亚马逊食人族2

Joe Kedzie is released from prison after committing a robbery. Only Joe knows where the money is hidden: at the bottom of a mine shaft out in the desert. Maxie and Madge find Joe when he goes to retrieve the money. He agrees to cut them in. Maxie gets greedy and Joe shoots him. Unfortunately, he also puts a hole in their only canteen. Joe lowers himself down the mineshaft with a rope to retrieve the money. He ties the money to the rope and sends it up. When he tries to climb out, Madge cuts the rope and he falls and breaks his leg. Madge tries to get away, but discovers that Joe has the keys to the truck. The opening shot is of a young couple (Gail Ganley and Ralph Reed) in a sports car necking. She excuses herself and the boy drives off. The girl is approached by a man carrying a silver briefcase. He removes his sunglasses and she screams and collapses on the lawn. The man removes a rubber hose and needle and attaches it to her neck and empties her blood into vials in his case. We get a close up his eyes and they are just milky white orbs. Title and credits run over pen and ink drawings. An immigrant Nevada rancher brings a woman from Italy to be his second wife but when he neglects her, she becomes involved with his trusted assistant. Nominated for 3 Academy Awards including Best Actor. 将(jiā(🌷)ng )军赵(zhào )仕珍性格(🥖)鲁莽，有子(zǐ )喜郎(🔕)生性(🤗)顽皮，爱(ài )妻(🛣)(qī )林(🤯)茹(rú )香对他(📝)束手(🚀)无(wú )策(cè )，幸(🔔)(xìng )得(🕜)老师陆世科(📌)(kē )教(⏲)导(dǎo )有方，特设宴(♈)酬谢师(shī )恩。仕长(🚵)年征战沙场(chǎng )，与(🐻)(yǔ )妻聚少离多，香(🎽)(xiāng )为珍(zhēn )织香罗(😤)带，却被儿(ér )子(zǐ(🏻) )错拿给科，令科误(🎖)(wù )会(🏀)(huì )香不(bú )贞(⛹)，遂离(🤛)开赵(zhào )府。 《科(🦉)学怪(🍷)人的诅(zǔ )咒》（The Curse of Frankenstein）(👭)，又译作《神秘(mì )怪(📐)尸》，是1957年英国的(de )一(🌳)部(bù )恐怖片，由咸(📿)马公(👊)司(sī )出品。本(🎳)片基(🤴)于玛(mǎ )丽(lì(🎲) )·雪(🎣)(xuě )莱的同名(🚱)小说(👕)(shuō )《科学(xué )怪(🐡)人》。本(😔)片(piàn )也是(shì )咸马(👠)公司的首部彩色(👧)(sè )电影，影片出品(🧟)后得(dé )到成(chéng )功(🛄)并制作了多部(bù(🌩) )续篇(piān )，并建立了(😟)有哥特(tè )意(yì )味(🤘)的品(🐚)牌形象。 謎(mí(🏯) )の連(👷)続(xù )完全密(🤛)室殺(🧡)人(rén )事件(jiàn )を追(⚡)う敏腕刑事(shì )。そ(🌹)して透明化光線(👙)の開(kāi )発に成功(🏟)した(😲)科学者(zhě )た(🛋)ち、(⛪)人間を縮小(🦒)して(🏜)蠅(yíng )男にす(🤷)る薬(📂)品を使(shǐ )っ(📩)て悪(🛅)(è )事に手を染め(💬)る悪徳(dé )実業家(♎)。複雑(zá )に絡(luò )み(📀)合った糸が次第(👾)にほぐれ、事件(🕹)の真相(xiàng )が明(mí(🕳)ng )らかになってい(😟)く。透(🏆)明人間と蠅(🌪)男、(🎋)変(biàn )身人間(👾)同士(🎻)の戦いは、後(hò(⬇)u )に円谷英二のも(🏊)とでTVシリーズ「(🐝)ウルトラマン」(🍒)など(🧥)を演出(chū )す(🌗)る、(🥔)的場徹の手(🐟)によ(🤢)る特撮映像(🍅)。いわ(🔗)ば特(tè )撮とポリ(🍺)ティカル・サス(📩)ペンスが有機(jī(🐔) )的(de )結合を成し遂(♐)げた作品(pǐn )だ。透(📺)明人間の映像(xià(😷)ng )表現はともかく(🚪)、蠅(yíng )男のそれ(👰)に関(🕹)しては、や(📸)はり(⚾)同時期に製(🏚)作(zuò(👱) )されたアメリカ(🎍)映画(huà )「蠅男(ná(🌙)n )の恐怖」のよう(🥪)には行かず、い(🙃)ささ(🔯)か興ざめ。サ(🍗)スペ(😴)ンスの鍵と(😻)なる(🙋)部分だけに(🎂)、当(🔞)時の技術力の不(😠)足(zú )が悔やまれ(🍳)る。ただしセクシ(🚪)ーなダンサーの(🌔)肢体に縮小した(🈸)人(rén )間を這わせ(😚)たりと、そのサ(✉)ービス精神旺(wà(📶)ng )盛な(🏫)映像表現こ(🍊)そエ(🏾)ンタテインメン(🤪)トの鏡(jìng )。 テレビ(🕛)スター宇野(yě )久(📂)(jiǔ )美子(zǐ )は同僚(⏱)に失恋(liàn )し自(zì(🚰) )殺を(🍫)決意した。芸(🥇)の上(🍎)でもゆきづ(🔋)まっ(🧥)ていた。死体(♈)のあ(🗺)がらぬ伊(yī )豆の(👩)湖が、死場所に(😈)いいと思った。