韩国mm剧情介绍
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.
它也许是世(🕍)(shì )界(💱)上第(dì(💳) )一部(🤧)真正的(📥)(de )摇滚电(diàn )影(😒)，也是(shì )摇滚这个词第一(yī )次被用到(dào )电影中，以今天(tiān )的眼光来(lái )看，它其实和一部(bù(🏈) )纪录片(🎎)(piàn )差(👵)不多，因(👡)为片(🥅)中(zhōng )的(🤒)情节(⏮)(jiē )几乎可以(🎏)忽(hū )略不记(🏤)(jì )，台词(cí )也(🙇)只是对音乐(👚)的铺(🐒)(pù )垫，它(🔟)真(zhē(💏)n )正的意(🍦)义在(🔯)于汇(huì(♐) )集了(📕)摇滚(gǔn )乐最(🕧)早一批乐手(🔓)歌(gē )手的现(⏹)(xiàn )场演出(chū(👃) )，并用这些(xiē(💞) )疯狂(🖇)在(zài )现(🏛)实世界里引(🎁)出更(gèng )多疯狂(kuáng )，由于比尔(ěr )·哈利(lì )、“彗星(xīng )”等人的演出实(shí )在疯狂，而引起的骚乱又(yòu )太(🦄)多，所(🦐)(suǒ )以在(🎳)英国(🖥)众多城(⬆)市(shì(👓) )遭到禁(jìn )映(🛂)。
敗戦－－新(🚶)京(jīng )や奉天(😶)(tiān )の女学校(🆕)から看護(hù(🚇) )婦と(🚧)して前(😴)線へ(🕝)動員さ(🧘)れて(🕝)いた白(bái )蘭(🌆)部隊と呼ば(🧚)れた女学生(✌)(shēng )達は間も(🚀)なく全員(yuá(📝)n )共産(❇)八(bā )路(🌨)軍につかま(🕝)ってしまった。そして彼等の後方野(yě )戦病院の看護婦として徴用(yòng )されることになった。そ(🔽)の病(📟)院には(🎐)、宗(🐕)(zōng )方軍(🥋)医中(📆)(zhōng )尉他二(è(🃏)r )人の軍人が(😥)徴用されて(🍎)いたが、宗(🌱)方(fāng )は外科(😓)(kē )手(🌅)術の腕(🔇)を買(🤑)われて(👌)、捕(📎)(bǔ )虜として(💻)は破格の待(🕯)遇で働(dòng )い(🙏)ていた。彼は(➗)アル中の虚(❕)無的(😄)な男だ(🍠)った。日本(bě(🧚)n )人墓地(dì )で白蘭部隊(duì )のさびしい卒業式が挙行(háng )された日、彼女達にとって最悪の事件(🐳)がも(🚵)ち上っ(⏺)た。前(🌅)線(xiàn )か(🏍)ら引(💿)き揚げて来(🔢)て気の荒く(🤫)なっている(📺)八(bā )路軍の(🙊)兵隊達が、(💩)彼女(🧓)達(dá )を(🏛)襲っ(📛)たので(😖)ある(👴)。生徒(tú )たち(🧡)をその野獣(🎰)共から護(hù(💀) )るため、引(🤱)率教師とみ(👞)子(zǐ(📇) )は到々(🙅)犠(xī )牲とな(📷)ってしまった。宗(zōng )方は半(bàn )狂乱になって自殺(shā )しようとするとみ子を押(yā )えつけながら(🐟)、彼(🕳)(bǐ )自身(♋)もま(⚽)た彼女(🛠)に対(⤴)する愛情が(🌡)身(shēn )体の中(🗃)から湧き上(🐻)ってくるの(🚜)を感じた。終(🛃)(zhōng )戦(💺)後一(yī(🚪) )年、(🍃)その頃(🎑)、国(🚡)府(fǔ )軍に圧(🍀)(yā )されて、(🔴)戦(zhàn )局は日(🦕)(rì )毎に八(bā(👟) )路軍に不利(🚣)とな(🚡)り、町(🚘)から(👰)急に撤(🚄)退することになった。この機に日本(běn )人は、旧日本(běn )軍の集結地(dì )へ脱走(zǒu )する事になっ(💿)た。脱(🏤)走した(🌩)白蘭(🚳)部隊は(⭐)、集(✉)(jí )合地附近(🛍)(jìn )の山中で(👧)、敵の包囲(🛫)攻撃(jī )をう(🌹)けて苦戦中(😱)(zhōng )だ(🏤)った。そ(🐞)こへ(🥈)後から(🕚)脱走(🛡)(zǒu )した宗(zō(🤹)ng )方の運転す(🍯)るトラック(🍼)が現場に到(😷)着(zhe )した。その(😦)トラ(🍵)ックで(🔯)女学(💮)生達(dá(🔧) )と一緒に逃げようとした時、宗方(fāng )は背中に敵の一弾(dàn )を受けてしまった。グッとのけぞ(👵)った(✖)彼は、(🎮)まる(🏍)でとみ(🛂)子と(👼)トラックを(👀)突(tū )きのけ(🛶)るようにし(🎇)て路上(shàng )に(🏵)転落した。「(💖)あー(✳)ッ」と(👩)いう(🐗)悲(bēi )鳴(🔔)とと(📸)もに、続い(🖊)て自分(fèn )も(🐜)飛び下りよ(🤒)うとすると(🧗)み子、必死(🔴)(sǐ )に(🐍)すがる(🥂)女学(😔)(xué )生達(🎣)。ガックリ路(lù )上に伏して動かない宗方(fāng )を残して、トラックは次第(dì )に遠ざかって行った。
《电(🚀)脑风(fē(🐖)ng )云》是(🤸)1957年美国(🙆)20世纪(🎷)(jì )福克斯(sī(🤥) )家庭娱乐公(🖥)司发行(háng )的(🧖)一部爱(ài )情(🎧)喜剧片，由沃(🍇)(wò )尔(🍿)特·朗(🛸)(lǎng )导(🐝)演，斯宾(💼)塞·(🛫)屈塞、凯(kǎ(🌵)i )瑟琳·赫本(🥘)等主演(yǎn )。
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.
英(🥢)文(wén )名称：(🗜)Nazha's adventures in the East Sea