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Colt 38 special squad is a rare breed in the poliziotteschi genre. Excellent shot and filled with great casting, cinematographer/director Massimo Dallamano really comes trough on this one. Known for his outstanding camera precision on the Sergio Leone trilogy Colt 38 grapes you all the way. Of course there are a lot good examples for movies in those Italian cop/crime films.Like Milano Calibre 9 or The big racket. But Colt 38 special squad belongs among those films. Rather than just focusing on the usual violence this one delivers also a other angle, those of the mental-pain and struggle. Like a real pro Massimo let's you get involved in those characters and start to care form them. With all well paced storytelling we follow French crime lord Ivan Rassimov as the Dark angel in his mad rage against the city and his cops. Expeccialy against Marcel Bozzuffi as hard boiled Capitan Vanni. An old beef is going on between the two of them. Personal as can be, Vanni and his special crew of cops now not only arresting the locals bastards but are also mix up in the personal vendetta between Vanni and the crew of Dark Angel. The result is well packed storytelling with some brutal, but subtle action. Colt 38 is a well crafted movie with memorable scenes. Think in the line of city bombing and care chases. Rassimov is one's of the most cool killers. But really, Vanni is stealing the show in my opine that is. Of course also in real life those guys competing. Both are die hard actors. Dirty rotten by all those amazing scripts in there carrier. Kinda like De Niro and Pacino in Heat. Do not make the mistake of thinking less about this movie in budget ways. It's great cinema and a prime example of Polliziotesschi madness. Not to be missed 大導演(yǎn )楚(💈)原(☝)作品(pǐn )中，唯(🔔)一(yī )一部潮語戲曲(🎺)(qǔ )電影，意(yì )義重大(🐨)。本片是家傳(chuán )戶曉(😩)之潮(cháo )劇戲寶，故事(🖥)(shì )背景發生(🤠)(shēng )於南(👮)宋(sòng )末(mò )年(📿)，元軍攻(🧖)(gōng )陷臨安，宋(💓)帝南逃(➕)至廣東崖門(🐓)，遭逢元(🎱)軍(jun1 )圍困，危在(🔋)旦夕，下(📶)(xià )詔張達將(🔂)(jiāng )軍(丁(🐨)敏 飾)起兵(bī(🌰)ng )勤(🎒)王。張(zhāng )達之義(yì(📣) )軍(🚁)遭元軍水陸(lù )兩(🥨)路(🈂)封鎖(suǒ )，糧水斷絕(🔋)，處(🛋)境十分(fèn )危險；(♌)其(qí )妻陳璧娘(😪)(蕭(xiāo )南英 飾)聞(wén )此(😟)驟變，立即定下奇襲(☔)(xí )元軍之計(jì )劃…(🌿)… 美食杂志主编(👽)(biā(😡)n )Charles Duchemin（Louis de Funès）具(jù(🤢) )有天赋(🏥)异禀的(de )嗅觉(🈴)和味(wè(♐)i )觉，食(shí )物(wù(🏫) )经他的(🎄)鼻子(zǐ )一闻(🤧)、嘴(zuǐ(🎴) )巴一品，是否(🦋)真如传(🎠)说(shuō )中美味(😒)便(biàn )可(🛢)得知。为了让(🧖)读(🌺)者(zhě )品尝到真(zhē(🎖)n )正(🌕)可口的食物(wù )，他(📈)常(🏠)乔(qiáo )装打扮(bàn )潜(🌉)入(🛁)各大饭店(diàn )、旅馆品(pǐn )尝食物(📍)，好的，他会在(zài )杂志(📅)上(shàng )极(jí )力推荐，差(🍍)(chà )的，则痛(tòng )快骂之(🗳)。因此，他成了(le )饭店、(👓)旅(lǚ )馆老板(🍯)眼中的(🎊)魔鬼，却也是(🗯)读(dú )者(🐪)心中的上帝(🏂)(dì )。 テス(🥟)トドライバ(👏)ーの速(👬)水は、テス(🔸)ト中に(👉)事故を起こ(🏸)し会社(shè )をクビに(🌾)な(🛤)ってしまう。数日(🐐)(rì(🍦) )後、速水(shuǐ )は友(🛩)人(🚌)の女性(xìng )ドライ(🚌)バ(🖐)ーの岩(yán )崎美代子を誘(yòu )い、(⛽)大阪(bǎn )の宝石店を(🔛)襲い数千万(wàn )円相(💙)当(dāng )の宝石強奪に(👲)成功、警(jǐng )察の追(👇)手(shǒu )をくら(🎅)ますた(🔮)めに別々に(👇)逃亡し(〽)た。速水は宝(🥋)石を持(🏁)(chí )って府営(🎐)バスに(📌)乗り込(rù )み(😿)、逃(tá(🗿)o )走(zǒu )は完全(🏪)に成(chéng )功したかの(💔)よ(🆑)うに思われた…(🕷)…(🧀)。ところが、その(🌞)バ(👴)スに、銀(yín )行強(🌩)盗(🔣)に失敗して警察(chá )に追われて(🧘)いる谷村と桐野が(🏋)乗り込み、バスを(🎷)占拠してしまった(😨)のだ。愕然とする速(🎧)水、バスの(⛔)運(yùn )転(💄)手で心筋梗(🕶)(gěng )塞を(🍩)患う官本、(🌌)そして(🍥)乗客たち－(🎫)－駆(qū(🕘) )け出し女優(♓)の立花(💛)かおる、主(🐯)(zhǔ )婦(fù )の戸田政江(🛹)(jiā(🚱)ng )、ホステスの小(💀)林(❕)ハルミ、大工(gō(🚜)ng )の(🍎)西勲、小学校教(😗)師(🔑)の松原啓(qǐ )一、その松原の教(🔘)え子(zǐ )で彼と浮(fú(🥧) )気を続(xù )ける河原(🕔)文子(zǐ )、チンドン(🦇)屋の極楽一郎、良(📣)子(zǐ )、達た(🛑)ち、無(👵)職の老(lǎo )人(❕)・半田(🥣)(tián )市次郎、(💇)塾に通(❣)う小学(xué )生(🗄)の加藤(⛰)(téng )と田中、(🚲)総勢13名(🎟)である。