サド・(🍃)マゾ小(🚳)(xiǎo )説の大家団鬼六の代表作の映(yìng )画化(🗃)(huà )で、(🏻)美しく(📡)雅やか(⚽)な生花(🍚)の家元が、嗜虐の魔(mó )手にかかって、ＳＭの(🌖)世界に(💗)落ち(🎛)こ(💜)んで(💸)いく姿(🔚)を描く(🐈)。脚本は「女囚(qiú )１０１ 性感(gǎ(👪)n )地獄」(🚌)の久(jiǔ(🛸) )保田(tiá(🎈)n )圭司(sī(🖖) )、監督(⛪)は「四年(nián )三組のはた」の藤井克彦(yà(♉)n )、撮(cuō(🌪) )影は(🔴)「(🎸)濡れ(🐀)た壷」(🍲)の水野(📏)尾信(xìn )正がそれぞれ担(dān )当。
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.
黑女(nǚ )仆
实(🐲)习医生(🛡)方洁（(💡)林青霞(🐝)(xiá )）是(🎒)(shì )位俏佳人。许多(duō )男“病人”慕貌而来。路一鸣(míng )（(🍵)邓(dèng )光(😓)荣）(🥒)真(🚀)患感(🧣)冒(mào )，来(🤪)找方医(🍧)生看病，也被(bèi )当成(chéng )捣乱(luàn )者…(🖕)…邂逅(🛡)相识(shí(⏩) )，路一鸣(🐣)开始(shǐ(🐦) )追求方(✂)医生(shēng )。但(dàn )方医(yī )生拒之千里。无(wú )奈下(📊)，路(lù )的(🎗)朋(pé(💱)ng )友(💧)屡次(🌛)使用(yò(🥉)ng )“狼(láng )来(🆎)了(le )”的招数，诓骗方医生给(gěi )路看(kàn )“病”，以(yǐ(🥈) )求一(yī(🔢) )见……(🥟)其中，误(😵)会接二(👿)连三，情节(jiē )颇为戏剧。整个(gè )影片节奏明快，搞笑(🔱)不断。是(🎩)(shì )一(📼)部(🕧)(bù )十(🗳)分好看(🌑)的电影(🕖)(yǐng )。
Great Italian pulp movie, a classic for the genre! "Roma l'altra faccia della violenza(trad.:The other side of violence)" is a police movie where violence, theft and rape are caught in a mixture of raving unconsciousness and pure havoc. With a great appearance by Franco Citti, this film stands up for one of the best Italian pulp movie ever made. Quite similar to "Roma Violenta" and "Milano Violenta" with Maurizio Merli yet not the same cup of tea. It deserves more rudeness, rawness and pathos for the audience...
In 1926, famous evangelist Aimee Semple McPherson disappeared for six weeks. When she surfaced, she claimed that she had been kidnapped and held prisoner in Mexico. Others claimed that she was off carrying on an affair with a married man. This movie dramatizes the court hearing held to determine exactly what happened.
