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故(🈸)事发生在美国西部一个小村庄。父(😟)亲(🎴)要离开(🈴)(kā(📨)i )家一段(duàn )时间，嘱咐大(dà )儿子照(🏸)(zhà(🐾)o )顾(🛎)好妈(mā )妈和弟(dì )弟。一(yī )条无意(🔱)(yì )闯入家(🎯)(jiā(💉) )中老黄(huáng )狗，成(chéng )了家庭的一员。老(🤜)黄(🎙)狗年纪(🙋)虽(🚑)(suī )大，却(què )忠诚而(ér )勇敢的(de )保护(🙃)了(🔴)(le )这(😆)个家(jiā(🥄) )。 沈家(jiā )一家之(zhī )主老祖(zǔ )母反对(😬)孙(🙆)儿(♟)嘉康娶妻后搬离祖屋，又(yòu )反对(🚿)孙(😌)(sūn )女嘉(🎍)美(➰)(měi )结交阿(ā )飞。兄妹二人共同反抗(🎈)，祖(📤)母被气(❇)病(🔦)，弄得家庭大乱。未来孙媳(xí )妇与(👛)老(💢)(lǎ(🏫)o )祖母初(🍠)(chū )次接触(chù )，相处(chù )融洽(👺)，从此祖(zǔ(🖌) )孙(🚐)两代(dài )学习互(hù )谅互让(ràng )，日见(jià(👶)n )和(🥩)睦。 Three people, Susan and Philip Ashlow and Henry Brittingham-Brett are washed ashore on a deserted island after a shipwreck. Henry is Susan's lover. Since the island is filled with things to eat, they can concentrate on the love triangle between the men and the woman. 以东(🐮)京(🔜)洲崎的风月区为背景舞(wǔ )台，而(💒)(é(👚)r )以(🍐)一对(duì(❄) )因被父(fù )母反对(duì )成亲而(ér )出走(🍁)至(👢)(zhì(💡) )东京的(de )恋人茑(niǎo )枝及义治为主(🌍)角(🚉)，刻划他(🖇)们(🏤)寄栖于风(fēng )月区小(xiǎo )酒馆及(jí )面(👟)店(🌬)的(de )求生(🤦)故(🌶)事。导演川岛雄三忆述在拍摄期(🏃)间(📄)，在(❕)当地新(👦)旧两帮黑社(shè )会势力(lì(🧜) )之间周(zhō(😪)u )旋(🅱)，而(ér )警方全(quán )无援手(shǒu )，令他(tā )充(🈵)分(⏪)感(gǎn )受(😧)到(🔐)电(diàn )影人正(zhèng )是现代(dài )“游侠(xiá(🎾) )”的(🥛)化(🌜)身──(🦉)戏如人生(shēng )，川岛(dǎo )雄三的(de )电影生(🦏)(shē(🚊)ng )涯(🥂)和事(shì )业，也(yě )正好体(tǐ )现出“游(😎)侠”的精神(🛐)(shé(✝)n )。 In the 1950s Neo-realism style was given a boost, in part by what was happening in Italy. The films of Rossellini, Antonioni and De Sica made a powerful impression on Brazil's nascent film community. A series of pivotal pictures were made in the 1950s that responded to the wake-up call of the new Italian masters. Needle in a Haystack (1953) by Alex Viany, The Road (1957) by Oswaldo Sampaio and The Great Moment (1958) by Roberto Santos are a few of the better titles. The energy of these films was felt far north of Rio in the state of Bahia, where several pictures were made. (History of Brazilian Cinema) 第一部・妖怪博士－－警戒厳重(✒)な(🙅)日本原(🐍)(yuá(🍪)n )子力第(dì )一工場(chǎng )に、ある夜(💋)、(🌬)怪(🤛)盗が侵(🐢)入。新聞は国際スパイ団(👞)首領、怪(🥜)人(🏂)二十(shí )面相の仕業と報じる。幸い(🐛)、(🎿)狙われ(🍯)た(😔)原(yuán )子炉設(shè )計図は名探偵(zhē(🏽)n )明(📵)智(🖕)小(xiǎo )五(💁)郎の機転で相川技師長の家(jiā )に(🥏)隠(👴)さ(📏)れていた。明(míng )智は中(zhōng )村捜査(🖇)(chá )課長に(⛲)今(👴)後の警戒を注意。明智の事務所に(🚲)集(🥫)った小(🍭)林(🚺)、相川、篠崎、斎藤、大野、(💀)上(✈)村(❗)君ら少(📔)年探偵団は、相川君の(🌼)お父さん(👅)の(⏱)ためにも逮捕を誓(shì )い、捜(sōu )査(🍑)に(🔵)散(sàn )る(🕵)。と(🐎)ある屋(wū )敷町で異様な風態の(🕞)老(⛵)乞(🚲)食(shí )を(🉐)尾行(háng )した相(xiàng )川君は古びた西(🐸)洋(🚸)館(👢)で縛られた少女(nǚ )を発見(jiàn )す(🥍)るが、そ(🐄)れ(🚣)は蝋人(rén )形。驚(jīng )く中、紳士に変(📹)装(🏮)した二(🐅)十(🍽)面相に掴まり地下牢に幽閉さ(😄)れ(🐋)、(🗣)妖(yāo )婆(🗨)の魔(mó )術で魂を抜かれ(🧟)てしまう(🐫)。明(🙀)智や助手マリ子、少年達が不審(💮)が(🤨)る矢先(🚈)(xiā(🌶)n )、相川(chuān )君は無(wú )事帰宅(zhái )する(🐂)が(🔋)、妖婆(😦)(pó )の指金(jīn )で設計(jì )図を奪(duó )い(🗣)去(👲)っ(📸)た。時(shí )を移さず非常警戒、対(🏯)策を練(lià(🆓)n )る(✋)明智(zhì )らの前(qián )にロンドン警(jǐ(🏩)ng )察(🍕)客員(yuá(⌛)n )探(👬)偵殿(diàn )村と名(míng )乗る男(nán )が現(🛀)わ(🏅)れ(🚸)、三日(🕉)間で事件解決を宣言、明智(zhì )と(🐕)対(🕐)決(jué )する。彼をツケた篠崎と上村(🕕)二(🏧)君は又(✝)も(😑)や二十面相の罠に掛り、相川君(🍶)の(⏱)いる地(🧒)下(xià )室へ。約束の日、殿(diàn )村は相(🔆)(xià(🆔)ng )川(😏)技師(shī )長や中(zhōng )村捜査(chá )課長(🤭)を伴い西(⛱)(xī(🐀) )洋館へ急行、四少年を救い設(shè(📔) )計(💩)図も取(🛩)り(🎡)出(chū )す。だが彼の仮面をはいだ(🔏)明(🐆)智(🤳)は一同(📝)と落し穴へ転落。流れ出る石膏の(🚔)中(🧓)でもがく一同の上に怪(guài )人の哄(📚)笑(⏰)が響く(🎠)。 Mr. and Mrs. Loomis are two newlyweds who have recently endured a family tragedy and are now having bad luck on their honeymoon. Their car has a flat tire -- and so does the spare. A stranger named Mr. Moon passes by and fixes the tire. But this Good Samaritan proves to be a crackpot. Mr. Loomis trips and falls onto Moon, dirtying his white suit. The man becomes enraged and threatens to kill him, before driving off. Later, the couple arrive at their hotel. And they realize their bad luck has gotten worse when the crackpot is in the suite right next to theirs.