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：《南美夜/当(😞)心(🔱)! 我们要拍下流电(dià(👄)n )影(🖲)(yǐng )》一(🛩)个笨拙的摄制(🎦)组计划(🏍)(huá )拍(pāi )摄一部色情(⛔)电(🈸)影。不幸的是(shì )，剧(🏪)组(😉)里不是自大狂就是(🧀)无(🏑)(wú )能(🗜)(néng )者，还有一个过于害(⚽)羞的(de )道(dào )具经理不(🤝)好(✍)意思从性用品(pǐn )商(⛰)(shāng )店购(📀)买任何用具。然(😎)而，他(💴)(tā(📲) )们(men )还是凑凑合合地(🕛)将(⛳)拍片进(jìn )行(háng )到(📑)底(💹)~~ 茱莉亚（Cathleen Nesbitt 饰）年事已(yǐ )高(🎏)(gāo )，家财万贯，可是没(🔃)有(♟)子嗣(sì )，也就没有名(⤴)正(🗿)言顺(❓)的继承(chéng )者(zhě(➗) )，为此，她(🍆)找到了女巫师(shī )布(🏋)(bù(🚮) )兰奇（芭芭拉·(🐊)哈(🈯)里斯 Barbara Harris 饰）。茱莉亚告(👺)诉(🛎)布兰(👯)奇，她的(de )妹(mèi )妹曾有一(🛶)个私生子，被她(tā )送(👗)(sò(⚫)ng )给别人抚养，如今，她(🔻)想(xiǎng )找(🧚)(zhǎo )到这个可怜(🔄)的孩(🌍)子(🐆)，让他继(jì )承(chéng )家产(📚)。 少(⭕)林哑徒弟（成龙(🚲)(ló(🚫)ng ) 饰(shì )）为了报杀父之仇而(🚌)学武(wǔ )，从挑水砍柴(🍀)做(💢)起，苦熬内功(gōng )基础(🕢)，打(🆚)出木(👛)人巷学成武功(🍔)(gōng )的(de )情(📝)形时时出现在他的(🕢)梦(🙎)中(zhōng )，父亲被害的(🥏)惨(🏓)状和客居少林(lín )的(🖱)五(⏮)枚师(🗯)太的开解令他在疲(pí(⏬) )乏(fá )时咬紧牙关坚(🤣)持(⛷)。哑徒弟(dì )在(zài )少林(📐)禁地发(😑)现了被锁住的(⏹)(de )老(lǎ(🗞)o )怪(🚶)人法愚，法愚不似少(🍍)林(🎓)僧(sēng )人(rén )，但有感(🛎)于(🚁)哑徒弟的照顾(gù )，法愚指点(🐝)尚不具备学习少(shǎ(🎩)o )林(🔣)(lín )武术资格的哑徒(⚪)弟(🔶)武功，期(qī )间哑徒弟(🔥)师兄闯(⏪)入木人巷却(què )实(shí(☕) )力(🎒)不济铩羽而归。五(🦁)枚(🧗)师(shī )太(tài )见独自温(🍍)习(🐘)武功(🅿)的哑徒弟出(chū )招狠辣(💦)，随传授蛇翼八步调(👊)(dià(🕖)o )理(lǐ )其心性，经法愚(✒)调教，哑(🎻)(yǎ )徒(tú )弟成功(🙀)打出(🤧)木(⛳)人巷，得以(yǐ )学(xué )成(🐽)下(🗓)山，法愚令其携带(🌜)信(🖥)物(wù )联(lián )络江湖帮派，引发(🧒)江湖搏(bó )杀(shā )，而哑(🛂)徒(🌚)弟又发现了法愚(yú(🤶) )的(🛵)(de )真实身份…… En présence de Lionel Soukaz 该(🥠)片故事(🧔)取(qǔ )材于真人真事(🐫)。这(💜)一故事曾(céng )被(bè(📬)i )法(🚴)国两位电影者先后(🌭)采(🙅)用(yò(💓)ng )过(guò )。一是青年导演克(🔏)里斯纳·李宾斯卡(🧡)于(📐)1974年拍过影片《我(wǒ )，比(😡)埃尔·(📁)李维尔》，一是(shì(🏒) )雷(lé(🛬)i )纳(👛)·阿里奥1976年拍成的(🔴)本(🏾)片(piàn )。1935年，在法国南(🐲)部(💿)的诺曼地，发(fā )生了一场异(👳)常轰动的谋杀(shā )案(😎)(à(🎸)n )。青年农民比埃尔·(😞)李(🎈)维(wéi )尔(ěr )先后杀死(🏚)了他的(🏇)母亲，姊姊(zǐ )和弟弟(🌵)。如(🍚)此残忍无道的谋(🥪)(mó(👡)u )杀(shā )自己的亲人，到(🗨)底(🔮)是为(🏵)什(shí )么(me )？这引起了当(🎳)局的特大关注(zhù )，派(🕐)遣(🔥)警方进行调查和研(☕)究(jiū )。对(🍊)比埃尔·李维(💜)尔进(⛩)行(🐋)耐(nài )心(xīn )的交谈。根(⏮)据(🛵)他在监中的(de )陈(ché(👠)n )述(🔯)，他杀死三人的原因是母(mǔ(🛷) )亲(qīn )和姊姊仇恨她(🤹)的(🐈)父亲，而(ér )他(tā )本人(🥑)却(🐸)十分爱他。至于杀(shā(🕹) )死(sǐ )其(🌦)弟弟的原因，是“免得(🤚)父(🙊)(fù )亲感到遗憾。”事(🎩)发(☝)被捕后(hòu )，法医认为(🚿)他(🥉)精神(🕳)有病。李(lǐ )维(wéi )尔被判(🔻)无期徒刑。但是他在(😶)(zà(🚾)i )狱中自杀身亡。