三(sān )星半，有(yǒu )钱(💷)未必(⤴)有幸(xìng )福。最(🏌)后这(zhè )句“快来吃(chī(🤫) )饭了(🚣)，晚了(le )可就要(⛹)喂狗(🔍)(gǒu )了。”让土(tǔ )豪(🆘)回(huí(⛴) )到从前，实(shí(🐶) )际上(🐑)也是对(duì )自己的讽(🌧)刺(cì )，悔恨当初(chū(😏) )爱江(🅿)山舍弃(qì )美(✳)人，如今(jīn )为时已晚(🚼)。儿子(🗑)和他全(quán )然(🚒)不同的结(jié )局正是(🚘)最有(🏬)(yǒu )力的对比(🍀)。弗朗(🥎)(lǎng )西斯·法默(mò )一(🛏)人分饰两(liǎng )角，还(🧝)是妈(mā )妈更为惊艳(🥁)(yàn )。
年青爱国(guó )工(🐪)程师(🚥)廖(liào )锡(xī )能(🤖)，如何(hé )热心地研究(👰)(jiū )开(🙏)阔中国铁(tiě(🐼) )路的(⬆)工程。期间，由于(🥩)(yú )世(💕)界不景气(qì(🤲) )，以致(🎵)锡能(néng )失业(yè )。面对(🧓)生活(huó )的压迫，锡(💋)(xī )能(🕒)唯有当苦(kǔ(👧) )力。其后，锡能因误会(✏)(huì )而(⛩)顿成阶下(xià(🥎) )囚，累得妻(qī )子在怀(🥍)孕期(🐝)(qī )间得不到(👨)照(zhà(⛎)o )顾，就连母(mǔ )亲病逝(⬜)，他都无(wú )法前往(🛬)奔丧(sàng )。然而，锡(xī )能(⛲)最终亦克(kè )服了(🍊)重重(🔽)困(kùn )难，将他(🗃)理(lǐ )想中这条(tiáo )关(🚒)乎中(😊)国国(guó )防和(💇)国计(💷)民(mín )生的铁路(💊)变(bià(🕑)n )成事实。
Vermeylen is a wealthy Dutch art collector, who lives in Amsterdam with his pretty daughter Dortje. Three crooks conspire to steal one of his paintings. The crooks are played by German actors but are apparently meant to be American gangsters (Morton and Kelly) with a French toff (DuFour) as their leader. Kelly is played by the great German actor Fritz Rasp, who must have felt he was slumming in this movie. Into this umlaut-fest arrives Niels Korff, one of those implausible fictional characters who could never exist in real life. Korff is a hugely successful author of detective novels who amuses himself as a flautist, but who acquires material for his novels by working (in real life) as an amateur detective! Korff takes it upon himself to save the Vermeylens and their painting. He is aided in this endeavour by two bumbling private detectives: van Gaalen and Schimmelpennick. —IMDb Review
This frankly racist comedy short, made at the height of the Yellow Peril fears of the 1930's, follow the efforts of two inept bank guards to find a Chinese man with a wooden leg who, they believe, as kidnapped a prominent scientist. When they locate Dr. Wong, an evil Fu Manchu-type intent on gaining world power, they are able to rescue Professor Millstone and help his lovely daughter escape while destroying the Frankenstein-like monster that Wong has created
