在金发(💔)殿上, 各(gè )路剑客为着捉拿(🤮)蝶无(wú )影(yǐ(🕜)ng ), 但他们不但捉(💫)不到蝶(dié )无(🎫)影而被她偷(🏅)了众人(rén )的(de )钱(🐁)袋. 两广总督(🚔)特派范(fàn )大(🈳)铜捉蝶, 途中范(🕕)追捕(bǔ )一(yī(🔙) )班小叫化至(🈺)小仙猴家(jiā ), 而(🍦)小仙猴知道(🚬)要为社(shè )会(huì )做点事, 所以(🐎)便混进西(xī(⏫) )门狡父探听情报. 发现(xiàn )西(🍆)(xī )门一派与(🏥)都督欲造反(fǎn ), 小仙猴故意(👎)引范前往(wǎ(🧦)ng )破(pò )案, 而蝶亦发现一个重(📟)(chóng )大的秘密(🌐)......
滨江市公安(ā(➡)n )局长鲁泓复(⏸)职后审理(lǐ(🚌) )的(de )第一个案子(🕍)竟是他的(de )独(🥛)生儿子鲁小(🏾)帆参与(yǔ )的(de )炸(💛)桥案件。鲁泓(🎖)周围(wéi )的人(🔰)同情他，便为鲁(🎇)(lǔ )小(xiǎo )帆开(🤴)脱罪责。鲁泓毅(yì )然决定亲(😌)自提审儿子(🤩)(zǐ )，探出真情。原来，“四人帮”横(🏄)行时，鲁(lǔ )泓(🈚)(hóng )一家骨肉分离，小帆(fān )的(🕺)奶奶也被抓(⛷)走，只(zhī )能寄养在舅舅家。舅(📀)(jiù )母(mǔ )伙同(🤕)“造反兵团”拉(lā(🐌) )拢腐蚀小帆(🚳)，唆使他(tā )成(📊)(chéng )了“造反派”的(🎤)典型(xíng )，炸毁(🧖)了铁桥。鲁泓(💙)(hóng )依(yī )法判处(🆒)了小帆。小帆(🏖)(fān )不理解父(🤨)亲，奶奶告(gào )诉(🍣)(sù )小帆，抗日(👫)时石大娘(niáng )亲手枪毙了出(🕞)卖鲁泓(hóng )的(🤥)(de )大娘亲生儿子的故事(shì )。鲁(💔)小帆终于理(🍌)解了(le )父(fù )亲，痛悔自己的罪(💒)恶(è )。
青年吕(💤)良，本性善(shàn )良又聪颖过人(🛤)，但由(yóu )于(yú(🌃) )从小就失去双(💞)亲，疏(shū )于管(🈴)教，遂结交损(🍑)友(yǒu )，误入歧途(⌚)，犯案累累(lè(🉐)i )，导致入狱服(💛)刑。
A fictional narrative and a documentary interview are mixed together in this film about two women deprived of independence for many years because of either their family obligations or an authoritarian spouse. In the fictional segment, based on a novel by Alexandra Kollontai (the first Soviet ambassador to Sweden and an early advocate of women's rights), the young woman Vassilissa (Sascha Hammer) learns how to stand up to her womanizing husband (Mark Eins). Director Rosa von Praunheim plays this story out in the tone of an early 20th century "morality" play. The second focus of the film is about Helga Goetze, a mother of seven children who left her brood when she was 50 years old (and her youngest was already 16) to join the Otto Muehl Commune in Vienna and live a liberated life of sexual freedom, filled with involvement in the arts, literature, and politics. Helga moved to the Kreuzberg district of West Berlin, where the on-camera interview was conducted. Director Praunheim opted for interspersing fictional and documentary segments so as to better chronicle the move toward independence and sexual "liberation" on the part of the two main female protagonists.
1981年(nián )11月(yuè )14日(🕔)、テレビ朝(⛵)日系列(liè )の(⚓)「土曜ワイド(❌)劇場(chǎng )」枠(🖌)（21:02-22:51）にて放映。サブタイト(😹)ル「昇仙峡(🎾)(xiá )囮(é )心中」。視聴率22.8％（(🖕)ビデオリサ(♓)ーチ調べ、関東地区）。
出(⛱)家六(liù )年有(💬)余的法运一直得(dé )不到顿(📃)悟，还是对初(😽)(chū )恋(liàn )情人英(🐯)珠充满了迷(〽)恋(liàn )和愤怒(🎁)因此一直彷徨(🍢)(huáng )不(bú )前。一(🎑)直以来对自(🆗)己(jǐ )的肉体施(🤝)于苦行的法(🖨)(fǎ )运(yùn )忽然(💍)有一天，遇到了(🤝)(le )没有僧藉四(♑)处流浪的(de )智(zhì )山，醉酒后的(😮)智山仿(fǎng )佛(💬)超凡脱俗般用逻辑(jí )上(shà(🍲)ng )比谁都畅晓(🎑)世间百态(tài )和佛教理论的(🛷)言词将(jiāng )法(🐻)(fǎ )运深深的吸引跟他下(xià(🦋) )了山。
While waiting for Stella to conclude her performance in the opera house next door, Hoffman recounts his 3 tragic loves: Olympia the mechanical doll, Giulietta the courtesan, and Antonia the young consumptive.