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Italy 1973. Giuseppe Tritoni (Ugo Tognazzi) is an ultra-right-wing congressman that doesn't agree anymore with his fascist party policy. He contacts many Italian Army officers and built a net of relationship in order to organize a Coup d'Etat (Golpe). Something goes wrong and the Interior Minister (Home Secretary) Mr. Li Masi (Lino Pugliesi) got the all information about the attempted Golpe. So the Minister organizes a counter-Golpe. Tritoni desperately, to save his project, kidnaps the Italian Republic President (Claude Dauphin) that immediately dies for heartache. Now Minister Mr. Li Masi is free to lay down the law to the rest of the country, realizing basically the actual Golpe! Tritoni surrenders and will spend rest of his time trying to sell his ideas about managing Golpe in Africa! 忘(wàng )八者(zhě )，即(🏒)在吉(🏥)原一代从事(shì(🏘) )色(📇)情(qí(🍘)ng )业，将“孝、悌、(🐠)忠、(💈)信(💆)、礼(lǐ )、义(yì )、廉(🈵)(lián )、(🥇)耻”这为人八德抛(pāo )弃(🔫)、被世人看作(🍡)畜牲(🚚)和(🕊)无(wú )赖的人。 The end of 1940s is in extreme chaos of ideology. Park Nam-Pyo, a leader of the communist party in South Korea, is assassinated during his address in a lecture meeting. Inspector Park arrests Jung-Kwon as the criminal. Kwon is released thanks to the plot of the party's underground organization but is executed by the party. After that Hong Jeong-Kyu, a convert from communism, is assassinated again and Hwang Cheon-Il, the assassin, is caught. When the case gets into the climax, the communist party under pressure assassinate chief officer Kim. Inspector Park, who is second to none to follow Kim, makes a sudden attack the hideout of the party and clears them out with his strong combative spirit. 由邵(shà(🍽)o )氏兄(👄)(xiōng )弟影业公司，导(dǎo )演(👛)楚(chǔ )原、演员岳华(🦔)、(🦁) 陈鸿烈、金峰、 施(🧚)思等(🦐)(děng )倾情(qíng )打造，剧情跌(😤)宕(dàng )起伏(fú )，值(zhí )得(💂)一(🕘)看。 童(🚻)年时代的(de )朱青(🐗)茂（(🖼)幼年(nián )：庹宗华；成(🎻)年：秦(qín )汉）曾经(😶)(jī(🐠)ng )目睹(🏊)母亲（李湘）(🎚)与(yǔ(😲) )人(🐷)通(tōng )奸，对母亲产生(🙂)忌恨(📥)，父亲染(rǎn )上重(chóng )症之(🐚)(zhī )际，更被母亲(💘)的放(😭)荡(⛏)(dàng )行为(wéi )气死；青(🎄)茂因(♐)此愤而(ér )离家，投奔慈(👑)(cí )祥的(de )吴伯母（张(😼)冰(🚴)玉(yù )）。母亲(qīn )多次(✂)想与(🔏)青茂改善关(guān )系，但青(😬)茂却(què )避而(ér )不见(🐕)，内(🧟)心变得(dé )扭曲(qǔ )，对(😥)(duì )女(🖥)人充满怀疑和憎恨(hè(😏)n )，在吴伯母的(de )劝导下(🅿)，青(🧓)茂终(😽)于肯(kěn )去旅(lǚ(🙎) )馆会(😬)(huì )见母亲，撞见一个男(🏈)(nán )人(🦎)从(cóng )母亲房间走出来(🎏)，虽然最后误(wù(👜) )会化(🈷)(huà(🙅) )解，母亲却再也不愿(🛐)见他(👩)(tā )...。