火影忍者261 第1期

美しい芸者・(📽)滝の家(jiā(🍙) )清葉に片思いの医(🏈)学者・葛(🌇)木(😾)は、ある(🕺)日、思(🔳)いきって告(🦊)白するが(🏅)、旦那に一途な清葉に振ら(😅)れてしま(🎂)う。それを知(🦂)(zhī )った(♊)ライバル(🕞)芸(🐎)(yún )者の稲(😗)葉屋お(🐎)孝(xiào )は、葛(🀄)木をカモ(📠)にしようと彼に言(yán )い寄る(😭)。一方、か(🏮)つて清葉に(📴)振(zhèn )ら(💇)れた直後(📫)に(🥜)お孝に言(⏲)い寄られ、弄ばれて捨てら(💫)れた五十(👕)嵐は、お孝を執拗(📨)に追(zhuī )い(🍒)回(👣)していた(🦃)…。 An insurance investigator and his wife look into the case of Mrs. Gillespie, who has been widowed twice -- and has twice enjoyed windfalls from her husbands' life insurance. 简素(⚾)华（王丹凤(💳)(fèng ) 饰）和(🎖)实习医生(shēng )沈浩如（李纬 饰(😧)(shì )）是一(🐅)对恋人，沈(shě(😺)n )希望早(🎺)日与小简(🏤)(jiǎ(🍞)n )结婚，留在(✈)大城(ché(➗)ng )市生活。而简(🍦)素(sù )华却(🕠)甘愿服从组(zǔ )织分配，支援祖(🕹)(zǔ )国(guó )边(👿)疆建设。来到(🤜)(dào )边疆(🐪)的第一天(🧒)晚(🌒)(wǎn )上，她在(🕙)简朴的(de )宿舍里写下了走(zǒu )向(🎩)(xiàng )新生活(🚥)的日记。然而理想与(♎)现实(shí )是(🥁)有(🕘)差距的，工(😝)(gōng )地医(👋)务站站长莫(🏜)(mò )家(jiā )彬(🍾)（傅伯棠 饰）和护士顾惠英(🐈)（蒋天流(🐠) 饰）只顾(gù(🤕) )恋爱而(🔣)忽视了工(🏡)(gō(🦎)ng )作(zuò )，工人(🎵)们意见很(hěn )大，而简(🔃)素华的(de )到(🙆)来又令莫家彬(bīn )对其大献殷(🏗)勤，引(yǐn )起(👞)了顾惠英的(🌷)(de )误(wù )会(🚂)。小简忍着内(🥓)(nèi )心的痛(🥔)苦与不快(kuài )，积极努力的工(gō(🍔)ng )作，她的工(🖇)作热(rè )情(qíng )赢得了(🥀)广大工人(🍑)(ré(🍋)n )的称赞，也(🙃)引起(qǐ(♐) )工区主任高(🎿)昌平(píng )（(🐑)汤化达 饰）的(de )好(hǎo )感。沈浩如(🖼)突然(rán )来(〰)到工地，要接(😌)(jiē )简素(🈚)华回上海(🛠)结(🎱)(jié )婚，其结(🏅)果俩人(rén )不(bú )欢而散。规模宏(👃)(hóng )大的工厂落成后(hòu )，高昌平(⏲)将率领(lǐ(🛵)ng )队伍奔赴新(🖋)的建(jià(💿)n )设(shè )工地，临(🗞)行前(qián )，他(💇)向简素华发出(chū )了邀请...... 七名(🍵)死囚(qiú )与(🏆)日军翻译刀疤(bā )李(📞)被日军带(➰)到(🌠)荒(huāng )岛(dǎ(🐵)o )埋藏黄(📙)金, 众人合(hé(💞) )力将日军(🈶)杀死, 夺(duó )去黄金. 八人为独(dú(😩) )占黄金而(🌆)互相残(cán )杀(😧)(shā ), 连因(🎗)宣传抗日(🌬)被(🆚)(bèi )判死刑(👄)的老师老(lǎo )董也财迷心窍, 结(😗)(jié )果被同(🔲)党大只鹏(péng )陷(xiàn )害(🎹)被捕. 鹏, 李(🍓)等亦(yì )相继(🤙)为争夺(🌤)黄金(jīn )而送(⭐)命. 梁宽主(🚇)理(lǐ )河南宝芝林分馆(guǎn )，不值(😛)当地土豪(🏾)(háo )马(mǎ )云德父子所(😥)为，屡起纷(🔭)争(🚓)。马家(jiā )打(🌵)手铁拐(🎾)李与宽(kuān )素(⬅)有嫌隙，于(📓)土(tǔ )地(dì )诞黄飞鸿出狮采(cǎ(😈)i )青时，趁机(🦒)纠众(zhòng )破坏(🎇)，展开一(💛)场(chǎng )肉搏(🔄)战(🏯)。德父子(zǐ(🅾) )终(zhōng )堕楼而死。 EIGHT HOURS OF FEAR (aka HACHIJIKAN NO KYOFU, 1957) offers a classic suspense plot focused on a group of people confined to a small space under threat from criminals who have taken control of them. In this case, it's a small rural bus containing about 15 passengers on their way to make a train to Tokyo after the train line they meant to ride has stopped service due to a landslide. The bus is then stopped and boarded by a pair of criminals fleeing with the proceeds of a bank robbery. The passengers constitute a microcosm of Japanese postwar society and their numbers include a businessman and his arrogant wife; a lecherous lingerie salesman with crude personal habits; a radical student couple given to singing Russian work songs; a despairing single mother with her baby; an aspiring actress on her way to an audition; a seasoned sex worker lamenting the closing of American bases in Japan; an old couple going to visit their daughter; and a detective escorting his prisoner, a convicted murderer. The driver is an old man who works rural mountain routes and the rickety bus is a relic of an earlier age. The movie itself, although filled with references to World War II and postwar problems, plays like it could have been filmed and staged twenty years earlier. It has the feel of a much older movie and deliberately recalls such Hollywood movies of the 1930s as Frank Capra's IT HAPPENED ONE NIGHT, much of which also takes place on a long bus trip through back roads, and John Ford's STAGECOACH, but with a much darker edge than either of those films.