谷村(🥃)(cūn )、桐野は乗客(kè(🤭) )を(✴)人質にしたため(🏽)、(🤵)恐怖を感(gǎn )じた(🚱)乗(👀)客(kè )たちは徐々(😁)に(⛱)エゴをむき出し、車内のパニ(🚗)ック状態(tài )はエス(💒)カレートしていく(🐢)。やがて、速(sù )水は(🖨)隙を見て脱出を試(🏳)(shì )みるが、(🖖)逆に宝(🔷)石泥棒(bàng )で(💄)あるこ(🥦)とを見破ら(⤵)れてし(🐌)まう。警察(chá(🧓) )は各国(🧜)道沿に非常(🍄)線を張(👃)るが、バス(🚧)は次々と非常線(xià(🏤)n )を(🍿)突破し、その後(🍚)を(🏝)パトカー、白バ(📮)イ(🙋)が追(zhuī )った。一(yī(🐰) )方(😯)、速水の乗ったバスがバスジ(💐)ャックされたと知(🏉)った美代子(zǐ )も、(🚏)オートバイでバス(🤹)を追走(zǒu )した。やが(🛺)てバスの運(🤶)(yùn )転手(📔)の宮本は持(📖)病の心(👾)(xīn )筋梗塞で(🍣)倒れた(🐢)ため、速水(🔓)が運転(🕵)することに(⛑)なった(🔚)が、緊張(zhā(😠)ng )のために眼は徐々(🐵)に(📬)かすんでいった(🛃)…(🦓)…。 Variation, based on the book by Hiroyuki Itsuki, a novelist especially popular with women, was the final work of the late Nakahira. His previous themes of first love, disppointment, anguish and tenderness are projected as the undercurrent to this story of the renewed love of two former university students. They meet dramatically who Morii, a political radical on the run from the police, is concealed by Kyoko while performing a puppet show at the university. Their affair is cut short when Morii is forced to go into hiding. When they renew their affair ten years later after an accident meeting in Paris, the same desperation inherent in their young love again clouds their relationship: Morii's fugitive years have subjected him to a stress which has made him impotent, and once again Kyoko is plagued by Morii's inability to love her totally. Only escape seems to hold hope for reconciling their situation, and the two plan to steal away to the south of France but it seems that the couple are doomed to play only a variation on the same tragic theme of their love. "The film takes place during the German occupation of Denmark in a provincial town in the summer of 1943. Kirsten falls in love with a German soldier from the occupying authorities. She slowly becomes entangled by her own feelings and. when it dawns on her that he German is the "enemy" and her love "wrong" it is too late. She chooses love..... and pays the price. "In a town in southern Sweden, Sven Klang decides to enliven his dance combo with a new sax player, Lasse from Stockholm. At first all goes well; but bit by bit Lasse brings into question all the rigid values, musical and social, by which the faintly supercilious Sven has set his life's course. Gunnel, the vocalist, falls for the newcomer's charms and finds herself pregnant when Lasse and Sven eventually part in high dudgeon. The daily round continues. Eventually Lasse pops up again, and disappoints all save Sven by turning tail in the face of Gunnel's love and his sense of guilt at having fathered her child....The appeal of Sven Klang's Combo lies in its utter lack of pretension, in its small town atmosphere and its vivid characterisation. One imagines that the actors were able to improvise their lines and contribute personal touches that fleshed out their roles. Their autobiographies become fiction; but fiction, as so often, also becomes truth. This film recognises that big emotions stem from small incidents and that one is forever a prisoner of one's generation." (Peter Cowie, 1978 International Film Guide) 《恶梦》(彩色故(gù(🎚) )事(🏂)(shì )片)。