Although pretty much forgotten, The Last Round aka Il Conto é Chiuso is a good example of a familiar story made fresh by the quality of its execution, as a stranger drifts into a decaying Italian industrial looking to settle an old score. But this violent modern-day (well, 1976) poliziotteschi is closer to Dashiell Hammett's Red Harvest than the first two films it inspired, Yojimbo and Fistful of Dollars, set in its own Italian Poisonville divided between two rival gangs that he soon sets against each other. Surprisingly, despite being directed by the sometimes more adequate than inspired Stelvio Massi, it's shot with striking visual imagination and remarkably fluid camera-work from Franco Delli Colli. The two leads are impressive too, with Luc Merenda a wonderfully effective and dapper villain and undefeated middleweight champion boxer and offscreen wife-beater and murderer Carlos Monzon a surprisingly effective leading man in the mould of a young Charles Bronson.
猫の(😀)ペロが(🧝)大活躍する冒険(xiǎ(🐫)n )活劇「(📜)長猫」シリーズの(🚥)３作目(😩)。キャラク(🏩)ター設定(🚌)はシャル(💐)ル・ペ(😘)ローの『長靴をは(💉)いた猫(🥜)』から、ストーリ(🎙)ーはジ(🏧)ュール・ベ(📭)ルヌの(⬆)『80日間世界一周』(🈯)から取(🥣)っている。長靴をは(🛃)いた猫・ペロは(🌳)町の実力(📺)者(zhě )・グ(🍬)ルーモ(🎙)ンととんでもない(📌)賭けを(🐉)してしまう(🐃)。なんと(🆚)たった80日間で世界(😎)を一周(🎪)してみせると宣(xuā(🏫)n )言した(🌫)のだ。ペロ(👘)が成功す(🌲)ればグル(🌠)ーモン(💈)は全財産をペロに(💴)差(chà )し(🕰)出し、失敗(bài )した(🕦)らペロ(🍷)がグルーモ(⌛)ンの奴(😧)隷になる。早速、出(🥙)発した(🔤)ペロたち一行だっ(🔫)たが、行く先々(🔠)でグルー(🕚)モンのさ(🔽)し向け(😭)た工作員(yuán )・ガリ(🤥)ガリ博(🏈)(bó )士の妨(fá(💁)ng )害に遭(🦓)(zāo )う。さらに、ペロ(💄)を常(chá(😛)ng )に付け狙っている(🎻)３匹の(🍞)殺(shā )し屋(🔅)も加わっ(✉)て…!?
本(bě(🖨)n )片是一(😮)(yī )部反映(yìng )中国工(⚪)农红军(🗑)在毛泽东(dōng )同志指(🕗)(zhǐ )导下(🌊)，经历了(le )两万(🌃)五(wǔ )千(😀)里长(zhǎng )征，胜(shèng )利到(👝)达陕北(🥟)的大型音乐片。全片(♎)由《告别》、《突破封(🔋)锁线》、《遵(🤺)义会议放(💆)光辉》、(😵)《四(sì )渡赤水(shuǐ )出奇(🕙)兵(bīng )》、(🔆)《飞越大(dà )渡(⏰)河》、《过(❔)(guò )雪山草地》、《到吴(🚚)起(qǐ )镇(💴)》、《祝捷(jié )》、《报喜》、(🎩)《大(dà )会(🥛)师》十部分(🚆)(fèn )组成。
The niche market DVD label Mondo Macabro has released a little-known 1976 film titled In Hell, known variously as La tortura and Gloria Mundi. The movie is the creation of the late Greek director Nikos Papatakis, who obviously felt he had a significant left-wing political statement to make in this bizarre and unpleasant blending of radicalism and sexual humiliation. The film's one saving grace is an astonishingly brave performance by lead actress Olga Karlatos, who we are introduced to in a provocative, if cringe-inducing sequence in which we observe her sitting in a bathtub and attaching electrical wires to her nipples and genitals then torturing herself by turning on the current. Why is she doing this? It seems that her character, Galai, is an attractive young Algerian immigrant living in Paris. She has fallen under the spell of a mysterious and unseen political anarchist named Hamdias, who wants to wreak havoc against French colonialism in Algeria. This is to be achieved through terrorist acts that he is grooming Galai to carry out via instructions on the phone and cassette tapes. He also fancies himself an important filmmaker and is trying to raise funds for a political thriller starring Galai in the leading role. The film runs into the usual dilemma that real life independent producers must endure: the funding keeps running out but Galai becomes obsessed with ensuring that the movie is completed. Hamidias envisions incorporating perverse sexual abuse into the story line and he finds a willing leading lady in Galai, who enthusiastically submits herself to self-imposed "training sessions" in which she performs torture on her own body, all the better to please her producer/director/lover by giving the most genuine performance possible. The graphic opening sequence of this abuse is difficult to watch but the film quickly delves into a virtually incomprehensible look at the psychological tortures Galai is facing. Seems that Hamdias enjoys playing head games with her psyche and issuing increasingly dangerous demands including carrying out dry runs for terrorist bombings. She constantly vents to herself about her disdain for him, but it becomes clear that not only is she completely submissive to his whims, he is also holding their child as a virtual hostage to ensure she carries out his demands. That's about all I could ascertain from the confusing story line which at times is completely incomprehensible. There are films within films, sarcastic scenes that denounce the French elite and occasional sequences in which Galai is subjected to sexual abuse at the hands of military captor. There is abundant full female nudity but none of it is presented in an erotic manner and in one particularly awful scene one of Galai's would-be lovers vomits on her bare chest.
