制胜一击 第220集

Jealous invalid husband tries to kill sexy blond wife, who uses occult powers and devices to try to kill him. 邵氏(👢)旗下“娃娃(wá(🍷) )影后(hòu )“李(🍋)(lǐ )菁倾情出(😼)演,饰演的狐(🥁)仙(xiā(🚲)n )小仙(😎)(xiān )离开天界,化身(🦌)为人间(jiān )女(👾)子(zǐ ),下界(jiè )来到(😉)香港(♎)找丈夫…… 东(dō(👫)ng )京浅(qiǎn )草的(🚠)东荣馆，各(🏼)色人(rén )等寄(🥐)(jì )宿于此。无业游(🕣)民乡田(tián )三郎(láng )（石(🔵)(shí )桥莲司 饰(🔲)）无意中发(🚐)(fā )现(🥘)了(le )贯(🔉)通整(🤸)座公寓的阁(⛰)楼，于是(shì )他(🚬)从此游走于阁楼之上(🎐)，以窥(kuī )探(tàn )房客(🤽)的隐私为乐(🚭)趣。和小(xiǎ(🆔)o )丑打扮的男(🎾)人通奸的(de )贵(🔄)妇(fù(🕛) )清宫(👳)(gōng )美那子（宫下(🎯)顺子 饰）、(👲)拿(ná )女佣身体恶(😈)作剧(🚅)的传(chuán )教士(shì )远(🚩)藤（八代康(💆)二 饰）以(🧘)(yǐ )及迷(mí )恋(🧕)达(dá )利风格的女(🐢)体画家富(fù )田美(měi )幸(🕣)（渡辺とく(🤖)子 饰）等(dě(🔊)ng )隐私(❣)(sī )机(🦏)密(mì(🏽) )，都在乡田的(🔥)窥视下(xià )分(👲)毫(háo )毕现。 乔·迪阿马(📭)托早(zǎo )期作(zuò )品(😙)。这一个是与(❄)乔治·伊(🏚)(yī )斯曼(màn )，是(🎷)谁写的电影(💸)剧本(📥)为(wé(💾)i )这个(gè )称号导演(💢)开始工作的(🍹)(de )第一(yī )个例(lì )子(⏸)。故事(🥩)讲述(📚)的是无辜(gū(😫) )的孩(hái )子，谁(🛌)是害怕性(🛋)生活(huó )，所(suǒ(🖌) )以他所有的家人(🍃)开始推(tuī )他，叫女(nǚ )人(🐅)说服他。事情(💕)到这(zhè )里来(👱)(lái )精(🏙)心担(📩)任猝(🎥)死的理念和(♋)(hé )成熟(shú )的(🏯)倒(dǎo )行逆施。比较特别(🗒)的(de )影片(piàn )显(xiǎn )示(⛅)，但它仍然是(🔁)一个(gè )黑(😊)色(sè )荒诞喜(✖)剧与幽默的(🐼)意大(💐)利(lì(😦) )经典(diǎn )Massachessi的(de )折衷性(🛄)的看法。难得(🤦)(dé )找到(dào )不起眼(🌻)的标(🎛)题，但(🙋)我(wǒ )们推(tuī(🌱) )荐它(tā )为那(🌊)些谁喜欢(🆎)解决他们(men )心(👥)目(mù )中最疯狂的(♟)情况和幻(huàn )想。（ Paramount Pictures shelved this Italian action film (which is heavy on the drama) that features John Saxon in a suporting role as a cop bend on arresting a blind mafia boss Lee J. Cobb. The film too busy focus on the bank robbers and a newspaper guy Renzo Palmer instead of Saxon's plot which is a misfire to all Saxon fans. The photography and the location is wonderful, but the plot is very extremely slow. Not recommended for someone looking for action films. The niche market DVD label Mondo Macabro has released a little-known 1976 film titled In Hell, known variously as La tortura and Gloria Mundi. The movie is the creation of the late Greek director Nikos Papatakis, who obviously felt he had a significant left-wing political statement to make in this bizarre and unpleasant blending of radicalism and sexual humiliation. The film's one saving grace is an astonishingly brave performance by lead actress Olga Karlatos, who we are introduced to in a provocative, if cringe-inducing sequence in which we observe her sitting in a bathtub and attaching electrical wires to her nipples and genitals then torturing herself by turning on the current. Why is she doing this? It seems that her character, Galai, is an attractive young Algerian immigrant living in Paris. She has fallen under the spell of a mysterious and unseen political anarchist named Hamdias, who wants to wreak havoc against French colonialism in Algeria. This is to be achieved through terrorist acts that he is grooming Galai to carry out via instructions on the phone and cassette tapes. He also fancies himself an important filmmaker and is