费米·本纽西领先主演的(de )一部喜(xǐ )剧影片，影(😏)(yǐng )片(🤭)关于(🗄)(yú )一(🐸)名意(🚷)(yì )大(🎙)利高(🍔)(gāo )管(🦑)参议(🤦)(yì )院(🍡)好色(🕝)(sè )放(♏)纵的(🤮)(de )喜剧(➕)情(qíng )节……
故事(shì )讲述宇(yǔ )达的父(fù )亲赵仁欺骗了雅芳的感情，还为了钱(😲)财杀(😠)害了(➰)雅芳(👿)母(mǔ )女俩，事后过了多(duō )年，没(méi )想到有(yǒu )一夜晚(wǎn )竟看(🐮)到(dà(🤳)o )鬼魂(🎮)幻(huà(🥛)n )觉，雅(🔹)(yǎ )芳(🥥)母女(💗)俩变(🦀)(biàn )成鬼复(fù )仇而来(lái ).......
Mr Hoffman sells books and provides his female customers with nice moments in a room at the back of the shop. The number of female customers grows very rapidly and when Mr Hoffman isn’t up th the demand, he calls in his two oldest sons who keep the shop going. Unfortunately his youngest son is only interested in reading. One day, as he delivers books to one of the customers, the lady teaches him about the pleasures of sex. In order to celebrate this, the father organises a party and all is well that ends well
门罗是好莱坞最大牌的制片人(🤒)之一(🦄)，但妻(🌛)子的(🔕)突然(🔽)(rán )离(✴)世让(🎩)(ràng )门(🐒)罗备(🔤)受打(☝)(dǎ )击(🎑)。突(tū(📳) )然的(🎵)一(yī(🈺) )场地震(zhèn )过后，大家都(dōu )跑到片(piàn )场查看(kàn )受损状况，门罗也(yě )不例外(wài )。在(🤵)那里(🥫)他与(🌕)一个(😯)系着银色腰带的女孩擦肩而过，一(yī )瞬间门(mén )罗联想到(🤯)自(zì(🕌) )己的(👻)妻(qī(🆑) )子。为(⛱)(wéi )了(👗)找到(🆘)(dào )这个女(nǚ )孩，门(mén )罗发动(dòng )手下所有人(rén )搜寻女(nǚ )孩的信(🥠)(xìn )息(🌗)，终于(⌛)与这(🦈)个名(🦂)叫凯(🌻)瑟琳(🦆)的女(🚓)孩相(😓)识。
수(📄)원에(🏉)서 세(🎓)탁소(🐳)를 경(🆕)영하는 구덕수와 최혜순은 시아버지와 며느리로 가장한 북괴 공작원이다. 위(🌕)장하(🚉)여 남(📺)파된(🍽) 후 1년간 그들의 공작성과가 좋지 않아 혜순의 남편 강치호(🥓)가 검(🥍)열원(⛽)으로(🙋) 파견(💀)된다(👾). 월북(🚁) 복귀명령을 거부한 구덕수는 살해되며 수사진의 수사망에 최(🕝)혜순(🐑)이 걸(👕)려들(🚊)게 된(🥅)다. 공(🐻)작원(🚛)의 잔(⚪)악한(🕛) 행동(⚫)을 수(🕧)사진(🎎)들이(🙍) 예리(⛪)하게 파헤친다.
维(wéi )斯康蒂(dì )压卷之(zhī )作，也(yě )翻译作(zuò )《无辜(gū )的人》，直至其(🔓)去(qù(🦃) )世后(🚉)方(fāng )才上映。影片依然是他最为心仪的贵族没落主题，由(yóu )意(🍅)大利(🦀)(lì )著(🌀)名影(🐽)(yǐng )星(🎄)吉安(🐳)尼尼(🦑)(ní )领衔，扮演一(yī )位好色(sè )公爵，经常在(zài )外招蜂(fēng )引蝶；不(⛏)料(lià(📄)o )后来(🤮)他(tā(🚡) )得知(😉)妻(qī(🔺) )子与(📷)人有(👔)染并(🔓)生下(🕗)一子(👾)时，恼(🏦)羞成(🌖)怒，竟然将孩子在(zài )寒风中(zhōng )冻死。最为(wéi )讽刺的(de )是，他(tā )并不恼(nǎo )怒妻子(zǐ(🏛) )与人(💻)私(sī(🚙) )通，而(🧀)(ér )是因为(wéi )她的情人并(bìng )非贵族(zú )，而是贫苦作家！最后公爵(⏸)因放(📂)不下(⚫)面子(💈)而自(🆘)杀。豪(😤)(háo )华(🌐)的美(měi )工设计、还原贵族(zú )生活的(de )奢华摆(bǎi )设是维(wéi )斯康(🦌)提(tí(🦇) )晚年(🌝)创(chuà(🔹)ng )作中(🛰)不(bú(🤔) )可或(🧔)缺的(🐠)一(yī(🐛) )环，出(🏙)(chū )生(🔵)于贵(🧖)(guì )族(🚯)世家而又对贵族腐朽陈旧的生活方式进行唾弃批判(pàn )，想彻(chè )底革新而又(🍟)(yòu )无(🍁)法割(💥)(gē )断(❓)世袭(xí )的高雅(yǎ )文化格(gé )调，是(shì )维斯康(kāng )提一生所困扰的(💚)话(huà(🛹) )题，也(⏸)(yě )是(🚈)他电(👉)影主(🍼)要的(🏩)创作方向。
A crazy woman who lives in an old mansion thinks she's with her brother/lover, who lures victims to her.
Roger Moore and Stacey Keach star in this Italian-American co-production, and try to be the Martin and Lewis of 70's crime exploitation cinema. The rigor mortis of Roger Moore was never more noticeable as it is here, playing the straight man next to the Keach's easygoing rouge. It's a rather stale exploitation film, with the typical one liners, car chases, shoot outs, and gratuitously bad dubbing of the Italian actors. The film does have one great highlight when Keach takes a gangster's car for a test drive, and in hair-raising fashion, wrecks it through the streets of San Francisco. Unfortunately, it all doesn't work- the comedy isn't funny enough, neither Keach or Moore are particularly convincing (especially Moore, who is as dry as a desert), the violence and stuntwork is middling, the story isn't very engaging, and the ending is painfully banal. There may be just enough `so bad it's good' work that 70's exploitation fans may be entertained, but no one would call it great.