泡芙小姐第二季 第163集

江户(👲)时代(dài )，汤舟(🐠)盛行一时。所(🐠)谓汤舟，即内(👉)部设(shè )有浴(🤪)室，供(gòng )过往(🍻)游客洗(xǐ(🐁) )浴(🎣)、休息乃(🚂)(nǎi )至享乐用(🏼)的小船(chuán )。少(🕥)女千代(dài )（(🖼)新井茂子(zǐ(🤒) ) 饰）就是一(yī )名汤舟侍女(nǚ(🈷) )，她终日辛(xī(💼)n )苦劳作，只为(❇)早日赚足钱(🌉)和(hé )爱人仙(🖼)吉（山本豊(💲)三 饰(shì )）回(🆒)乡结婚(hūn )。这(🦖)一日，千代收(✡)到仙吉的(de )来(🔝)信，称(😯)已(yǐ )经(🍄)攒足(🌒)30两黄(huáng )金，不(🐄)日就(jiù )来迎(🧀)接千代(dài )返(💧)乡。千代只顾(🔘)兴奋，却未意(🌎)识到危险(xiǎ(🥉)n )所在。 关于(🏰)(yú(☔) )导演：导(⏩)演(yǎn )松本俊(🍝)夫为(wéi )日本(✏)60年代独立电(🏾)(diàn )影三大支(😠)柱(zhù )之一与寺山(shān )修司、大(🏰)岛(dǎo )渚齐名(🃏)。日(rì )本著名(🕊)的“影像艺术(🥓)与科学”社团(🍖)的社(shè )长, 60年(♏)代他和(hé )大(😛)岛渚、佐(zuǒ(🔫) )藤忠男、若(💬)(ruò )松孝二、(🚩)筱(xiǎ(🌨)o )田正浩等人(🐐)创办(bàn )杂(zá )志(🍔)，直接推(tuī )动(🏻)了日本新(xī(🎏)n )浪潮电影运(🚟)(yùn )动的产生(🎄)。1968 年松本俊(🚸)夫替ATG拍摄了(🎷)首部剧(jù )情(🎯)长片《蔷(qiáng )薇(🏾)的葬列》，这部(🚵)电影(yǐng )被称(🍚)为日本新浪(làng )潮先声之作(zuò(🔅) )，也是开启(qǐ(🐪) )日本电影同(🌷)(tóng )性恋文化(📱)的(de )第一部作(😜)品(pǐn )。全片演(🚈)员皆是真实(🌃)的同性(xìng )恋(🤣)者，情节(jiē )暴(🌦)力、反叛(pà(🔕)n )，混合(📐)剥削(xuē )片、(🚜)纪录片(piàn )等(🎊)众多元素，充(😃)(chōng )满反俄狄(💚)浦(pǔ )斯情结(🚭)的意(yì )味，对(🗡)日本(běn )战后(🥑)高速发(fā(🍋) )展的经济背(🚎)后种种社会(✌)问题提出批(⏰)判，注定一开(🥀)始(shǐ )就受到(🚀)非议(yì )。这部影片(piàn )也被许多(🍱)评论家(jiā )认(🕋)为对后来(lá(🆑)i )库布里克的(🎉)(de )《发条橘子(zǐ(🗿) )》有直接影(yǐ(🚐)ng )响（人物造(🔬)(zào )型以及里(❔)面的暴力场(🎤)景）。之后陆(🏠)续拍(📬)(pāi )摄了《修罗(🚒)(luó )》（1971）、《十(🦀)六岁的战(zhà(🍋)n )争》（1973），并且(⛱)(qiě )根据日本(☝)著(zhe )名作家梦(😛)野(yě )久作的(🚬)同名(míng )侦(✍)探小说拍(pā(🥐)i )摄了《脑髓地(🚟)狱》（原著被(💔)称为日本第(🎣)(dì )一部魔幻(🥎)侦(zhēn )探小说，石(shí )井聪亘也拍(✴)(pāi )摄过他的(🌲)《梦幻(huàn )银河(👭)》）等(děng )。 Excused by commerce from the need to be serious, Skolimowski gives free rein to his fantasy in a careering period charade which makes amiable mockery of military glory. McEnery is perfect as Conan Doyle's dashing French hussar, prancing through Napoleon's Peninsular campaign with one hand on hip and the other courting disasters averted only by his sublime insouciance. Not all the gags work, but enough do to make this something of a welcome - and exquisitely photographed - treat. SYNOPSIS 抗日(🚷)战争(zhēng )期间(🏐)，江南(nán )新四(🗨)军的将(jiāng )士(🌹)与日寇展(zhǎ(👉)n )开激烈的较(🕟)量。光荣负伤(🦒)的(de )指(🔼)导员郭建(jià(🍙)n )光（谭元寿(🐉)(shòu ) 饰）和18名(🤽)新(xīn )四军战(🥩)士被(bèi )迫在(🍐)沙家浜养伤(🙁)(shāng )，耐心等待(🏦)(dài )再次奔(👝)赴沙(shā )场的(🚟)那一刻(kè )。阿(✈)庆嫂（洪雪(🚚)飞 饰）和沙(🐒)奶奶（万一(📃)英 饰）等进(jìn )步群众积极(jí(💸) )接纳、照顾(💙)(gù )伤员，战士(➗)(shì )们则各尽(👋)所能为(wéi )乡(⏯)亲分担农(nó(😘)ng )活，军民鱼(yú(🏊) )水情，可歌(gē(🕚) )可泣，难分(fè(🧝)n )难舍(🗞)。未过(guò(🚍) )多久(🚜)，鬼子开始扫(📇)荡，阿庆(qìng )嫂(😬)引领同志(zhì(🆒) )们躲进芦荡(🤔)(dàng )隐蔽。扑了(🦅)(le )一个空的日(♎)(rì )寇气急败(🐨)坏，指(zhǐ )示(🐻)假意革命(mì(🎶)ng )暗通日寇的(🦅)(de )忠义救国军(🏚)(jun1 )司令胡传魁(🌆)(kuí )（周和桐(🆕) 饰）围剿新四军伤员。