Carla (Carla Aulaulu), Mascha (Mascha Elm-Rabben), and Magdalena Munn (Magdalena Montezuma).[40] They perform as second-rate cabaret singers during the Nazi era, forced to disband when Carla takes a job with a Viennese theatre and Mascha has a nervous breakdown. Pilot haphazardly (and without much clarity) follows their individual activities; instead of depicting Carla's "show," for instance, we see her singing its main song while apparently working in a Viennese pastry shop. Magdalena attempts to find work for Mascha by posing as her aunt and appealing to a Nazi official; later Mascha rescues Magdalena from drowning herself. The two eventually find jobs as secretaries, after brief stints as "creative artists." Magdalena's voice-over then informs us that all three women meet again after the war at a Bruckner concert. They begin discussions about regrouping to go to the United States, this time as reformers rather than performers, to preach integration (apparently we are now in the late 1960s, the time of the film's production). Carla, nostalgic for their earlier Nazi stage career, is hard to persuade, but eventually they leave for the United States. Their rapid downfall as teachers there results from the publication of a Nazi-era photo of them; added to this is the controversy of Mascha's undepicted liaison with an American bomber pilot. We are told there is a trial (also undepicted), and the three go back to Germany where they perform for American troops. Carla has a miscarriage from the bomber pilot and suffers badly. The final image shows Magdalena supporting Carla as she walks around weakly in front of the same building we saw in the film's opening shot.
일(🛑)약 영(🤕)화계의 스타로 떠오른 동주(🎤)는 주위(🍸)의 축(😏)하에(🌸)도 불구(🧘)하고 우울하다. 이러한 그에(🙃)게 여기(🥇)자 상(❇)희가(🥇) 접근한(🔊)다. 상희 오빠 상현은 동주의(🗂) 옛애(🏮)인 지애(🍣)의 남(♏)편인데,동주는 지애를 못잊고 있었(💶)으며(😰) 이를 아(🌒)는 지(🙅)애는 동주를 피한다. 아무것도 모르(💬)는 상(🌂)희는 동(🌡)주와(💟) 결혼을 하려고 하나 동주는(🧟) 무관심(🏧)하고(🌩) 지애는(👡) 이를(❗) 말린다. 상희를 통해 지애를(🍿) 알게 된(❗) 동주(🌓)는 지(🖥)애에게(🕋) 결혼을 요구하고 지애는 이(📍)를 거절(♐)하는(🥋)데,이(🌜) 사실이 알려지자 동주의 애정을 확(🏾)인한(🖐) 상현은(🥠) 지애(🦕)를 포기하지만 동주는 분노한 상희(🕚)와 지(🖇)애를 남(🏛)겨두(⛩)고 홀로 떠난다.
DVD「アニメの王国」(☝)版チ(🦍)ャージ(📬)マン(🏢)研!に収録。製作時期は公式(🙎)サイト(🍆)など(🌰)のソースが(🎡)ないため不明(míng )確だが、(👂)田中角(📇)栄総(👧)理を(🚣)モデル(💿)とした…本人(rén )そのもの(🚕)であろう人(👞)物が(👱)登場しているのを見ると1970年代前(⏳)～中(🚥)半(bàn )だ(🦀)と思(⏳)(sī )われる。
鬼太(tài )监桂德(dé )海将楚(🏣)王及(🏦)王妃杀(🚚)死，更(🚆)追杀世(shì )子朱锦(jǐn )，朱锦(jǐn )得青竹(🅰)叟相(✴)救才幸(💣)(xìng )免(🦊)于难(nán )。桂当(dāng )年与哑(yǎ )巴(🏜)月仙诞(🏦)下一(🌂)女燕燕，桂恐(🧦)此事(shì )外泄，竟派人(rén )去杀(🈹)月(yuè )仙(🚚)母女(🖊)(nǚ )。燕(🗿)燕得青(🍤)竹婆相救，带(dài )她住见(jiàn )青(🚪)竹叟(sǒu )及朱(🍬)锦。朱(🍨)锦与燕(yàn )燕相处(chù )日久，感情渐(jià(🌙)n )深；(🎗)桂(guì )竟(😞)利用(🚃)父女之情，假借燕(yàn )燕之手(shǒu )杀朱(🦏)锦(jǐ(😥)n )......
