忠彦と(🛑)許婚(hūn )者・啓(⏬)子(zǐ )の二(🌒)(èr )人は山道に(🌅)迷い、ふ(⌛)と現れ(🦁)た猫の(🐂)後を追っ(🔘)て廃(fè(🐶)i )屋にた(🕒)ど(😚)り着(zhe )いたが、(⚪)啓子(zǐ(🙍) )は(😅)発熱し、幻(huà(💂)n )覚の中で(👈)怪猫(māo )に変わ(🦉)った老婆(💜)を見て苦しん(🛣)だ。その廃屋は、以前(qiá(🐐)n )恐ろしい事件が起(qǐ )こ(🏐)った代官屋(wū )敷跡(jì )だ(🖇)った。
电影里女(🗡)主人公是(🕶)个山区(qū )农村(🍣)(cūn )气象预(🔝)报(bào )员，工作有(🏅)热(rè )情，也(🏓)有(yǒu )知识(shí )，还(🐯)能深(shēn )入(👝)到(dào )当(🚞)地有经(🖥)验的老农(🐇)中搞调(🗳)查研究(👲)。她(💚)不盲目听从(có(🎩)ng )上级(jí(😰) )的(🌥)气象预(yù )报，而(💡)是根据(jù(🆚) )自己在当(dāng )地(📈)气(qì )象站(🔽)测得的气(qì )象(🦗)数据，参考当地老农积累(♓)的气象(xiàng )经验(yàn )，对当地(🎬)(dì )的气(qì )象做出准(zhǔn )确(💮)的预报(bào )，指(zhǐ(😜) )导农事。上(🏤)级(jí )预报没雨(🛸)，她说会下(🍉)雨，提前栽植(zhí(🚵) )薯苗(miáo )，保(🦁)证了(le )秧苗(miáo )的(🔞)成活率(lǜ(🐄) )。上级预(🏺)(yù )报有(🔆)(yǒ(⌚)u )大暴雨(👓)，要开(kā(🧑)i )闸放掉(🚬)水(🕢)库的蓄水，她坚(👦)持当地(🔠)无(📓)(wú )雨，要保住水(🚷)(shuǐ )源。这可(🛵)是人(rén )命关天(🕯)的(de )大事(shì(🐿) )，上级来(lái )人现(🔅)(xiàn )场指挥。人们意见不统(🛒)一，女主人公大胆负责，坚(🥌)定(dìng )不移，得(dé )到了领导(🍧)的支(zhī )持。一阵(😵)(zhèn )狂风(fē(🧠)ng )过后，雨没有(yǒ(🙅)u )下，水库的(💪)水源得到了保(🚵)护。
讲述(shù(🚬) )在1880年(nián )期间，希(👗)(xī )利剧(jù(🌼) )团正進(🤕)行(háng )巡(♍)迴(🐡)表演(yǎ(🌋)n )，而(ér )除(🆚)了表演(🛎)(yǎ(🤬)n )外他(tā )们大部(✊)份时间都(🎳)在逃避债主及(💎)警方(fāng )的(🧥)追捕，还有(yǒu )一(🌙)班(bān )与他(😡)们对(duì )抗的民(🤧)众(zhòng )……
一个骗子(zǐ )决(☕)定(dìng )撞死无能的船员，并(🔌)将他们的死亡归咎于传(🗜)说中(zhōng )的海(hǎ(🧓)i )洋生物，他(🅾)不知道的是(shì(🛶) )这个生物(👺)(wù )是真(zhēn )的，传(🐙)说中的(de )鬼(🔐)海怪物真正现(🦍)身了。
醫生(👖)魏雲昌(🦂)(chāng )偕妻(🔃)(qī(🌠) )毛淑卿(🥊)和(hé )兒(🧔)子(zǐ )小(♏)平(🌼)來港(gǎng )謀生, 卻(🙁)未(wèi )能掛(〰)(guà )牌行醫, 生(shē(🚄)ng )活困(kùn )苦(🗿), 幸得伴舞為生(🥢)的舊同學彭如柳同(tóng )情(⛷)扶助。柳失(shī )眠, 昌(chāng )代購(🔑)安眠(mián )藥, 柳一時(shí )感懷(🍉)(huái )身世, 服藥(yào )過量(liàng )昏(🌈)迷入院, 累昌無(🐤)辜入獄. 昌(🗼)出獄後與妻兒(🐀)失散, 再訪(🧣)(fǎng )柳, 柳(liǔ )的同(💖)居情(qíng )人(😎)吳開鵬妒恨(hè(🍲)n )昌, 設計利(🌄)(lì )用昌(🦀)(chāng )運毒(⛽), 幸(🏒)昌及時(shí )識破(🐗), 避過大(✌)禍(🔟). 平以為父親與(📬)舞女鬼(guǐ(🍊) )混, 糾(jiū )黨把昌(✳)毆(ōu )傷, 鵬(💲)(péng )乘機唆使(shǐ(🐣) )平以鏹水(shuǐ )襲昌(chāng ), 混亂(🤥)間鵬(péng )反誤(wù )中鏹水斃(⛅)命. 昌獲判無罪, 後更獲聘(🔬)在(zài )醫院工作, 與家(jiā )人(🗄)展(zhǎn )開新生活(🕥)(huó )。
Shirley Anne Field gives a fiery performance as a young designer on the brink of starting an affair with a married male supervisor (Robert Stephens) at the wallpaper factory where she works. Based on the play by acclaimed writer John Mortimer (Rumpole of the Bailey), Lunch Hour is directed by James Hill (Black Beauty, Born Free). With its tightly-focused plot and real-time narrative this stylish examination of an illicit lunch-hour rendezvous features an underlying sexual radicalism that tells us much about the time in which it was made.