这(🦃)是一(🍺)部带(dài )有较明显的(🏂)(de )纳粹意识形(xíng )态(🔸)的(de )宣(🌙)传影片，曾在(🌮)1945年一度(dù )被盟国军(🚼)政(zhè(😒)ng )府列为禁片(😍)(piàn )。但尽管如(rú )此，饰(🤝)演腓(🕹)(féi )特烈•威(😷)廉(liá(🙎)n )一世的第一(yī )届奥(🦄)斯卡金(jīn )像(🌭)奖最(✴)佳男主角——爱米(🍩)尔(ěr )•强宁斯Emil Jannings以(🌛)(yǐ )精(🔪)湛的演技(jì(🍆) )将这位“军(jun1 )曹国王”演(🍫)(yǎn )绎(🦏)得有血有(yǒ(🌻)u )肉、(🕝)生动(dòng )立体，让(😓)人(ré(⚫)n )又爱又恨；(🌦)而他(❗)与热爱(ài )文学艺术(🏽)的(de )弗里茨王子(zǐ(📕) )（即(🏥)未来的(de )腓特(🛅)烈大帝(dì )）之(zhī )间(💖)的一(🥅)系列(liè )矛盾(😦)冲突，既让观众体(tǐ(🏡) )会到(🌱)这位国(guó )王(📜)强硬(😴)、严(yán )酷表象下的(😥)(de )良苦用心，同(🥂)时也(✊)对弗(fú )里茨王子在(🚆)(zài )青年时代被父(🌱)亲压(💒)制管教、向(🍑)往自由而(ér )不得，最(📴)终(zhō(🐅)ng )又失去挚友(👀)(yǒu )的(🧝)遭遇深感(gǎn )同(❕)情。影(🐤)片(piàn )最后，老(⛪)(lǎo )国(🕥)王腓特烈(liè )临终之(👃)际，多年心存芥(jiè(🚞) )蒂的(⏭)父子终(zhōng )于冰释前嫌(xián )，而弗里(🕧)茨(cí(🕺) )王子则在老(🍠)(lǎo )国王(wáng )的祝福下(🔋)戴(dà(🗂)i )上王冠，成(ché(🌨)ng )为普(🔹)鲁士新(xīn )一代国王(🏔)。（豆瓣电影(🐼)(yǐng )字(🚉)幕翻译2.0小(xiǎo )组）
两(🦃)幢比(bǐ )邻住宅，一(🚁)(yī )墙(📽)之隔住着(zhe )两(🛵)户人家。左邻(lín )黄姓(🔙)是个(📉)军(jun1 )人，戍边北(🔷)(běi )疆，家境虽(suī )清寒(🔼)，骨肉(😾)(ròu )间却相互(🧠)敬(jì(🌏)ng )爱，生活和(hé )睦；右(😼)邻(lín )杨姓，生活(huó(🚪) )优裕(🍝)，男主(zhǔ )人经常酗酒(jiǔ )冶游，女主(👏)(zhǔ )人(🏇)日战方城(ché(⌛)ng )，消磨光阴(yīn )，更不教(👷)养(yǎ(⛓)ng )子女(nǚ )。杨家(✝)嫌黄(📷)(huáng )家穷酸，不(bú )让儿(💸)女杨芳(fāng )、(🏴)杨芸(🔙)接近(jìn )黄家孩子。一(🔒)日，杨家(jiā )儿子杨(📦)达在(🚧)(zài )校丢失一(📙)枚(méi )银币，黄家(jiā )儿(📪)子黄(➗)敏被疑偷(tō(✴)u )窃，遭学校(xiào )开除，后(😛)虽(suī(🌽) )查实平反，却(🏀)伤了(🕡)祖父(fù )、母亲之心(🌘)(xīn )。黄敏苦学(xué )，考(💃)试名(🛅)(míng )列榜首。冬(dōng )天，北方战(zhàn )士需(👡)要援(🛡)助(zhù )，黄父来(📈)信(xìn )募捐，黄母(mǔ )捐(🤝)出仅(🎇)有首(shǒu )饰，孩(📠)子们(🎉)也将(jiāng )积蓄之零用(👔)(yòng )钱全部献(🍔)出(chū(📳) )。祖父替人(rén )誊抄文(⛽)件以(yǐ )补家用，黄(🔦)(huáng )敏(➗)体恤祖父(fù(🥍) )劳累，瞒着(zhe )家人彻夜(🍺)代(dà(🤲)i )祖父抄写。假(✉)期中，杨家芸(yún )儿患(👈)病，父(🆓)(fù )母自顾酗(🚜)酒(jiǔ(🕯) )玩牌，无人(rén )护理。黄(⏳)母(mǔ )带着女儿黄(🌆)(huáng )玲(📛)特去探望(wàng )，杨母深(shēn )受感动。春(🤚)(chūn )天(🥍)，两家孩(hái )子(😢)在门前玩(wán )耍。忽一(🛡)车(chē(♍) )疾驰而来，杨(🏋)达不(🎅)及躲(duǒ )避，黄敏冒险(📋)相(xiàng )救，伤及(📽)己(jǐ(🛶) )腿。医院内(nèi )，杨父愿(🚿)为(wéi )黄敏输血，因(🕝)血型(🦁)不合(hé )，遂由(🎡)黄玲(líng )输血。黄敏(mǐ(🔵)n )得救(🕠)，两家(jiā )人于(✍)笑声中(zhōng )迸出热泪(🌚)。黄敏(✅)(mǐn )痊愈出院(🥎)，杨家(🥡)夫妇被(bèi )黄家友爱(🍓)精(jīng )神感动，捐(juā(🗿)n )弃前嫌，睦(mù )邻修好。
God, heaven, and several Old Testament stories, including the Creation and Noah's Ark, are described supposedly using the perspective of rural, black Americans.