解放电影剧情介绍
Doctors Burke and Hare leave the confines of St Swithins for the world of general practice, stopping off on the way as patients at the Foulness Anti-cold Unit. Hare then takes up a position as junior in a well-healed G.P.'s surgery while Burke continues to sow his doctorial wild oats.
长腿姑娘胡亭亭沉默(mò )内(🤘)向(xiàng )，妹彬彬(bī(👺)n )则活(huó(💟) )泼好动(🏗)。亭因(yīn )性格高傲，迟(👯)迟未有(🌎)(yǒu )恋爱(🌯)对象(xià(📠)ng )，令(lìng )母(🐛)陈静芳(fāng )焦急(jí )万(🛃)分。芳为(🌅)求攀龙附凤，强(✡)逼丈夫(🕸)(fū )与女儿出(chū )席富(🐐)(fù )贵友(💿)人的(de )生日(rì )会(🉐)。宴会上(🈂)，姊妹俩结织了富(fù(🤰) )家子(zǐ(🛑) )金却利和(hé )车(⛴)行(háng )工(😆)人小金(jīn )。利向亭，彬大献殷(📆)勤，亭不屑一(yī(⛲) )顾，反而(🐿)对忠(zhōng )厚朴(pǔ )实的金萌生(🆒)好感，二人旋即(🔵)堕(duò )入(⬜)爱(ài )河(🗞)，却遭(zāo )劫利(lì )的芳(😝)反对(duì(🏖) )。利(lì )转(📰)而追求(👫)彬，被顽(💾)皮的彬连番(fān )戏弄(🧠)(nòng )，吃尽(🔏)苦(kǔ )头。后芳得(🚱)知金实(🛣)为车行代理商的儿(🈲)子(zǐ )，遂(🐖)欣然(rán )接受(shò(⛏)u )金与亭(🖕)的(de )婚事(shì )。
中国明代(🎺)传奇作(🌓)品。作者佚(yì )名(🦕)。据流传(🌂)于(yú )潮汕(shàn )、闽南的(de )陈三(🛤)、五娘故事改(🐗)编。叙(xù(🐪) )述泉州人(rén )陈三(sān )（陈伯(🌷)卿(qīng )）(🐍)送(sòng )兄(👋)陈伯贤(🎁)赴广南(💱)任所，路经潮州，在元(🔐)宵灯(dē(🕰)ng )市与(yǔ(🍔) )五娘（(🔇)黄(huáng )碧(🧛)琚(jū )）邂逅，互相爱(🥕)慕。黄之(👲)父母(mǔ )已将(jiā(🌡)ng )五娘许(🛏)配(pèi )豪富(fù )林大，下(📚)聘之日(🔸)，五娘踏坏聘礼(✈)，赶走媒(🙈)人(rén )。翌(yì )年，陈三(sā(🎢)n )重游(yó(🔧)u )潮州，两人再遇(🔝)，五娘投(🥒)荔枝(zhī )订情(qíng )。陈三乔(qiáo )装(💎)磨(mó )镜匠，打(dǎ(✴) )破宝镜(🍚)，卖身黄家为奴。在婢女益(yì(💺) )春促(cù(❎) )使下，两(🌔)(liǎng )人终(🚃)(zhōng )成连(💯)理，并相偕私奔。陈三(🤧)被捕入(💶)(rù )狱，幸(🛀)得(dé )其(🈴)兄(xiōng )相(👠)助，与(yǔ )五娘(niáng )团聚(👥)。此剧带(🏜)有鲜明的叛逆(🕊)封(fēng )建(🅾)礼(lǐ )教色彩，讴歌(gē(⛽) )男女自(🚰)由婚姻，为封建(🏪)卫道者(🙍)所不(bú )容，明、清两(⛱)(liǎng )代一(🎌)再遭(zāo )到禁(jì(🙎)n )演。
Shirley Anne Field gives a fiery performance as a young designer on the brink of starting an affair with a married male supervisor (Robert Stephens) at the wallpaper factory where she works. Based on the play by acclaimed writer John Mortimer (Rumpole of the Bailey), Lunch Hour is directed by James Hill (Black Beauty, Born Free). With its tightly-focused plot and real-time narrative this stylish examination of an illicit lunch-hour rendezvous features an underlying sexual radicalism that tells us much about the time in which it was made.
