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On New Year's Eve, an insecure, struggling actress (Anna Magnani) has nothing to do. When a colleague invites her to a New Year's party, she jumps at the opportunity. Accidentally she runs into an old acting acquaintance (Toto), who is helping a professional pickpocket (Ben Gazzara) steal from people during the hustle-bustle of New Year's Eve festivities. During the course of the evening, they have numerous crazy, humorous adventures all over Rome at different parties, restaurants, and even the Trevi fountain. Magnani's character (Tortorella) falls for Gazzara's character (Lello) without knowing what he's up to, while Toto tries to placate them both. Written by Miriam Kramer Park Nam-u (Kim Jin-gyu) works at a Japanese pharmaceutical company and lives happily with his wife, Gyeong-hui (Choe Eun-hui), in a house filled with beautiful white roses. Not long after hearing the wonderful news that his wife is pregnant, Park Nam-u is drafted into the war in the Pacific. Posted in the Gwandong army, he survives the battle, though his face is burned. Back home, Gyeong-hui receives a telegram stating that her husband is dead. When she gives birth to their son, Cheol-su (Nam Yang-il), she goes to live in Seoul. When Nam-u comes back to the country, he doesn't go to his wife, but rather goes to live in his hometown. On his way home, he encounters a child whose mother is dead, and takes her in as his own daughter. As his daughter, Park Pyeong-suk (Eom Aeng-ran), enters university in Seoul on a scholarship, Nam-u joins a pharmaceutical company thanks to his friend (Heo Jang-gang). Pyeong-suk and Cheol-su meet by chance and begin to have feelings for each other. When the president of the pharmaceutical company (Lee Min) holds a party commemorating a pending patent and invites Nam-u, Gyeong-hui, who is now the wife of the president, runs into Nam-u at the party, and she tells him that Cheol-su is his son. When Nam-u participates in the April 19 Revolution, he finds Cheol-su injured and brings him to the hospital and tells his family. Nam-u leaves, saying that everyone would be happier if he were to disappear. With that, he gloomily walks away. "La giornata balorda" is the story of a 20-year-old youth's one-day search for a job that would spell security and decency for himself, the teenager he has not been able to marry and their three-week-old son... it was banned in Italy -- not because of sexual or anti-religious content, but because of its depiction of Italian society. In the 1960s Oregon, two sheriff deputies arrest three teenagers for robbery but are overpowered and taken hostage while forest fires rage all around them. 罗德(🤛)良(liáng )与妻子梅(🕦)永(yǒng )芳于战(🚞)乱(🐻)中(zhōng )失散，为了(⛎)(le )女儿小芳得到照顾，另(🏈)娶贤淑的赵结(🔴)娴，育有一子(👯)继(🐮)祖。数年后(hòu )，小芳恰巧(🔚)(qiǎo )入读芳任教(🦕)(jiāo )的学校，夫(😃)(fū(🐑) )妻因而重逢(🥅)(fé(⛸)ng )，芳为亲近(jìn )女儿替小(🐣)芳(fāng )补习。娴不(🧝)(bú )知就里，见(🧔)(jià(🥒)n )丈夫和(hé )芳情(qíng )态暖(➰)昧(mèi )，以(yǐ )为二(🐋)人(rén )私通(tō(💍)ng )，大(🍊)发(fā )雷霆(tí(🚌)ng )。后(❓)芳(fāng )为救(jiù )祖被汽车(🎒)撞(zhuàng )伤，娴得知(😸)(zhī )丈夫往事(⛑)，深(🍒)感歉疚，决定离(🕎)开香(xiā(🌜)ng )港。良和芳(fāng )知(💋)道后赶到(dào )码(🦗)头，三人冰释(🐪)前(🖍)嫌，良，娴四口之家和睦(🤒)如昔，芳则坚持(🐙)独身(shēn )，献身(🌚)教(🥅)育(yù )。 