第二(èr )部・(🐱)二十面相の(👤)悪魔－－小(🌪)林君(jun1 )らの努(🦏)力で、明(mí(🗃)ng )智は顔に火(🎖)傷を(🚇)負いつつも(🖊)焼け落ちる(🦀)西洋館から(🙅)救(jiù )出さ(㊙)れ(🐁)る。だが設(🧞)計(🍣)図は既に(👘)複(🗣)(fú )写され(🥢)て(👊)いるらしく、折柄、復(fù )讐を誓う怪人の通信(xì(🔇)n )。電波監理(lǐ(💶) )局の調べで(👔)は、奥多(duō(✉) )摩方面に本(🐮)部があるら(🎃)しい。その日(📻)、図面の残(👪)(cán )り半分を(🎏)持ち大(dà )阪(💎)原子研究所(⏰)から小泉所(🗼)長が上(shàng )京(💦)。警戒は厳重(👏)(chóng )だ(👋)がその隙に(🐥)、子息(xī )の(🔺)小泉君が誘(🌛)拐(guǎi )され(📎)て(🚭)しまう。や(💡)が(🤷)て、深(shē(👇)n )夜(✖)に設計図と(🈷)少年の身柄を交換するとの二十面相の手紙(zhǐ )が(🎣)小泉邸へ。折(🐷)(shé )悪く明智(🈵)も不在(zài )。学(🚴)校では小林(🏣)(lín )君らが相(🍞)談の上(shàng )、(🚚)小泉家を訪(⛺)れることに(💢)したが、彼(❣)等がやって(🌏)来た時は明(🎚)智に化けた(🙄)怪人が両(liǎ(❕)ng )親を(🥒)騙して設計(👫)(jì )図を持ち(🏣)出すところ(💘)。小林君ら(👼)の(🐀)追(zhuī )跡を(🔥)振(📀)り切って(👬)逃(📹)げ去るが、(🖲)車(chē )体ナンバーを手(shǒu )掛りに捜査が進(jìn )められ(🥍)、舞台は×(🥫)×遊園地に(🙄)移(yí )る。小泉(🔛)君は無(wú )事(🏃)発(fā )見。怪人(🈸)ら海外(wài )逃(⬇)亡の恐れに(🤯)捜(sōu )査網が(🎆)全国に張(zhā(📗)ng )られても手(🌉)掛りはない(🕗)。だが小(xiǎo )林(📧)君らはふと(🎉)した(🥣)事から奥多(🏢)摩(mó )の鍾(zhō(👥)ng )乳洞に眼を(🍺)着け、踏(🔵)み(🥤)込むが、(🚷)一(🐼)味のため(🕑)大(📄)空(kōng )洞に監(🤭)禁され水(shuǐ )浸し寸前。一人(rén )脱れた篠崎君は秘密(🎀)室の無電機(📍)(jī )で救援を(👭)求める。爆(bà(🐘)o )破装置を仕(🏡)(shì )掛け出発(🎵)しかけた怪(🔼)(guài )人らは駈(⬆)けつけた明(🤷)智始め警官(🏴)(guān )隊に応戦(📐)。しかし危い(🔢)処で空洞(dò(🐒)ng )を逃れた少年探(💙)(tàn )偵団の働(🛁)きで、遂に(📂)捕縛された(💕)。
更(gèng )多外(🔘)文(🌂)名：Flying Swordsman's Raid on Criminal Monastery Part 2
故事(🈯)(shì(📒) )梗概：
改(🚁)编(🎟)自著(zhe )名推理小说作者(zhě )约翰迪克森卡尔(ěr )的非系列推(tuī )理小(🏛)(xiǎo )说《皇帝的(🐞)鼻烟(yān )壶》
陶(🏬)秦 .... 导演 陶(tá(💘)o )秦 .... 编剧 邵人(🚔) .... 监制(zhì ) 茅芦(🍱) .... 副导演 董绍(🚉)(shào )咏 .... 摄(shè )影(🔞) 张金 .... 作词(cí(🥜) ) 沈又(yòu )新 .... 作(👊)曲 尤敏 .... 演唱(😦)(chàng )
在这1957年科(🤵)幻片中(zhōng )，一(🥙)个男(🕧)子突然(rán )迅(🚎)速缩小。格兰(🏬)(lán )特·威廉(🥣)姆斯饰(shì )演(🐣)这名不幸(🍹)受(🤽)害(hài )者，因(🥈)为(🕺)遭到辐(fú(🖤) )射(🤣)而(ér )一周减一寸(cùn )，他(tā )能找到恢复身高(gāo )的疗法吗？
主演(yǎ(❌)n )：白龙珠/任(📦)冰儿(ér )/任剑(🥙)辉/新廖(liào )侠(🦕)怀(huái )/萧仲坤(🔻)/白雪仙/譚(tá(🗄)n )蘭卿/劉克宣(🚊)
The city is rounding up all unlicensed dogs. Spike has a license. So does Tyke. An unlicensed stray steals Tyke's license; Tyke gets collared and the chase is on.
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.