影(🔌)片讲(jiǎng )述(🐾)了一个(💞)马赛克镶嵌风(fēng )格(🎏)的轻(qī(⛅)ng )喜剧爱(ài )情故事(shì(🔤) )，有点(diǎ(⛲)n )类似于(yú )奥(🐣)地利(lì(🕐) )现代文学之父亚瑟(✈)•施尼(🚇)茨勒的作品《轮舞》（(🔼)曾由马克•奥菲(🏴)斯和罗杰(👬)•瓦迪姆(🎥)两度改(⏬)编(biān )成电影(yǐng )）。导(👪)(dǎo )演艾(⏺)伦(lún )•鲁道(🕍)(dào )夫擅(✳)长(zhǎng )拍摄探(tàn )讨两(🛑)性关系(🕋)的爱情电影(yǐng )，作为(👔)(wéi )大导(🐽)演(yǎn )罗伯(🦂)特(tè )•奥(🐁)特(tè )曼的(😡)徒(tú )弟(📣)，他(tā )曾经在(zài )《漫长(🌴)(zhǎng )的告(🙈)别(bié )》、《纳什维尔》、(🗨)《西塞英(🍄)(yīng )雄谱》等奥(🏮)特(tè )曼(👯)执导(dǎo )的影片(piàn )中(🍞)担任(rè(🥅)n )副导演之类的工作(❓)。在《纳什维尔》完成(🌪)后不久，艾(🤞)伦•鲁道(🦆)夫就在(🎽)奥特曼指导下拍摄(🐤)了《情挑(🌭)洛(luò )杉矶》，因(⛰)此(cǐ )该(📻)片在(zài )形式上(shàng )与(🗑)《纳(nà )什(🖌)维尔》以及奥特曼后(🔯)(hòu )来的《浮世男(ná(🦃)n )女》相(xiàng )类(😨)似，是一幅(⏪)(fú )70年代(🛢)洛(luò )杉矶的(de )浮世绘(📙)(huì )。演员(✨)(yuán )阵容在如今看来(🌃)也十分(fèn )耀眼，基思(🚞)•卡拉(💙)丹(dān )、劳伦(lún )•赫(🚟)顿(dùn )、(😂)萨莉(lì )•(👙)凯勒曼、(👰)茜茜•斯派塞克(🍿)以及哈维(🤯)•凯特尔(🦉)都在其(🔑)中贡献了出色的表(😀)演。如果(🙄)说真要给影(🔋)(yǐng )片挑(💨)一(yī )些刺的(de )话，就(jiù(👼) )是那些(🎤)(xiē )难听的(de )配乐帮(bā(😌)ng )了不少倒忙。
弗朗(😇)哥统(tǒng )治(🌒)时期(qī )的(📯)西班(bā(💪)n )牙马德(dé )里，女(nǚ )童(🌻)安娜(nà(🔆) )（Ana Torrent 饰）与两个(gè )姐(🍘)妹在(zài )军官父(fù )亲(🕤)安赛莫(🐈)死后被过继给(gěi )姨(🤖)妈抚(fǔ(📴) )养，安(ān )塞(🔉)莫在(zài )世(➗)时风(fēng )流成性(xì(🍔)ng )，母亲(qīn )玛(🌐)莉亚(yà )（(🍆)Geraldine Chaplin 饰）为(🎶)他放弃事业最后落(📭)得在寂(🛑)寞压抑的生(🏈)活中痛(🔖)苦不堪，早早去世。关(🍡)于母亲(♑)的(de )记忆不(bú )时浮现(🔤)(xiàn )在安娜(nà )脑海(👵)，这些记(jì(👉) )忆混同(tó(🍓)ng )她对死(🔛)亡的臆想慢慢影(yǐ(👉)ng )响了现(⛵)(xiàn )实生活(huó )。姐妹(mè(🕎)i )三人在(zài )姨妈的(de )看(📰)顾下(xià(📻) )并不安(ān )分，姨(yí )妈(😰)正陷(xià(❎)n )入一场同(🥊)安赛莫已(🔈)婚战(zhàn )友的恋(lià(😺)n )情，安(ān )娜(🅿)的举(jǔ )止(🗨)让她(tā(🔗) )愈发感(gǎn )到威胁(xié(😪) )。安娜(nà(🎗) )试图用一瓶(🥃)所谓毒(🏠)药帮助生活不能自(🔎)理的祖(🎍)母自杀，而那瓶物事(🍥)不过只是苏打，祖(📵)母(mǔ )拒绝(🧓)服(fú )毒，安(🤯)(ān )娜又(👋)将(jiāng )目标对(duì )向了(🕞)姨(yí )妈(🕕)……