大(🗓)(dà )阪(bǎn )行の車中(🎴)で素人画(huà )家(jiā(👕) )に変装し伊豆に(👿)着(zhe )いた。雨に降ら(🔌)れた彼女(nǚ )を、(⚫)初老(🏙)の紳士が車(🕙)(chē )で(✉)自(zì )分のロッジ(➰)に案(àn )内した。一(🅱)夜が明けるとそ(📍)の大池氏の姿は(📍)見(jiàn )えず、岸辺(🦑)に一(🏁)艘(sōu )のボー(💭)トが(📐)漂っていた(🧚)。対岸(🚗)のバンガロ(♓)ーの(🎧)管理人石倉が、(🚾)大池(chí )氏の死と(🐈)刑事の到着を告(🏦)(gào )げた。銀行家大(😺)池(chí )は浮貸(dài )し(😱)の回収不能(néng )か(🐷)ら自殺したらし(🚄)い。遺(yí )書には或(👚)る女(🛹)性との死が(🌟)暗示(🛃)してあった。当(dā(⛹)ng )然、久美子に疑(🌎)(yí )惑がかかった(🐰)。大池の妻(qī )と長(🆔)男も駈けつけて(👦)きた(🛋)。長男の隆は(📉)久美(⛎)(měi )子につき(🍈)まと(🌃)い、薪(xīn )箱(🆓)にあ(🦆)ったと、彼女(nǚ(🔽) )の常用する催眠(🚟)薬プロミディア(😴)を渡した。翌(yì )朝(🔒)、死体引揚げの(📓)ため船(chuán )が出さ(🍓)れた。何(hé )者かに(🔃)船は覆えされ、(📴)久美(🕐)子は湖中に(⛰)落ち(😰)た。窒息寸前を救(💝)われた久美子は(🥌)そのことが大池(🐷)氏を追って心(xī(✌)n )中(zhōng )したと見ら(🛋)れて(🔄)いることを(🚤)知ら(⚽)された。ワナ(😏)だ。そ(🔢)の夜、ロッ(💛)ジで(🎞)寝ている久美子(🔻)(zǐ )の前に、大池(🕍)氏が全(quán )身びし(🎵)ょ濡れで現れた(🐟)。心蔵が弱いけれ(🍩)ど、湖を泳いで(🔢)きたという。彼は(😢)偽装自殺(shā )を企(🚜)(qǐ )て(🚲)たことを話(🤐)した(🌡)。それは匿し財産(🈷)のためで、彼の(🀄)妻や石倉も片(pià(🗼)n )棒をかついでい(🎎)た。翌朝、警察が(😙)踏み(🕓)こんだ時、(💈)彼は(⛰)死んでいた(🏀)。枕元(📜)にプロミデ(🌭)ィア(🧛)が転っていた。久(🚤)美子の警察での(🎓)申(shēn )し開(kāi )きは(🕴)通らなかった。じ(🏏)っさい悪い材料(🃏)(liào )ばかりそろっ(😟)ていた。隆は偽装(🐲)自殺の次(cì )第を(🗜)知っ(🌐)ていたが、(🚧)久美(🚽)(měi )子が犯人だと(🗞)は思えず、それ(👏)を探り始めた。彼(💋)に手渡したサン(🍿)ドウ(😐)ィッチから(🍓)足が(🥢)つき大(dà )池(🦉)の妻(📚)と石倉(cāng )は(🤼)逮(dǎ(🎓)i )捕された。そ(🕕)れに(🙈)は大池を殺した(🐲)ジュースの中の(🕦)と同じプトマイ(⤵)ンが入っていた(❎)のだ。疑い晴れた(🚴)久美(měi )子(zǐ )は女(👩)(nǚ )優をやめ、郷(❌)(xiāng )里へ発った。見(🧙)送る(⛹)隆から、車(🌨)はみ(🚳)るみる遠(yuǎn )ざか(😲)って行った。... EIGHT HOURS OF FEAR (aka HACHIJIKAN NO KYOFU, 1957) offers a classic suspense plot focused on a group of people confined to a small space under threat from criminals who have taken control of them. In this case, it's a small rural bus containing about 15 passengers on their way to make a train to Tokyo after the train line they meant to ride has stopped service due to a landslide. The bus is then stopped and boarded by a pair of criminals fleeing with the proceeds of a bank robbery. The passengers constitute a microcosm of Japanese postwar society and their numbers include a businessman and his arrogant wife; a lecherous lingerie salesman with crude personal habits; a radical student couple given to singing Russian work songs; a despairing single mother with her baby; an aspiring actress on her way to an audition; a seasoned sex worker lamenting the closing of American bases in Japan; an old couple going to visit their daughter; and a detective escorting his prisoner, a convicted murderer. The driver is an old man who works rural mountain routes and the rickety bus is a relic of an earlier age. The movie itself, although filled with references to World War II and postwar problems, plays like it could have been filmed and staged twenty years earlier. It has the feel of a much older movie and deliberately recalls such Hollywood movies of the 1930s as Frank Capra's IT HAPPENED ONE NIGHT, much of which also takes place on a long bus trip through back roads, and John Ford's STAGECOACH, but with a much darker edge than either of those films.