Sorry but despite the fact that the 1931 version of this novel was the only western film to win an Academy Award for Best Picture it does not compare to the entertainment value of this version. True this is perhaps not the best adaptation of Ms. Ferber's novel, but then how many films are perfect adaptations of their source material. There are wonderful scenes missing from this adaptation, but then there are wonderful scenes missing from the adaptation of GWTW. No, I am not comparing this to a classic like GWTW. But the '31 version is not in the same class as GWTW either. This film should be taken for what it actually is, a good solid epic entertainment with spectacular scenes and good performances. Glenn Ford is perfect casting for Yancy. His performance is far superior to that of the overripe, stilted scenery chewing one delivered by Richard Dix in the original. Ford's boyish manner easily captures the charming immature nature of the character. Maria Schell is on a par with Irene Dunne. It is a pity her character was rewritten from the novel to be weaker than Ferber intended. This was obviously done to make the film Ford's but she's still gives a performance that is on the money. As so do the myriad supporting players in the film. Back in 1960, MGM obviously needed a big movie to move into the theaters that had been playing "Ben-Hur" for over a year. So this production was rushed to completion to fit the bill. The fact that it was shot in Cinemascope instead of a "Big" 70 mm process is evidence of this. It has been written that the production was shut down before the scripted ending could be filmed. This explains the rather abrupt and somewhat awkward end to the film. Perhaps a regular non "Roadshow" release might have fared better both with the critics and at the box-office. It often seems that those who praise the older version over this film have seldom actually seen the former. For many years the 1931 version was not available for viewing. During that period many film historians gushed in their praise of it. When it finally reappeared on screens most of them found it very creaky and revised their opinions but the older opinions are still in print, available and read. True, they didn't change their opinion of this version, but the older fell into proper perspective...Cinema History and rather dry history at that. While this version is not a classic it remains good entertainment. Compare it to "How The West Was Won" made by the same studio just a few years later. ▪导演：(🐒)傅超武 易卜(bo )生的《群鬼(🆎)(guǐ )》，內容涉(shè )及(🚣)亂倫(母子(zǐ(🐴) )、(🔙)兄妹)、性(xìng )病 (梅毒(dú(🌯) )) 和上(shàng )流社會(🌫)(huì )的偽(wěi )善(💗)面(🚡)貌(mào )，在(zài )1882年(🔳)首(📅)演(yǎn )，震(zhèn )撼當年(nián )整(🐽)個(gè )歐洲劇壇(🕞)。左几的改編(📩)(biā(🤢)n )，除了把牧(mù )師(💳)一角改(🐌)成(chéng )是女主角(🏵)的(de )哥哥（相信(🛣)(xìn )是因為不(🛶)符(🚢)(fú )中國社會的狀況）(🛢)、和把開放曖(⏪)昧的草草收(🔣)場(🌘)改成雨過天青(💳)的完(wán )滿結局外（證(❣)明左几依(yī )然(🔠)大膽有餘(yú(👭) )，勇(🏥)氣不足(zú )），基本上(shà(🤸)ng )保留了原著(zhe )的(🎳)精華。高(gāo )潮(🚕)揭(➗)露(lù )兒子(zǐ(🔼) )（(💧)張瑛(yīng )）發(fā )現一直(🎁)(zhí )活在(zài )父、(🦔)母(mǔ )親（黃(🗳)曼(👯)梨(lí )）給(gěi )自己編造(🌥)的(de )謊言世界中(🤙)(zhōng )、和無可救(🍲)(jiù )藥地愛上(🦊)同(🍽)(tóng )父異母的妹(mèi )妹，還(㊙)有母(mǔ )親獲悉(👲)兒子(zǐ )遺傳(📠)了(🅱)她深痛惡絕的(🆑)丈夫的性病，劇力一瀉(👛)千里，其飽滿及(💢)奔放(fàng )程度(🛸)，直(🎯)逼(bī )他的另一傑(jié )作(🍚)《魂歸離(lí )恨天(🍽)》(1957)。影(yǐng )片又再(🍑)次(🍎)見(jiàn )證了左(🔘)几(🐝)的(de )穩健運鏡與(yǔ )場面(😫)調度（開場介(🏒)(jiè )紹鍾(zhōng )家(🗒)大(🤮)宅(zhái )的一(yī )段蒙太(tà(🛬)i )奇教(jiāo )人想起(👧)(qǐ )《大(dà )國民》(1941)）(🎧)，看官不容錯(🍰)(cuò(🍘) )過。 剧情简(jiǎn )介：