留下(🍝)了自己(🕧)(jǐ )的(de )遗书，遗书(😛)的开(😹)头(💍)是这样(yàng )写(xiě )道的(🌭)：(💅)“我，比埃尔·李(lǐ(👃) )维(🥌)(wéi )尔……” This extremely obscure Italian production tells the story of a modern day neo-Nazi youth gang that meets in a place decorated with swasticas and a poster of the "Führer". The members of this gang are all bored teenagers from rich families. One of the gang prefers playing pin pall to getting a girlfriend, because playing pin ball literally gets him off. The leader of the gang indulges in violent sexual fantasies, which ultimately leads to rape and murder. This inspires a teen gang from the streets, whose members are poor kids from the ghetto. The story is quite interesting, especially the aspect of the impact the neo-Nazi gang has on the street gang in the end, although the gangs as such have nothing in common. Unfortunately, the film becomes extremely slow paced after a good first 20 minutes, and it never really returns to a faster pace. The interesting cast, unknown faces even for connoisseurs of obscure Italian films of the Seventies, does a good job throughout, which makes it even more sad that the movie as a whole is merely a disappointment. All in all, "I Ragazzi Della Roma Violenta" is a movie that could have been far better than it eventually turned out to be. However, it's remarkable that the film precedes some of Larry Clark's issues in his films "Kids" and "Bully" for about two decades. 故事发生在1942年(〰)夏(xià )天(tiān )，太平洋战(🔋)争(⛱)爆发前夕。 水(shuǐ )泽先(👐)生(💻)是日本驻欧洲的外(🌡)(wài )交(jiā(⬇)o )官，他的女儿节子是(🌽)个(🅿)聪明(míng )伶俐的女(⏰)孩(🤹)。节子和他的朋(péng )友(😂)(yǒ(😔)u )竭诚(🎪)、达郎经常在郊外的(👣)(de )家(jiā )中聚会，慢慢地(😜)，节(😸)子和达(dá )郎在互相(🏿)的交往(🖼)中产生了感(gǎ(🔙)n )情(qí(🥍)ng )。当(🚂)两个人沐浴在爱的(🐂)阳(🤑)(yáng )光(guāng )里时，节子(🕥)却(🐡)得了肺病。她(tā )的父母将节(🐽)子许配给了他人(ré(🌛)n )。节(📙)子为了逃避婚事，只(🎫)身(🖼)(shēn )一(yī )人来到东京(🔙)找达郎(🌆)相救。达(dá )郎的父亲(🛬)因(🍺)为节子的病而反(💡)(fǎ(💍)n )对两个人在一起，最(🧞)终(💁)节子(🛴)(zǐ )和(hé )达郎用他们对(🐂)爱的真诚感(gǎn )动(dò(🤡)ng )了(🥈)双方的父母。 太平洋(🍋)战争(zhē(🐚)ng )爆发了。达郎即(🚲)将征赴(🐻)战场(chǎng )，为了不让节(🥪)子(🏦)伤心，达郎(láng )没(mé(😊)i )有(🙃)告诉节子自己将要出征(zhē(🛹)ng )…… 本片是费拉里对(🤫)现代社会(huì )文(wén )明(🍛)和(🏪)小家庭中男子的作(📘)用(yòng )的(🐴)(de )最新探讨的成果。工(🥪)程(♎)师(shī )热(rè )拉尔德被(🛵)妻子抛弃了，并把(bǎ(🚭) )小(🕸)儿子皮耶罗特留给了他。当(🐽)(dāng )工厂宣布休假时(🌟)，他(🗽)把保(bǎo )姆(mǔ )当作情(🥡)人；在(🕕)短短的时间内(♟)(nèi )，他重(🚋)新经受了令人伤脑(🉑)筋(🔖)(jīn )的(de )以两性斗争(🅾)为(⛺)特点的两人(rén )关(guān )系发展(⏮)的全过程。热拉尔(ěr )德(🛺)(dé )完全被以性交为(🎤)表(🐜)现的男性(xìng )意(yì )识(🚨)所支配(📁)。当他同情人的(de )关(guā(🔣)n )系(🛏)发生危机时，他的情(🌲)人(rén )却(què )和他的前(🖍)妻(🏖)成了好朋友。他(tā )出于抗议(🌲)和绝望用一把厨房(🏠)(fá(🐈)ng )用(yòng )的电锯把自己(🛸)的生殖(🎗)器割(gē )掉(diào )了(😕)。这个可(🤨)以作为模式的事(shì(🥫) )件(🏚)的大部分 (就象在(🔰)戏(🐰)剧舞台(tái )上(shàng )一样)发生在(🏞)一套高层小公(gōng )寓(yù(📄) )里。