烟台电影院

孤儿有(🥉)勇甚（下田(🏂)逸郎(láng ) 饰）(🐨)流浪(làng )到爱(💶)知县(xiàn )丰川(🍅)市寻(xún )找(zhǎo )他的(🕍)生身(shēn )母亲(💽)，在河边的情(🌓)死现场(chǎng )，他(🐆)偶然邂(xiè )逅(💮)了16岁的(de )美丽(🖋)少女(nǚ )庄菜(🚻)（秋(qiū )吉久美子(♓) 饰(shì )）。庄菜(🚏)和有勇(yǒng )一(😆)见如(👹)故(gù )，将(🥢)其引(🔵)(yǐn )入(rù(💽) )家中(🚅)居住(zhù )。庄菜(🕦)的(de )父亲植科(🆑)(kē )康三郎（(💼)佐佐木孝丸(⚪) 饰）是(shì )当地重(🔃)工(gōng )业工厂(🌔)的(de )领(lǐng )导，一(🐟)(yī )家(jiā )三口(🌾)连同(tóng )终战(🚍)前便(biàn )精神(🚻)错乱的“叔父(🗽)”冈治芳(fāng )男（ケ(🏅)ーシー高峰(🦎)(fēng ) 饰）住在(🔜)(zài )一(yī )起。 Jealous invalid husband tries to kill sexy blond wife, who uses occult powers and devices to try to kill him. 第(👓)二(èr )次世界(🦊)大(dà )战的时(🐧)候,1940年在一(yī(🚚) )个法国南部(bù )小(🌀)镇上发(fā )生(🕠)的故事(shì )。艾(📈)丽安(✴)(ān )那是(📓)经营(👮)自(zì )己(📷)药店(🖤)的一个大学(🏫)教授的(de )妻子(👭)，她(tā )抗(kàng )拒(🤠)不了来(lái )自(🚯)在药店(diàn )里打杂(🍎)的(de )很有心计(👓)的阿鲁曼的(🧚)骚扰，结果一(🔭)步(bù )步走向(👋)肉(ròu )欲(yù )的(🔑)深渊(yuān )。无能(🔱)的丈(zhàng )夫，无辜(gū(🥟) )的女儿，失去(👯)理智的妻子(🦍)，充满欲望(wà(⬆)ng )和野心的(de )阿(🍠)鲁曼，在(zài )炮(🖱)火纷飞(fēi )的(🚹)战争年(nián )代构成(🕰)了一道奇(qí(🚒) )异的风景。 This is an interesting movie. It is a tendency of Italian exploitation movies in general to eschew logical plotting and character development to focus on elaborate cinematic "set pieces". While this usually works with gialli (and some would say cannibal and zombie films)it is often problem in the Italian crime films where the set pieces usually involve shoot-outs and overlong car chases, two areas where the Italians had NO chance of outdoing bigger-budget Hollywood films (although they often did their damnedest). This film is interesting therefore because it DOES have a lot of character development especially among the villains, three privileged youths that become desperate criminals after their clean-cut but increasingly psychotic leader, "Blondie", starts a gun battle during a botched gas station robbery. One of the other youths is a more obviously deranged thrill seeker, while the third youth, the "wheel-man" is decidedly non-violent but loyal to a fault to his two friends. Rounding out the cast is the girlfriend of the wheel-man (Eleanora Giorgi) who ironically sets the whole thing in motion by reporting the robbery plans to the police (and mistakenly telling them that the trio only have toy guns). The