『ロボ(📎)タン(♊)』で名を馳せた森田拳次原作の(🌝)ギャ(⏸)グ漫(mà(♿)n )画を(🔵)アニメ化。
最近の暴(bào )力団(🧞)大(dà )滝(🧡)組の(🏗)圧迫と町ぐ(🚿)るみの浄化運動のあおり(🌓)で、カ(🤖)ポネ(👡)団は(🤘)住みな(🥉)れた新(xīn )宿を離れる破目(⏬)となった。そ(🙃)こで(💤)神坂(bǎn )らがひねり出した名案は(♈)、タ(🎆)ニーを(🚩)米(mǐ(🔂) )国財閥(fá )のドックフェラー三世(📊)に仕(🌑)立て、(🥄)ミス(🆒)サウナ親善使(shǐ )節を米国に派遣(💤)する(📔)という(📴)ふれ(🌎)こみで、実は大量スケコ(🤤)マシ作(🌾)(zuò )戦(🥢)を磐(pán )梯熱(💑)海(hǎi )に展開(kāi )しようとい(😛)うもの(📹)であ(🔪)った(🤩)。計(jì )画(🔅)は順(shùn )調に運(yùn )んだかに(📂)見えたが大(🧐)詰め(😬)を迎え、タニーのバケの皮(pí )が(🙀)はげ(🥗)てしま(🎉)った(♉)。そして、折(shé )りしも居合わせた(👝)大滝(🥩)に追い(🙃)つめ(🍈)られるが、その危(wēi )機を神(shén )坂(🕟)の少(📛)(shǎo )年時(🔞)代の(📷)ダチ公、峰に救われた。連(💳)中(zhōng )の(👮)逃が(🍏)れついたと(🛒)ころは、老人(rén )尾高が埋(😺)蔵金(jī(🐬)n )発掘(😚)に熱(🌧)を上げ(💔)ている翁島であった。一方(💠)、大滝組(zǔ(💭) )は土(💵)地の金融業者黒柳と結託、一大(🐗)観(guā(💄)n )光チェ(🚉)ーン(🥈)建設に野望を燃やしていたが、(😅)翁(wē(🚓)ng )島もそ(➡)の計(🐷)画に入っていた。神(shén )坂らはミス(🔢)サウ(🔛)ナで一(🕓)位を(🖍)獲得した銀子が尾高老人(😌)の孫娘(🧜)(niáng )で(⬜)あることを(💐)知り埋蔵金目当てに発掘(💨)(jué )作業(🏌)に熱(🎈)中し(🛤)てした(👋)が、出てきたのは埋蔵金(⛑)(jīn )ならぬ温(👭)泉だ(🚦)った。しかし、この狂喜もつかの(🗼)間、(🏨)お玉と(📁)バイ(🚽)キング、そして尾高(gāo )老人も大(😤)滝組(🔹)(zǔ )の犠(🚘)牲(shē(😘)ng )となった。やがて、銀子の(🅰)兄、ジ(🔮)ョー(🔎)が舞い(⬆)もど(🛐)り、峰とともに神坂らに(⚡)加勢、(🕧)大滝(🥏)組への挑戦(🔀)(zhàn )を誓い合った。やがてカ(🖨)ポネ団(🍂)(tuán )の(⬇)面々(🎣)は、大(🚯)(dà )滝組のモーテル完成祝(🤛)のオート・(🌭)レー(🥏)スに、まぎれこみ、大滝、黒柳(😄)めが(🌭)けて突(🎿)進(jì(🚈)n )していった。...
1927年的默片《拿破仑(lún )》的(🍩)有(yǒ(💐)u )声重制(🕗)(zhì )版(😀)，由(yóu )1927年的原素材与摄于1965至(🥜)1971年间的(🙈)新素(🦇)(sù )材。