费拉里批判了他(♊)的(😩)主(zhǔ )人(rén )公的大男(🏥)子主义(🎶)，同时也表(biǎo )现(xiàn )了(😟)由(🐾)于生活(工作，住宅，千(🌀)(qiān )篇一律的生活秩(🔉)序(👆)，孤独(dú )寂(jì )寞)造成的绝望(🎲)和灰心丧气。如果说(🌆)影(🐰)片留下了一种相互(🧠)(hù )矛(má(😝)o )盾的印象，那是(😯)由于影(🏖)片(piàn )以(yǐ )独特的方(🕝)式(💗)提出了问题：这(♿)(zhè(🎢) )个男人是他的行为的牺牲(😀)品(pǐn )，也是妇女全面反(🌆)抗的牺牲(shēng )品(pǐn )；(🍲)费(📞)拉里在这部影片中(🤵)同(tóng )样(🌇)(yàng )使用了多种手法(🔛)，而(💹)且通过(guò )一(yī )些“煽(🗽)动性"的细节和效果(🦈)(guǒ(😶) )来(lái )吸引更多的观众。 杨权(🕡)年轻(qīng )时曾替“香港(🌆)文(🐻)化社”拍摄(shè )有关本(🔑)地学校(🔰)的纪录片和教(😐)(jiāo )材(cá(🛴)i )片，处女作是67年的《红(🌚)粉(💡)金(jīn )刚》，香港六十(✅)年(🎫)代色情电(diàn )影导演代表人(❗)物，此类代表(biǎo )作(zuò )是(🙁)70年的《七擒七纵七色(🖼)狼(🐇)(láng )》和续集《横冲直撞(🗓)七色狼(🦗)》，两片可谓是开了色(🧓)情(🔏)片粤(yuè )语(yǔ )片的先(🔕)河，《七擒七纵七(qī )色(📷)(sè(🥫) )狼》里写一个女扒手(狄娜饰(🥡)(shì ))逃入了一处旧楼(💰)单(🔙)位，成为(wéi )屋内七色(😋)狼(周吉(🕷)、杜平、高(gā(🌉)o )鲁(lǔ )泉(🛎)、郑君锦等)的性幻(👖)想(🗽)对象(xiàng )，电影虽然(😡)没(👖)有甚么暴露场(chǎng )面(💡)，但写出(📑)了一群低下小男(nán )人(📀)(rén )的性抑压，虽然咸(🤒)湿(👭)，但(dàn )仍(réng )然守望相(🔖)助，面对(🚻)大是大非(fēi )又绝不(🖇)妥(🐁)协，一些色情场面(mià(💻)n )如(rú )偷窥和搏懵，电(🧠)影(🔊)处理得(dé )乐(lè )而不淫，不算(📔)下流。 Probably the most controversial of Woolley's films, because of an audio rape sequence with flashes of nudity that split critics and viewers (especially feminists) right down the middle – some saying it was exploitative, others saying it was essential to get the formalist message (that we are all voyeurs in the cinema, often viewing at the expense of women) across. The film tells the tale of a housewife (who we never totally see, but can hear) trapped in her luxury house at the mercy of a husband and ruthless police team investigating an illusory political crime that she may or may not have committed. Her husband (the only character we see in a conventional manner) comes in and out of the story and alternates between patronising solicitousness and cold anger. The whole is constructed around a relentlessly repetitive sequence of shots that, in the course of the film, moves ten times from wide shot exterior to intimate interiors, with the story being updated and narrated every time we return to the exterior. In each sequence, there is one POV handheld shot that varies and is usually from the wife's point of view; otherwise the story is told within the confines of the repeating images (same framing and camera movement) with only the action varying. Voiceovers narrate and reflect on a woman's position, as well as dominant male perspectives, in society.