在故事上，这只黑猩猩(xīng )和原(yuá(📣)n )版的(de )如(🧥)出一辙(👗)，只是(shì(🍲) )他是个(🏜)彻头彻(💪)(chè )尾的坏家伙(huǒ )，在(zài )银幕(mù )上的破坏力(🎪)实在(zà(⛄)i )让人(💢)无(🛅)法(fǎ(🗄) )消受(shò(🍘)u )。
12岁的小(📙)女(nǚ )孩爱(ài )丽丝(sī )•斯佩姬（Paula E. Sheppard 饰）来自(♟)一个(gè(⚫) )单亲(qī(❎)n )家庭，她(🏤)与(yǔ )母(🍈)亲(qīn )凯瑟(sè )琳（Linda Miller 饰）和妹妹凯伦（Brooke Shields 饰(shì )）生(shē(🥚)ng )活在一(🦏)起。凯(🕧)瑟(🈯)(sè )琳(🍭)几乎将(🏎)全部的(🏫)母爱给了凯伦(lún )，而(ér )爱丽丝仿佛(🌽)被遗(yí(🕊) )忘了一(🐴)般。她的(🐅)性格因(🌇)此(cǐ )日(🌳)渐(jiàn )反叛(pàn )和扭曲。
本片是(shì )费拉里对现(🛬)代(dài )社(🍆)会文(💲)明(🍺)和(hé(👴) )小家(jiā(🚺) )庭中(zhō(🔦)ng )男子的作用的最(zuì )新探讨的(de )成果(guǒ )。工程(🚰)师热(rè(🥂) )拉尔(ě(🐂)r )德被(bè(👓)i )妻子抛(📴)弃了，并把小儿子(zǐ )皮耶(yē )罗特留给了(le )他。当工(gō(🏚)ng )厂宣布(🈵)休假(🙅)时(✍)，他把(😃)保姆(mǔ(💇) )当作(zuò(🏝) )情人；在短短的(de )时间内，他重新经(😴)受了令(🏆)人伤(shā(🐙)ng )脑筋(jī(⏺)n )的以两(💟)性斗争(🏐)为(wéi )特点的两人关系发展的全(quán )过程(chéng )。热(rè )拉(🕍)尔德(♈)完(🚇)全被(🌶)以(yǐ )性(❗)交为表(🛡)现的(de )男(🛐)性意识所(suǒ )支配(pèi )。当(dāng )他同情人(😱)的关系(🌃)(xì )发生(🏅)危机(jī(✖) )时，他的(🚩)情人却(què )和他(tā )的前(qián )妻成了好朋友。他出于抗(🐧)(kàng )议和(🛬)(hé )绝(🐪)望(🌂)用一(👒)把厨房(〰)(fáng )用的(🌳)(de )电锯把自己的生殖器割掉(diào )了。这(🔭)个可以(🏷)作为模(🦄)(mó )式的(🥧)事件的(🏔)大部分(💉) (就象在戏剧(jù )舞台(tái )上一样)发生在一(yī )套高层(🐃)小公(🔬)寓(😺)里。费(🐱)拉里(lǐ(💘) )批判(pà(🌉)n )了他(tā(🚌) )的主人公的大男(nán )子主义，同时(shí(👣) )也表现(🔨)了由(yó(🥝)u )于生(shē(🙁)ng )活(工(gō(🚾)ng )作，住宅，千篇(piān )一律的生(shēng )活秩(zhì )序，孤独寂(jì )寞(➰))造(zào )成(🤩)的(de )绝(🍵)望(😍)和灰(🍉)心丧气(💔)。如果说(🚃)(shuō )影片(piàn )留下了一种相互(hù )矛盾(dùn )的印(⏲)象，那是(🤫)由于影(💘)片以(yǐ(🍳) )独特(tè(👙) )的方式提出了问(wèn )题：这个男人是他的行为的(🚌)牺(xī )牲(👊)品(pǐ(🏇)n )，也是妇(🚍)女全面(🏙)(miàn )反抗(⏫)的牺牲品(pǐn )；费拉里在(zài )这部(bù(🍲) )影片(pià(🦗)n )中同样(🐖)使用了(⬇)多(duō )种(🚹)手法，而且(qiě )通过一些“煽动(dòng )性"的(de )细节和效果来(🔲)吸引更(🥟)多的(🍉)(de )观(🎱)众(zhò(🍅)ng )。
An Italian revenge- themed crime film. A young man tries to rob a jewellery store but gets caught and sent to prison. Inside he befriends a crime boss and they break out together. After this comes the first plot twist which I'm not going to reveal...All in all an entertaining crime flick for fans of European hardboiled cinema of the seventies. Includes a truly remarkable motorcycle chasing a lorry- scene which includes either real crash footage or the most convincing effects I've ever seen.