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An Arkansas farmer stages a one-man war against corrupt land developers who want to evict him and his neighbors from their farms for real estate developments. 纪录片关于(🥣)西班牙新歌运(🔨)动的历史(🌦). 昭和(😩)５１(19７6)年(🅾)　　(🗣)　東宝(bǎo )　　　　197６(🌺) (昭51)年キネマ旬(🤶)報ベストテン(🌍)第29位) Variation, based on the book by Hiroyuki Itsuki, a novelist especially popular with women, was the final work of the late Nakahira. His previous themes of first love, disppointment, anguish and tenderness are projected as the undercurrent to this story of the renewed love of two former university students. They meet dramatically who Morii, a political radical on the run from the police, is concealed by Kyoko while performing a puppet show at the university. Their affair is cut short when Morii is forced to go into hiding. When they renew their affair ten years later after an accident meeting in Paris, the same desperation inherent in their young love again clouds their relationship: Morii's fugitive years have subjected him to a stress which has made him impotent, and once again Kyoko is plagued by Morii's inability to love her totally. Only escape seems to hold hope for reconciling their situation, and the two plan to steal away to the south of France but it seems that the couple are doomed to play only a variation on the same tragic theme of their love. 勒维（达(🏺)斯汀·霍(💗)夫曼(👻) Dustin Hoffman 饰）在不(🚊)久之(📪)前刚刚失(🍱)去了(le )父亲，这(🕗)(zhè )让他和哥哥(🚰)多克（罗伊·(🥙)施奈德 Roy Scheider 饰）之(🐇)间的感情变得(🍥)更加紧密(🆗)。某日(💩)，勒维邂逅(🐬)了名(míng )为艾尔莎(shā )（玛尔(🆒)特·克勒尔 Marthe Keller 饰(🍾)）的美丽女孩(📊)，瞬间坠入情网(🕎)的勒维随(🏊)即向(🏭)艾尔莎展(🗼)开了(♌)热烈的(de )攻势，很(hěn )快，两(🕓)人便走到了一(👨)起。 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. The Big Racket benefits immensely from a strong leading performance courtesy of Fabio Testi (star of What Have They Done to Solange). Testi's portrayal of the angry police officer is perfectly judged to fit the movie, and I don't think there is an actor who could be better suited to playing the lead in this movie. He heads a strong Italian cast, who all do well in bringing their characters to life, as well as providing the movie with the Italian style that it revels in. The script is really good, and finds time to flesh out its characters as well as deliver witty dialogue that is always a part of this movie's bigger budget American cousins. The plot builds well throughout as there's always enough going on to keep things interesting. It all boils down to a fabulous conclusion which serves in ensuring the movie gets the bloody end it deserves, as well as rounding off the story perfectly. The Big Racket features a great sleazy atmosphere, in which the story is able to flourish, and the catchy music score helps to make sure that the film is technically sound.