trying to raise funds for a political thriller starring Galai in the leading role. The film runs into the usual dilemma that real life independent producers must endure: the funding keeps running out but Galai becomes obsessed with ensuring that the movie is completed. Hamidias envisions incorporating perverse sexual abuse into the story line and he finds a willing leading lady in Galai, who enthusiastically submits herself to self-imposed "training sessions" in which she performs torture on her own body, all the better to please her producer/director/lover by giving the most genuine performance possible. The graphic opening sequence of this abuse is difficult to watch but the film quickly delves into a virtually incomprehensible look at the psychological tortures Galai is facing. Seems that Hamdias enjoys playing head games with her psyche and issuing increasingly dangerous demands including carrying out dry runs for terrorist bombings. She constantly vents to herself about her disdain for him, but it becomes clear that not only is she completely submissive to his whims, he is also holding their child as a virtual hostage to ensure she carries out his demands. That's about all I could ascertain from the confusing story line which at times is completely incomprehensible. There are films within films, sarcastic scenes that denounce the French elite and occasional sequences in which Galai is subjected to sexual abuse at the hands of military captor. There is abundant full female nudity but none of it is presented in an erotic manner and in one particularly awful scene one of Galai's would-be lovers vomits on her bare chest. 恩熙(🕟)和在日侨胞(🉑)崔社(shè )长相(📗)(xiàng )爱(🍫)了(le )，她(🍵)看重(🗨)的并非崔社(🎴)(shè )长可(kě )以(🏌)给予自己的奢华生活(🤩)(huó )，而(ér )是他(tā )们(✳)之间真正的(📋)爱情。恩熙(🔺)(xī )偶(ǒu )然结(🛴)识了年轻人(👺)安先(🕧)(xiān )生(⚽)，面对安先生，恩熙(🚛)感受到(dào )了(👮)作(zuò )为(wéi )一个普(⚓)通女(🦊)子所(🚂)能拥(yōng )有的(😪)(de )不同的爱情(⛓)，于是恩(ē(💲)n )熙离(lí )开了(🏛)(le )崔社长决定和安(🐳)先生走(zǒu )到一(yī )起，但(🙊)安先生最终(🐧)却(què )选择(zé(🌰) )与别(🗯)人结(🎤)婚，这(🔅)让恩熙(xī )倍(💂)感(gǎn )绝望(wà(🛂)ng )…… 1939年，纳粹大张旗(qí(👼) )鼓地(dì )将数百名(🍅)来自社会各(🏔)个(gè )阶层(🐱)(céng )的犹(yóu )太(🏚)逃亡者们安(🏬)置在(🈺)一(yī(🚲) )艘豪(háo )华(huá )客轮(⛄)内，载他们至(🚕)古(gǔ )巴的(de )哈瓦那(🌔)避难(⛏)。然而(💑)，当轮(lún )船抵(♟)(dǐ )达(dá )哈瓦(🕝)那港，古巴政府(fǔ )却依(🏂)(yī )据本国严格的(🏐)移民政(zhèng )策拒(jù )绝船(💰)(chuán )上的犹太(🐾)裔乘客入境(🥪)。其实(🔛)(shí )纳(🏅)粹早就预料到会(🎌)有(yǒu )这样(yà(👏)ng )的结果，而这也正是他(🌭)(tā )们所(suǒ )希望(wà(🍳)ng )看到的。当流(🆙)亡者们(men )从(🛴)哈(hā )瓦那怏(🕙)怏离去的时候，德(🐷)国(guó )政府(fǔ )就可以凭(😃)此证明犹太(➿)(tài )人是(shì )世(shì )界(⬆)上最(🔁)不受(🧕)欢迎的种(zhǒ(🌅)ng )族，从而为希(🖨)特勒的种族清洗(xǐ )政(⛽)策(cè )找(zhǎo )到一个(⚽)合情合理的借(jiè )口。 内(🌹)向的波兰裔(🥟)青年塔(tǎ )尔(😖)科(kē(🚐) )夫斯(🥑)(sī )基（罗曼·波(🅿)兰斯基 Roman Polanski 饰(shì(🏁) )）独(dú )自来到巴黎，希(👬)望在(zài )此租(zū )住(🦐)一间公寓。这(🍠)间房之(zhī(🈚) )前的(de )房客(kè(🌧) )西蒙·肖（Romain Bouteille 饰）(👚)不知(zhī )出于(yú )何种原(📰)因跳楼自杀(🤾)。在(zài )西蒙(méng )于医(🎦)院中(🕦)气绝(🌧)身亡后，塔(tǎ(👉) )尔科(kē )夫(fū(🧘) )斯基顺利地成为了新(🎊)(xīn )的房(fáng )客。