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Probably the most controversial of Woolley's films, because of an audio rape sequence with flashes of nudity that split critics and viewers (especially feminists) right down the middle – some saying it was exploitative, others saying it was essential to get the formalist message (that we are all voyeurs in the cinema, often viewing at the expense of women) across. The film tells the tale of a housewife (who we never totally see, but can hear) trapped in her luxury house at the mercy of a husband and ruthless police team investigating an illusory political crime that she may or may not have committed. Her husband (the only character we see in a conventional manner) comes in and out of the story and alternates between patronising solicitousness and cold anger. The whole is constructed around a relentlessly repetitive sequence of shots that, in the course of the film, moves ten times from wide shot exterior to intimate interiors, with the story being updated and narrated every time we return to the exterior. In each sequence, there is one POV handheld shot that varies and is usually from the wife's point of view; otherwise the story is told within the confines of the repeating images (same framing and camera movement) with only the action varying. Voiceovers narrate and reflect on a woman's position, as well as dominant male perspectives, in society. 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. 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. S13E21-26 Drama teacher and writer of soap operas keeps his frustrating marriage because he doesn't have the existencial courage to get divorced. But he meets a temperamental and rich student, with whom he engages in a neurotic relationship. 第二次(🏷)(cì )世界(🌞)大战(zhà(🧀)n )的时候(🚑),1940年(nián )在一个法国南部小镇(zhè(🥙)n )上发生(👉)的(de )故事(🏕)。艾(ài )丽(😒)安那是(shì )经营自己药(yào )店的(💡)一个(gè(💏) )大学教(🚕)授(shòu )的(🤯)妻子，她抗拒不了(le )来自在药(yà(🏼)o )店里打(🎄)杂(zá )的(🌒)很有心(🕯)(xīn )计的阿鲁曼(màn )的骚扰，结果(🍚)一步(bù(⤴) )步走向(🌫)肉(ròu )欲(➗)的深渊。无能的丈(zhàng )夫(🕧)，无辜(gū(♌) )的女儿(🏠)，失去理(🐰)智的妻(🌜)子，充(chōng )满欲望和(hé )野(👕)心的阿(⏹)(ā )鲁曼(🙍)，在炮火(🛎)纷飞的(de )战争年代(dài )构成了一(🔻)(yī )道奇(🚴)异的风(🔥)景。 勒维(🏕)(wéi )（达斯汀(tīng )·霍夫曼(màn ) Dustin Hoffman 饰(🍃)）在不(🌺)(bú )久之(😘)前刚刚(⛪)(gāng )失去了父(fù )亲，这让(ràng )他和(🚫)哥哥(gē(🚃) )多克（(💕)罗伊(yī(🤴) )·施奈德(dé ) Roy Scheider 饰）之间(jiān )的感(🌈)情变(bià(🔠)n )得更加(⛰)紧密(mì(🍘) )。某日，勒维邂逅(hòu )了名为艾(à(🧀)i )尔莎（(😣)玛尔特(🤰)·克勒(🔞)(lè )尔 Marthe Keller 饰）的(de )美丽女孩(⛄)(hái )，瞬间(🛠)坠入情(🏭)网的勒(🍑)(lè )维随即向(xiàng )艾尔莎展(zhǎn )开(🥋)了热烈(🦁)的攻势(🐈)，很(hěn )快(📪)，两人(rén )便走到了(le )一起。 12岁的小(🚺)女孩爱(🔥)(ài )丽丝(🥓)•斯(sī(🗿) )佩姬（Paula E. Sheppard 饰(shì )）来自一(yī )个单(🛤)亲家庭(😕)(tíng )，她与(🎳)母(mǔ )亲(📳)凯瑟琳(lín )（Linda Miller 饰）和(hé )妹妹凯(👖)伦（Brooke Shields 饰(🏳)）生活(💓)(huó )在一(🧢)起。凯瑟琳几(jǐ )乎将全部的母(📈)爱给了(♌)(le )凯伦，而(🎽)(ér )爱丽(🔷)丝仿(fǎng )佛被遗忘了一(🌬)般。她(tā(🀄) )的性格(🥙)因(yīn )此(👊)日渐反(🔡)(fǎn )叛和扭曲。