head cop meanwhile is played by Tomas Milan, usually the psychotic heavy in these type of films. Milan lends an iconic presence and is an interesting character in that he is not unsympathetic but is also not the usual borderline-fascist "rebel with a badge" often seen in these movies. Mostly he just proves tragically incompetent at stopping the rampaging youths. The plot is mostly pretty believable except for a scene where they hook up with another group of youths and shoot-up and rob a grocery store, even killing their own accomplices for no good reason. There's some pretty gratuitous nudity including a pretty sorry excuse to get Giorgi topless (but who's gonna complain about that too much?). The ending is typically cynical, but that's one thing I admire about these films over the violence-glorifying Hollywood versions. パ(♐)リへ(😡)留(liú )学(🌜)中の(🕊)画(huà )学(😼)生滝(⛸)村(cūn )二郎は(➰)ふとしたこ(🛺)とから、美(👉)しい人(rén )妻(🥩)マリー・ローラ(🍬)ンと知り合(🔷)(hé )い、愛す(🛃)るようにな(⚾)った。マリー(👰)の夫ジャン(🥖)は、密輸(shū(🥋) )で金もうけをし(🦊)ている悪徳(🙃)業(yè )者で、(🦐)異常に嫉妬(🌴)深く、常(chá(💭)ng )に腹心の運(🏳)転手マック(🏺)スにマリーの後(🚇)(hòu )を尾けさ(🙄)せていた。二(🙆)郎に(😀)二度と(⬆)会(huì(🎒) )わない(🎹)決(jué(🤪) )心をしてい(👚)たマリーだ(⚫)が、二(èr )郎(🚟)がマックス(😾)に傷つけられた(⛓)ために、心(🧑)配して再会(💝)、シャンテ(🥎)ィの城にピ(🎐)クニックに(🔺)行く約束を(🕞)した。日曜(yào )日(rì(☝) )。二人はなだ(🔁)らかな風景(😠)を走り抜け(😨)、シャンテ(😹)ィの城(chéng )に(🛐)着いた。森の(🐀)中(zhōng )で唇を求(qiú(🛶) )め合う二郎(👆)(láng )とマリー(📏)。二郎がアパ(🥚)ート(🏷)に帰る(🔰)と、(🍦)日本から幼(🍁)友達(dá )の伊(🕔)都子(zǐ )が、(🤦)ツアーの途(🏆)中に立ち寄って(🈳)いた。二郎は(🎩)久(jiǔ )しぶり(🐜)に会う伊都(🚒)(dōu )子との会(📺)(huì )話の中に(🍠)も、マリー(👫)の面影(yǐng )が離れ(❕)なかった。あ(🍈)る日、二(è(🏗)r )郎はとうと(🐿)うジャンが(😊)居るのも構(🏍)わずローラ(👫)ン邸を訪(fǎng )れた(😀)。マリーは戸(🚅)(hù )惑(huò )いな(🅱)がらも、二(🈳)郎(lá(🏫)ng )を冷く(🏅)追い(💣)帰した。だが(👽)、嫉妬に燃(🛄)(rán )えたジャ(🤠)ンが以前(qiá(🅰)n )にも増してマリ(🎾)ーを責めた(🍟)てるため、(🚩)マリーはつ(💼)いに二(èr )郎(🏔)と駆け落ち(🛑)をして、自(🌉)由を得ようとし(💔)た。逃避行に(🏯)出たマリー(⏲)と二郎は、(🔯)南仏ツーロ(👃)ンで愛の日(🤵)々を送って(🌙)いた。そんなある(🏾)日、二郎(lá(🐬)ng )は過激派(pà(💙)i )学(xué )生の嫌(🛺)疑(yí(💷) )により(🧝)逮(dǎ(😕)i )捕され、止(🔵)めようとし(🌼)たマリーは(😇)、ホテルの(🐨)テラスから足を(😃)すべらせ海(😑)に落ちた。マ(🐹)リーは死ん(🛺)だ、と聞か(💿)され、日本(🌒)(běn )に強制送(⚓)(sòng )還された二郎(🛥)は、金沢の(🥉)父(fù )のもと(🔸)で、希望の(📃)ない毎日を(💀)送っていた(⭕)。そんな二郎(❤)を元気づけてく(🤗)れたのが伊(🏡)都(dōu )子で、(🎢)二(èr )郎は父(🌨)のす(🥨)すめも(😀)あっ(🧓)て彼女(nǚ )と(🔠)結婚する意(🍑)志を固めた(🈚)。その時、死(🎳)んだと思ってい(💟)たマリーが(😯)、二郎を訪(🍦)ねて来た。