(🐊)(gòng )處(chù )，沒有繼承上(😙)一(🏋)(yī )代的省籍情結，更(gè(🥙)ng )願意努力代父調(diào )解(🚢)，正是(🚮)南北文(wén )化(huà )與(⬆)(yǔ )生(🎶)活由衝突而歸於融(🕞)和(🚀)的大趨(qū )勢(shì )。 Sorry but despite the fact that the 1931 version of this novel was the only western film to win an Academy Award for Best Picture it does not compare to the entertainment value of this version. True this is perhaps not the best adaptation of Ms. Ferber's novel, but then how many films are perfect adaptations of their source material. There are wonderful scenes missing from this adaptation, but then there are wonderful scenes missing from the adaptation of GWTW. No, I am not comparing this to a classic like GWTW. But the '31 version is not in the same class as GWTW either. This film should be taken for what it actually is, a good solid epic entertainment with spectacular scenes and good performances. Glenn Ford is perfect casting for Yancy. His performance is far superior to that of the overripe, stilted scenery chewing one delivered by Richard Dix in the original. Ford's boyish manner easily captures the charming immature nature of the character. Maria Schell is on a par with Irene Dunne. It is a pity her character was rewritten from the novel to be weaker than Ferber intended. This was obviously done to make the film Ford's but she's still gives a performance that is on the money. As so do the myriad supporting players in the film. Back in 1960, MGM obviously needed a big movie to move into the theaters that had been playing "Ben-Hur" for over a year. So this production was rushed to completion to fit the bill. The fact that it was shot in Cinemascope instead of a "Big" 70 mm process is evidence of this. It has been written that the production was shut down before the scripted ending could be filmed. This explains the rather abrupt and somewhat awkward end to the film. Perhaps a regular non "Roadshow" release might have fared better both with the critics and at the box-office. It often seems that those who praise the older version over this film have seldom actually seen the former. For many years the 1931 version was not available for viewing. During that period many film historians gushed in their praise of it. When it finally reappeared on screens most of them found it very creaky and revised their opinions but the older opinions are still in print, available and read. True, they didn't change their opinion of this version, but the older fell into proper perspective...Cinema History and rather dry history at that. While this version is not a classic it remains good entertainment. Compare it to "How The West Was Won" made by the same studio just a few years later. An ex-con who's taken part in the robbery of a racetrack is caught and sent back to prison, but he won't tell his fellow gang members where he's stashed the loot. The gang kidnaps his girlfriend and has him tortured in prison in an effort to find out where the money is. 电影(🚵)剧(🏻)情： 宝塔(tǎ )小妖现身(🚢)助大驸(fù )马(mǎ )、大公(👗)主、(🙂)二驸(fù )马等人脱险(🎐)，暂(😾)(zàn )避(bì )于(yú )八贤王(⏩)府(🕶)。二公主与母后强夺皇(🚇)(huáng )帝(dì )之玉玺，擒八贤(🥛)(xián )王(🦄)，并派兵围攻(gōng )王(🐮)(wá(🖲)ng )府(🎷)。大驸马受伤垂危，大(🧚)公(🏪)主以(yǐ )飞(fēi )头(tóu )仙姑(🍿)所传之飞头术潜入皇(🏺)宫，欲(㊗)(yù )吸(xī )血及偷珍(🛋)珠替(🍨)大(dà )驸马疗伤，却失(⏮)(shī(🍏) )手(shǒu )被(bèi )擒，困于酒(📉)壶(🧥)，幸得安伯利用(yòng )宝(bǎ(📡)o )塔(tǎ )施法相救。大公(gō(🌤)ng )主不(🐋)忍大驸马伤(shāng )重(🍭)(chó(🌀)ng )致(Ⓜ)死，滴血救夫(fū )。大驸(🙌)马(🐮)、二驸(fù )马(mǎ )、大公(🎤)主等人再闯皇宫，在宝(🌐)塔小(🤶)(xiǎo )妖(yāo )协助下，重(🕴)夺(🐢)玉(🚠)(yù )玺。二公主与母(mǔ(🙆) )后(💴)(hòu )被收禁天牢，皇帝让(🙋)位，大驸马(mǎ )抱(bào )子(zǐ(🖍) )登基(🏅)。 Three Post Office employees are at work when the facility is held up. The robber kills the supervisor and knocks out another employee. The third one offers no resistance and survives unscathed. Afterwards he begins to wonder if his refusal to resist was a prudent move to preserve his family, or an act of cowardice, as many in the town believe. The resulting conflict begins to tear apart his family. Shirley Anne Field gives a fiery performance as a young designer on the brink of starting an affair with a married male supervisor (Robert Stephens) at the wallpaper factory where she works. Based on the play by acclaimed writer John Mortimer (Rumpole of the Bailey), Lunch Hour is directed by James Hill (Black Beauty, Born Free). With its tightly-focused plot and real-time narrative this stylish examination of an illicit lunch-hour rendezvous features an underlying sexual radicalism that tells us much about the time in which it was made. The seven stages of woman – seven stories about French women and love in the sixties. Childhood: A seven-year-old girl wants to know the secrets of birth. Her parents do not know how to explain such a delicate matter... Adolescence: A sixteen-year-old girl is flirting with several admirers. Her parents must help her to find the right way... Virginity: A young man wants to spend his first night with his fiancée. As she hesitates, he decides to wait just a little longer... Marriage: A recently married a couple soon find their honeymoon almost spoiled by jealousy... Adultery: A frustrated married woman takes a lover but the reaction of her husband is not be what she had expected... Divorce: A bored couple decide to divorce, but family friends and lawyers will almost spoil the love they still have for each other... The single woman: A gentle crook takes advantage of women and always get away with a minor sentence. His last victim will prove to be smarter than him...