Sorry but despite the fact that the 1931 version of this novel was the only western film to win an Academy Award for Best Picture it does not compare to the entertainment value of this version. True this is perhaps not the best adaptation of Ms. Ferber's novel, but then how many films are perfect adaptations of their source material. There are wonderful scenes missing from this adaptation, but then there are wonderful scenes missing from the adaptation of GWTW. No, I am not comparing this to a classic like GWTW. But the '31 version is not in the same class as GWTW either. This film should be taken for what it actually is, a good solid epic entertainment with spectacular scenes and good performances. Glenn Ford is perfect casting for Yancy. His performance is far superior to that of the overripe, stilted scenery chewing one delivered by Richard Dix in the original. Ford's boyish manner easily captures the charming immature nature of the character. Maria Schell is on a par with Irene Dunne. It is a pity her character was rewritten from the novel to be weaker than Ferber intended. This was obviously done to make the film Ford's but she's still gives a performance that is on the money. As so do the myriad supporting players in the film. Back in 1960, MGM obviously needed a big movie to move into the theaters that had been playing "Ben-Hur" for over a year. So this production was rushed to completion to fit the bill. The fact that it was shot in Cinemascope instead of a "Big" 70 mm process is evidence of this. It has been written that the production was shut down before the scripted ending could be filmed. This explains the rather abrupt and somewhat awkward end to the film. Perhaps a regular non "Roadshow" release might have fared better both with the critics and at the box-office. It often seems that those who praise the older version over this film have seldom actually seen the former. For many years the 1931 version was not available for viewing. During that period many film historians gushed in their praise of it. When it finally reappeared on screens most of them found it very creaky and revised their opinions but the older opinions are still in print, available and read. True, they didn't change their opinion of this version, but the older fell into proper perspective...Cinema History and rather dry history at that. While this version is not a classic it remains good entertainment. Compare it to "How The West Was Won" made by the same studio just a few years later.
Park Nam-u (Kim Jin-gyu) works at a Japanese pharmaceutical company and lives happily with his wife, Gyeong-hui (Choe Eun-hui), in a house filled with beautiful white roses. Not long after hearing the wonderful news that his wife is pregnant, Park Nam-u is drafted into the war in the Pacific. Posted in the Gwandong army, he survives the battle, though his face is burned. Back home, Gyeong-hui receives a telegram stating that her husband is dead. When she gives birth to their son, Cheol-su (Nam Yang-il), she goes to live in Seoul. When Nam-u comes back to the country, he doesn't go to his wife, but rather goes to live in his hometown. On his way home, he encounters a child whose mother is dead, and takes her in as his own daughter. As his daughter, Park Pyeong-suk (Eom Aeng-ran), enters university in Seoul on a scholarship, Nam-u joins a pharmaceutical company thanks to his friend (Heo Jang-gang). Pyeong-suk and Cheol-su meet by chance and begin to have feelings for each other. When the president of the pharmaceutical company (Lee Min) holds a party commemorating a pending patent and invites Nam-u, Gyeong-hui, who is now the wife of the president, runs into Nam-u at the party, and she tells him that Cheol-su is his son. When Nam-u participates in the April 19 Revolution, he finds Cheol-su injured and brings him to the hospital and tells his family. Nam-u leaves, saying that everyone would be happier if he were to disappear. With that, he gloomily walks away.
The seven stages of woman – seven stories about French women and love in the sixties. Childhood: A seven-year-old girl wants to know the secrets of birth. Her parents do not know how to explain such a delicate matter... Adolescence: A sixteen-year-old girl is flirting with several admirers. Her parents must help her to find the right way... Virginity: A young man wants to spend his first night with his fiancé(🍉)e. As she hesitates, he decides to wait just a little longer... Marriage: A recently married a couple soon find their honeymoon almost spoiled by jealousy... Adultery: A frustrated married woman takes a lover but the reaction of her husband is not be what she had expected... Divorce: A bored couple decide to divorce, but family friends and lawyers will almost spoil the love they still have for each other... The single woman: A gentle crook takes advantage of women and always get away with a minor sentence. His last victim will prove to be smarter than him...
Sorry but despite the fact that the 1931 version of this novel was the only western film to win an Academy Award for Best Picture it does not compare to the entertainment value of this version. True this is perhaps not the best adaptation of Ms. Ferber's novel, but then how many films are perfect adaptations of their source material. There are wonderful scenes missing from this adaptation, but then there are wonderful scenes missing from the adaptation of GWTW. No, I am not comparing this to a classic like GWTW. But the '31 version is not in the same class as GWTW either. This film should be taken for what it actually is, a good solid epic entertainment with spectacular scenes and good performances. Glenn Ford is perfect casting for Yancy. His performance is far superior to that of the overripe, stilted scenery chewing one delivered by Richard Dix in the original. Ford's boyish manner easily captures the charming immature nature of the character. Maria Schell is on a par with Irene Dunne. It is a pity her character was rewritten from the novel to be weaker than Ferber intended. This was obviously done to make the film Ford's but she's still gives a performance that is on the money. As so do the myriad supporting players in the film. Back in 1960, MGM obviously needed a big movie to move into the theaters that had been playing "Ben-Hur" for over a year. So this production was rushed to completion to fit the bill. The fact that it was shot in Cinemascope instead of a "Big" 70 mm process is evidence of this. It has been written that the production was shut down before the scripted ending could be filmed. This explains the rather abrupt and somewhat awkward end to the film. Perhaps a regular non "Roadshow" release might have fared better both with the critics and at the box-office. It often seems that those who praise the older version over this film have seldom actually seen the former. For many years the 1931 version was not available for viewing. During that period many film historians gushed in their praise of it. When it finally reappeared on screens most of them found it very creaky and revised their opinions but the older opinions are still in print, available and read. True, they didn't change their opinion of this version, but the older fell into proper perspective...Cinema History and rather dry history at that. While this version is not a classic it remains good entertainment. Compare it to "How The West Was Won" made by the same studio just a few years later.