中国青(❌)年程桓(🚂)(huán )（理查(🗄)德(dé )·(🚄)巴塞尔(ě(⏭)r )梅斯 Richard Barthelmess 饰）远赴伦(👍)敦，希望能够(gòu )在(☕)异国他(tā )乡传授(⏬)佛(fó )教教义。哪知(🧙)道理想(xiǎng )丰满现(👁)实(shí )残酷，抑(yì )郁(🗽)不得志的程桓不(🦋)仅(jǐn )荒废了事(shì(♏) )业，还沾(zhān )染上了(🐼)鸦片，整日生(shēng )活(🚳)在(👆)颓废(fèi )沮丧之(🍔)中(🥌)(zhōng )。
Irma, sentenced to life imprisonment, has been sent to St. Lazarus’ prison. A transfer order is sent to the prison to send Irma to a penal colony in Algeria. On the day of her departure, Irma finds out that Moréno has been executed.
Yu-jin当知道(🎫)妹(📈)妹Seung-jin返(fǎn )回家的(🔬)时(📀)(shí )候，感到(dào )莫(🚯)明(🌳)的兴奋，因为Seung-jin将(👠)(jiāng )会带同(🍢)丈(zhàng )夫(🦌)Jin-ho一同回(huí(🏧) )家。可是(🍭)，最后只有(🚽)(yǒu )Jin-ho回到(🤺)Yu-jin的家(jiā )。Jin-ho跟(📃)Yu-jin说Seung-jin自(zì )杀了。
记(jì(🍛) )录摄影师雇(gù )用(🤐)前罪犯(fàn )和经验(♓)丰(fēng )富的演员(yuá(🦖)n )体验犯罪受害者(⛵)和犯(fàn )罪者时发(🍓)(fā )生的事件(jiàn )。
讲(🍈)的是一个作曲家(Ⓜ)(jiā )创作的一(yī )部(⏸)交响曲(qǔ )，因为极(💮)具(📔)震撼力，以至于(🦑)他(♓)(tā )的朋友都(dō(🏕)u )认(🌁)为是继贝多芬(💐)第(📊)九(jiǔ )交响曲之(🌭)(zhī )后的杰作(zuò )。
A soldier of near-superhuman strength fights battles in the First World War and wages a private war to rescue a young woman from the castle where she is imprisoned.
A young woman marries the wastrel son of a British aristocrat. Her husband, who has been disinherited by his father, loses what little money he has left gambling in casinos and then dies, leaving her penniless and with an infant son. When her former father-in-law tries to get custody of the child, she leaves him with a couple she trusts, but when she later goes to reclaim her son, she can't find the people she left him with.
This epic was the last in a series of silent sword ‘(❇)n sandal spectaculars starring former Genovese dockworker and aging hunk Bartolomeo Pagano. This homely stud spends half the film in a heavy woolen suit, looking more than a dimwitted butcher than a bodybuilder. Fortunately, true to the title, he does go to hell, where he’s assaulted by demons, propositioned by seminude demonettes, and finally stripped to his overample but still fetching flesh. He keeps busy during his sojourn leading a demon revolt and battling a dragon too large to move very much. Director Brignone pulled out all the stops for this comic-Boschian vision of hell, with what looks a cast of thousands of demon-extras spilling off the screen. Fellini claimed Maciste inspired him to become a filmmaker, and the air of amusing depravity, seen to full advantage in the rare restored print that occasionally circulates, would seem to confirm it.