几(jǐ )经波折，青茂毕(🍻)了业(yè )要去成功岭(👕)受(📔)(shòu )训，母亲赶来送别(🚘)，在火(🌾)(huǒ )车要(yào )离开月台之(🤘)际，母亲(qīn )却被突如(🎓)其(🕛)来(lái )的车(chē )子撞倒(💫)...。 태평(🤤)양에서 폭풍우로 아버(🕟)지를 잃은 은주는 그(🥧) 충(🏊)격으(🔦)로 정신병원에(🌗)서 3년(🍠)을 보낸 후 회복을 위해(🎭) 어느(🧔) 해변가로 보내진다. 그(♓)곳에서 만난 플(⏯)레이(🏃)보(🐗)이 영남은 은주를 농(🛬)락의(⚽) 대상으로 유혹하나 결(😸)국 그녀에게서 참된(🐘) 사(🕓)랑을 배우고 결혼하(🎋)게 된(✂)다. 어느날 죽은 줄 알았(🐋)던 아버지가 반신불(🧣)수(😂)가 된 몸으로 나타난(🧟)다. 그(😊)러나 행복한 재회도 잠(🥂)시, 아버지는 은주의(😉) 행(📚)복한(✳) 결혼생활을 방(🍅)해하(🎊)지 않으려는 마음에서(👢) 그녀(🔮)의 곁을 떠난다. Two children go behind the scenes of a small circus. 文豪・(🍙)夏目漱石の同(⏹)名小(🥁)説(🕌)(shuì )を新(xīn )藤兼(jiān )人(🈵)監督(🥕)が映画化(huà )。ふたりの(🤑)学生とひとりの娘(🈸)(niá(Ⓜ)ng )をめぐる愛の葛藤(🎑)(téng )を(⛓)描く。若さと美しさを(👫)併せ持つ下宿先の(🖇)娘(🎵)(niáng )・アイ子に思(sī(♌) )いを(💓)寄せる主人公。ある日(🤼)、隣の部屋に暮ら(🎣)す(🔛)親(qī(💰)n )友から、アイ(🥐)子を(🏣)愛してしまったこと(🖥)を告(⛔)(gào )白され…。 愁云惨淡(🔹)(dàn )的华(huá )盛顿(📼)市，一(🧘)幢(👍)普通公寓内，单(dān )身(🍽)妈(mā(🚬) )妈克(kè )莉丝（艾伦·(❕)鲍(bào )斯汀(tīng ) Ellen Burstyn 饰）和(🚠)女(👷)儿芮根生活于此(cǐ(🥓) )。然而(⛺)近一段(duàn )时间(jiān )，克莉(🔴)丝却被女(nǚ )儿种(zhǒ(🏟)ng )种(🔺)怪(guài )异的举止折磨(👁)得烦(🗞)躁(zào )不堪。芮根的(de )行为(✌)(wéi )举止怪异，迥异(yì(🍣) )常(🐥)人(ré(🌍)n )。克(kè )莉丝带她(🏊)求医(💶)问卜，终无所获，甚(shèn )至(🐰)精神(🕢)科医生也束手(shǒu )无策(🚔)(cè )。万(wàn )般无 奈(🥦)之下(😺)，几(📥)近绝(jué )望的(de )母亲求(🚴)助于(🚁)莫林神父（马克斯(sī(🌋) )·冯(féng )·西(xī )多 Max von Sydow 饰(👲)）(😱)，一个有(yǒu )着丰(fēng )富(⚓)驱(qū(💞) )魔经验的老者。恐怖(bù(💎) )的夜晚，神父(fù )与藏(🌵)(cá(🛳)ng )身少女体内的恶(è(🚀) )魔展(🏪)(zhǎn )开连(lián )番较量。这是(🧕)一个注(zhù )定让无数(🎏)人(🚼)永(yǒ(🍰)ng )生难(nán )忘的恶(🎂)魔之(🐃)夜…… Carmen Suite is a one-act ballet created in 1967 by Cuban choreographer Alberto Alonso to music by Russian composer Rodion Shchedrin. The premiere took place on 20 April 1967 at the Bolshoi Theatre, Moscow. The music, taken from the opera Carmen by Georges Bizet and arranged for strings and percussion, is not a 19th-century pastiche but rather "a creative meeting of the minds," as Shchedrin put it, with Bizet's melodies reclothed in a variety of fresh instrumental colors (including the frequent use of percussion), set to new rhythms and often phrased with a great deal of sly wit. Initially banned by the Soviet hierarchy as "disrespectful" to the opera for precisely these qualities, the ballet has since become Shchedrin's best-known work and has remained popular in the West for what reviewer James Sanderson calls "an iconoclastic but highly entertaining retelling of Bizet's opera."