在参谋(🗑)(móu )长刁德一(📁)（马长礼 饰(✴)）和日本翻(🔠)译(yì )官的怂(🛸)恿下(xià )，觊觎(🥇)“鱼米之(zhī )乡(🈳)”的胡传(chuán )魁(⛏)开赴沙家(jiā(🚢) )浜…(🍴)… Berri enjoys telling his stories so much that you feel embarrassed to point out that the material often is pretty thin. This tale of a young Jewish man trying to find his way in Paris in the 60's (will he follow his father into the fur business, or go into films?) is told with such brio, and the actors are encouraged to make the best of their gifts. Gregoire Aslan, for instance, is very funny here (and in Mazel Tov also), much more than in the routine comedies he cranked out for Hollywood. Berri plays himself with his usual hang-dog charm. 本片(♓)(piàn )改(🦐)编自河竹(zhú(🤳) )默阿弥的歌(🖇)舞伎剧「天(💒)衣粉上野初(🛹)花」。故事讲(😥)述(shù )诸候松(🦏)江娶(qǔ )档铺(👸)老板之(zhī(🐌) )女为妾。安府(🥊)掌(zhǎng )管河内(🏆)山，受松江所(🗿)托(tuō )，假扮和(🚣)尚(shàng )到松江家救(jiù )其爱女。此外，还加插了(🦎)赌徒直次郎(❣)与(yǔ )妓女三(🐘)千岁(suì )的恋(🚍)情。片(piàn )中，绚(🛡)烂的(de )舞台色(➗)彩，以及江户(👿)时代的(de )气氛(🎫)、格调(diào )，营(🕶)造得(✅)分(fèn )外(🗾)优美(🤹)悦目(mù )。 Carla (Carla Aulaulu), Mascha (Mascha Elm-Rabben), and Magdalena Munn (Magdalena Montezuma).[40] They perform as second-rate cabaret singers during the Nazi era, forced to disband when Carla takes a job with a Viennese theatre and Mascha has a nervous breakdown. Pilot haphazardly (and without much clarity) follows their individual activities; instead of depicting Carla's "show," for instance, we see her singing its main song while apparently working in a Viennese pastry shop. Magdalena attempts to find work for Mascha by posing as her aunt and appealing to a Nazi official; later Mascha rescues Magdalena from drowning herself. The two eventually find jobs as secretaries, after brief stints as "creative artists." Magdalena's voice-over then informs us that all three women meet again after the war at a Bruckner concert. They begin discussions about regrouping to go to the United States, this time as reformers rather than performers, to preach integration (apparently we are now in the late 1960s, the time of the film's production). Carla, nostalgic for their earlier Nazi stage career, is hard to persuade, but eventually they leave for the United States. Their rapid downfall as teachers there results from the publication of a Nazi-era photo of them; added to this is the controversy of Mascha's undepicted liaison with an American bomber pilot. We are told there is a trial (also undepicted), and the three go back to Germany where they perform for American troops. Carla has a miscarriage from the bomber pilot and suffers badly. The final image shows Magdalena supporting Carla as she walks around weakly in front of the same building we saw in the film's opening shot. A pop music dance show with an African-American focus. A nerdy virgin who spends most of his waking hours dreaming about big-busted, naked women gets a job catering at a film festival party that is chock full of his "dream girls". Unfortunately, he finds himself involved in a Mafia jewel-smuggling plot and must impersonate a Mafia don who he has inadvertently caused to die of a heart attack.