し(🎌)かし、二郎(🧀)(láng )がすでに(🐮)伊都子と婚(📑)約していること(🈹)を知ったマ(🔅)リーは、自(🍊)らの恋をあ(🚭)きらめて、(🕶)フランスへ(〽)帰る決心(xī(🎨)n )をした。だが、二(🏊)郎はマリー(🌜)を忘れるこ(👂)とができず(🏦)、マ(👯)リーを(👯)追(zhuī(🍪) )って、同(tó(🤶)ng )じパリ行き(🕡)の飛行機に(⛪)乗込(rù )んだ(🎠)。中(zhōng )東国に着(zhe )陸(🙋)した一(yī )行(🆗)を待ちかま(♍)えていたの(🐱)はゲリラの(🌩)一味だった(✒)。ゲリラが空(🙇)港関(wān )係者と身(shēn )代金の交(🔳)渉をしてい(🚨)る隙を盗ん(⏳)で、二郎と(🏺)マリーは、(🐢)ジープに飛(🏾)(fēi )び乗り走(zǒu )らせた。その後(💩)をゲリラが(🏅)一斉射撃(jī(🦊) )した(💣)。二(èr )人(🆚)のジ(⛺)ープが砂漠(🏌)の中を進み(🗿)、オアシス(🖤)の木蔭に着(㊙)いた時、マリーの胸は銃弾(📍)で赤(chì )く染(👜)まっていた(🦒)。二郎はマリ(🥧)ーの死(sǐ )体(📭)を抱いて果(💪)てしなく続く砂(shā )漠の中を(🕑)歩いて行っ(📂)た……。 一个(🕺)患(huàn )有慢性(🚪)心(xīn )脏病的(🚙)孩(hái )子(zǐ )，用(🚨)一种(zhǒng )智慧而冷(lěng )酷的方式(📃)(shì )谈论着自(💜)己的病情，直(🆖)至痛(🍞)(tòng )苦和(🉑)疲倦(🐡)(juàn )耗尽她所(♐)(suǒ )有的力量(🐌)(liàng )。 ：《南美(mě(🌅)i )夜/当心! 我(wǒ(🚳) )们要拍下流电影》一个笨拙(zhuō(👓) )的摄制组(zǔ(🔄) )计划拍摄(shè(❕) )一部色情(qí(🛍)ng )电影。不幸(xì(🐾)ng )的是，剧组里(📨)不是自大狂(kuáng )就是无能者(zhě(❓) )，还有一(yī )个(🥏)过于害(hài )羞(📠)的道具(jù )经(🏵)理不好意思(🚤)从性用品商(🐭)店(diàn )购买任何(hé )用具。然(rán )而(👞)(ér )，他们还(há(🎦)i )是凑凑合(hé(🌊) )合地(🔵)将拍(pā(🏅)i )片进(🥚)行到底(🆕)~~ 电影(💊)北少林描述(😫)(shù )了中国抗(🐓)(kàng )日战争时(🏦)(shí )期武林人(rén )仕(shì )与日本侵(👲)(qīn )略者的争(🍬)(zhēng )斗。 "In a town in southern Sweden, Sven Klang decides to enliven his dance combo with a new sax player, Lasse from Stockholm. At first all goes well; but bit by bit Lasse brings into question all the rigid values, musical and social, by which the faintly supercilious Sven has set his life's course. Gunnel, the vocalist, falls for the newcomer's charms and finds herself pregnant when Lasse and Sven eventually part in high dudgeon. The daily round continues. Eventually Lasse pops up again, and disappoints all save Sven by turning tail in the face of Gunnel's love and his sense of guilt at having fathered her child....The appeal of Sven Klang's Combo lies in its utter lack of pretension, in its small town atmosphere and its vivid characterisation. One imagines that the actors were able to improvise their lines and contribute personal touches that fleshed out their roles. Their autobiographies become fiction; but fiction, as so often, also becomes truth. This film recognises that big emotions stem from small incidents and that one is forever a prisoner of one's generation." (Peter Cowie, 1978 International Film Guide)