夜猫电影院

6 March 2004 (Season 29, Episode 14) 一个(🏢)来自(zì )古(🚈)老西(xī )部(🏟)的牛仔，罗(🍈)伊，他(tā )自(🐉)认为是一(🥞)个牛仔，但(🙋)实际(jì )上(🏃)只是个一(➖)身(shēn )尘(ché(🔗)n )土带(dài )着(🥩)6个杀手的精神(💔)病患(huàn )者。他走进小镇，破(pò )坏(huài )这里(lǐ )的和平(💕)，激起混乱(🎾)并(bìng )迫使(📧)当地人采(👄)取行动(dòng )。 "El Greco" is the engrossing story of the great artist's years in 16th century Toledo. With the preponderance of films dealing with English and French history in cinema, this film gives a much needed, rare and welcome glimpse of the Spanish culture's rich history. 邝世(🔁)(shì )昌父亲(🧔)邝福在(zà(😶)i )美(měi )国谋(🕒)(móu )生, 世昌(🍆)以为他在(✌)外国(guó )赚(🚮)大钱(qián ), 在(🏐)母亲的溺(🧀)爱(ài )和(hé(🦓) )损友(yǒu )尊(🔺)尼的引诱(🎧)下, 终日游(📈)(yóu )手好闲(🏂), 不务正业(⚽), 只懂(dǒng )挥(🦂)霍. 他(tā )认(⛹)识了陆芬(🈚)妮, 芬(fēn )妮(🍴)和(hé )她的(🐳)养父母还(🐈)以为他(tā )是富家(jiā )子, 要在他身上(shàng )捞(lāo )一笔(bǐ ). 世昌妻子梁(😢)美娟贤慧(📓)(huì ), 世昌却(🈚)嫌她娘家(🌶)贫穷(qióng ), 一(yī )次(🌠)借(jiè )口她(🌟)私下拿金(⏰)手镯变(bià(❣)n )卖来帮助(⤴)友人而把(🎮)她(tā )赶走(🥕). 世(shì )昌挥(⚾)金如土, 其(📡)(qí )后(hòu )更(👼)将(jiāng )房契(💻)押掉. 邝福(🦊)回国, 对(duì(🦂) )儿子的(de )生(😘)活不甚了(🐧)然(rán ). 他(tā(👍) )开了(le )一间(📁)洗衣店, 努(♌)力工作(zuò(😼) ). 美娟到来(🐲)应征店工, 翁(wēng )媳见面(miàn )却互不相识. 邝福(fú )欣赏(shǎng )她勤奋, 打(🅰)算把她介(😚)绍(shào )给儿(🍰)子(zǐ )作妻(🔶)子. 其后他(tā )才(cái )方发(fā(📆) )现儿子行(🆗)径荒唐, 房(🍮)子(zǐ )又被(⚫)人没收, 怒(✴)极将儿(é(🍿)r )子(zǐ )赶走(🕥)(zǒu ). 世昌失(🌪)了依靠, 生(⌚)活无(wú ), 而(🕓)芬妮赔了(🤫)夫人又折(🍋)(shé )兵, 亦把(🍇)(bǎ )他驱赶(🚊). 世昌向(xià(✡)ng )尊(zūn )尼求(🌩)(qiú )助, 也遭(❕)到奚落. 当(🕣)他看(kàn )到(👯)父亲(qīn )和(🍌)妻子在河边(biān )辛(xīn )勤洗(xǐ )衣, 才觉悟前非, 加入工(gōng )作, 重新做(🐿)人. This production has all the typical Italian beefcake trademarks - bad dubbing, over-acting (in some cases, under-acting), a midget, and men in loincloths. Richard Harrison may not have the biggest muscles but he certainly is the most titillating beefcake actor I've seen. And when it comes to loincloths you have to wonder why his "mini-skirt" is not mini enough. They must not have seen a good thing when they had it, and with too much loincloth neither can we. 年轻的(📪)时(shí )候，爱(🐄)(ài )丽丝为(✂)自己深爱(ài )的男(nán )人瓦(✈)尔德偿还(💿)了巨额(é(🐳) )债务，多年(🚗)后的今天(🎗)(tiān )，是时(shí(🐞) )候该由他(📅)来为她的(㊙)生(shēng )活埋(👊)单了。 Hildegard Knef gives us one of the best interpretations for the Empress of Russia. But Elisabeth Bergner with Douglas Fairbanks Jr. in "Catherine the Great (1935)" and Louise Dresser with Rudolph Valentino (!) as The Black Eagle in "The Eagle (1925)" are good as well. Sergio Fantoni is not a super-star as Fairbanks or Valentino but he is a good cast as Orloff. The ball-room scenes, the costumes and the uniforms are good (Walter Patriarca was the costume-designer). Umberto Lenzi, the director, and the script-writer Malatesta deliver us a fine historical movie with passion and adventure. Go Gorilla Go is probably most notable for its strange title, and this carries over into the film; as while it takes obvious inspiration from some big genre classics; the film features some strange plotting and a storyline that is a bit unusual on genre terms. Director Tonino Valerii previously directed the excellent but complicated Giallo My Dear Killer and clearly has a talent for delivering convoluted story lines as Go Gorilla Go features one too! The film focuses on Marco; an undercover police officer who is also working as a body guard for a shady underworld figure. He's also got a brother who is not exactly squeaky clean and has contacts with a few other 'Gorillas' who are in the same line as he is. It's not long before our hero gets involved in a kidnap plot along with his brother and his underworld boss and this plot is ran parallel with a load of others and the whole thing gets rather complicated. Luckily, however, it's all spun together with a whole load of action scenes; many of which are really well done. We've got the usual compliment of car chases and fist fights, but the main standout is a sequence that sees the lead character trapped in an elevator with the bottom taken out. The final car chase, which involves a train a la The French Connection, is also very well executed. The lead role is taken by Fabio Testi and the actor looks the part and plays it well. The rest of the cast is filled out mostly by lesser known Italian actors, but they get on well as an ensemble and bad dubbing aside, the film is above average in the acting department. The way that the story flows does get a bit too confusing at times as we constantly switch from one thing to another, but at least the proceedings are kept entertaining for most of the duration, before exploding in the final third. This film is not very well known and as such has become rather hard to come by. In the grand spectrum of Italian police films; this one is not one of the more important ones or one of the best, but for anyone that considers themselves a fan of this genre; Go Gorilla Go is certainly worth a look and comes recommended. FEARLESS (as the US video of this is known) is an exciting Italian police film, largely shot in Austria (which looks beautiful!), with Merli as a low-rent private investigator and former cop who is sent to Austria on a job, and while there sees a number of seemingly unrelated coincidences that lead him into a strange web of corruption and decadence. But at the forty-minute point, the film enters a new sphere with the arrival of JOAN COLLINS, looking incredibly sexy, doing a striptease in a club, and giving the film a wonderful shot in the arm. This film was made right before her "comeback" with the films THE STUD and THE BITCH, based on literary works by her sister Jackie. I've always admired Ms. Collins and the way she took charge of her career and showed the world how sexy an over-35 lady can be. The crime elements of the film work well, Merli is exciting and witty (as he usually was), and Joan Collins is a seductive femme-fat ale in a role that her fans simply must see. I've watched this film a number of times over the years, and I can't recommend it highly enough...an exciting 70's Italian crime film with the added attraction of Joan Collins at the height of her powers is a dream come true for this viewer!