取(qǔ )材(cá(🔯)i )自莎士比亚的(🐦)(de )喜剧《威尼斯(sī(⏮) )商(shāng )人》，以舞台(🤦)(tái )剧的形式拍(⚽)摄(🧙)(shè )，辛辣的讽(🎽)刺(🍤)、巧妙的布控(👾)无(wú )处不在，同(👉)时充(chōng )分地利(🏦)用夸张(zhāng )表演(🕵)的技巧，传(chuán )承(⚽)莎翁的人本(bě(🐫)n )精(😹)神，表达了创(chuà(📔)ng )作主题思想。
The true story of a young woman named Sybil, whose childhood was so harrowing to her that she developed at least 13 different personalities.
Because he dishonored the daughter of a mafia boss, Ernesto must leave Rome and take shelter with his uncle in Paris. There, he thinks of only one thing: to seduce girls.
Roger Moore and Stacey Keach star in this Italian-American co-production, and try to be the Martin and Lewis of 70's crime exploitation cinema. The rigor mortis of Roger Moore was never more noticeable as it is here, playing the straight man next to the Keach's easygoing rouge. It's a rather stale exploitation film, with the typical one liners, car chases, shoot outs, and gratuitously bad dubbing of the Italian actors. The film does have one great highlight when Keach takes a gangster's car for a test drive, and in hair-raising fashion, wrecks it through the streets of San Francisco. Unfortunately, it all doesn't work- the comedy isn't funny enough, neither Keach or Moore are particularly convincing (especially Moore, who is as dry as a desert), the violence and stuntwork is middling, the story isn't very engaging, and the ending is painfully banal. There may be just enough `so bad it's good' work that 70's exploitation fans may be entertained, but no one would call it great.
上(💴)海美术电影(yǐ(🐪)ng )制(zhì )片厂 木偶(⏮)片 彩(cǎi )色 3本
东(🌉)京浅草(cǎo )的(de )东(🤱)荣馆，各色(sè )人(✔)等(🕛)寄宿于此(cǐ )。无(🏨)业游民乡田(tiá(👑)n )三郎（石桥莲(🦀)(lián )司(sī ) 饰）无(♈)意中发(fā )现了(🚺)贯通整座(zuò )公(⛎)(gō(🤼)ng )寓的阁楼，于(🌱)(yú(🗳) )是他从此游走(🐂)(zǒu )于(yú )阁楼之(💯)上，以(yǐ )窥探房(🎯)客的隐(yǐn )私为(👺)乐趣。和小(xiǎo )丑(🙄)打扮的男人(ré(💥)n )通(😛)奸的贵妇清(🔆)宫(🔏)(gōng )美那子（宫(🍆)下(xià )顺子 饰）(😥)、拿女(nǚ )佣身(😨)体恶作剧(jù )的(👳)传教士远藤(té(🕺)ng )（八代康二 饰(♈)）(🥜)以及迷恋达利(✔)(lì )风(fēng )格的女(🧟)体画家(jiā )富田(🎞)美幸（渡(dù )辺(⏹)(fǎn )とく子 饰）(🔠)等(děng )隐私机密(📳)，都(🕴)(dōu )在(zài )乡田(🍗)的(🏒)窥视下(xià )分毫(🥨)毕现。