内向的(🗞)波(bō )兰裔青年塔(🅱)(tǎ )尔科(kē(🧞) )夫斯基（(💯)罗(luó )曼·(🏛)波(bō )兰(🐘)斯基 Roman Polanski 饰）(🖱)独自(zì )来(🍮)到巴黎(🔥)，希望在此(🕧)租(zū )住一(💗)间公寓。这(🥌)(zhè )间房(🦍)之(zhī )前的(😅)房客西(xī(🚉) )蒙·肖(🌧)（Romain Bouteille 饰）不(bú )知出于(⛔)何种(zhǒng )原(⭕)因跳楼自杀。在西(🍢)蒙(méng )于医(🎃)院中气(⚓)(qì )绝身(shēn )亡后，塔尔(🙉)(ěr )科夫斯(🌥)(sī )基顺利地成为(🌚)了新的房(🐰)客。
Paramount Pictures shelved this Italian action film (which is heavy on the drama) that features John Saxon in a suporting role as a cop bend on arresting a blind mafia boss Lee J. Cobb. The film too busy focus on the bank robbers and a newspaper guy Renzo Palmer instead of Saxon's plot which is a misfire to all Saxon fans. The photography and the location is wonderful, but the plot is very extremely slow. Not recommended for someone looking for action films.
这是民国十(shí )六间(jiān )发(🔄)生在湘赣(🗓)(gàn )边界一(yī )个关(✅)隘上的感(🌫)人(rén )故事(🌖)。盘据(jù )某(😑)县的军(😎)阀(fá )郭帅(😌)，以密笺一(yī )封交(🌦)付(fù )狼牙(⛹)口哈司令(⏱)派(pài )来的(🚭)使者刘(🍌)(liú )大昌，刘(🐋)大(dà )昌表(🏀)面上是(🧠)哈司(sī )令的心(xīn )腹(🗯)，事实上(shà(🍂)ng )却是(shì )革命同志(😷)，他正与革(🥈)命军先(♒)遗人员马一(yī )鸣进(🌋)行(háng )联络(🕳)时，不(bú )幸遇(yù )刺(🔴)身亡。马(mǎ(🦈) )一鸣机(jī )制枪杀凶手，取得(🔶)密笺。北(bě(🍻)i )伐军即将挥(huī )师(📌)北(běi )上，马(👵)一鸣(míng )奉(🍼)命前(qián )导(🌱)，但狼牙(🌞)口形(xíng )势(♌)险要，又(yòu )有哈司(🍓)令拥(yōng )兵(🌵)盘据，为使(🔣)命(mìng )军顺(🦈)利(lì )通(🥌)过，乃加入(🚸)保(bǎo )盐队(🤷)，只身(shē(🐄)n )随队深入狼(láng )牙口(✌)。
TV第54话再编(🚴)(biān )集版。
故事发生(🏀)在(zài )1942年夏(🦕)(xià )天，太(🔳)平洋(yáng )战争爆发前(🍺)夕。 水泽先(🎣)生是(shì )日本驻(zhù(⛹) )欧洲的外(🌨)交(jiāo )官，他的女儿节(jiē )子是(💞)个(gè )聪明(🐌)伶俐的女孩。节子(🐟)和他(tā )的(🥟)朋友竭诚(chéng )、达(dá(💆) )郎经常(🥐)在郊(jiāo )外(🛰)的家(jiā )中聚会，慢(🕓)慢地(dì )，节(🦂)子和达(dá(🕧) )郎在互相(😮)的(de )交往(🌻)中产生了(🌷)感(gǎn )情。当(🥕)(dāng )两个(🚤)人沐浴在爱(ài )的阳(🧠)光里时(shí(🤞) )，节子却得(dé )了肺(🏫)病。她的父(🚜)(fù )母将(🍯)节(jiē )子许配给了(le )他(♐)人(rén )。节子(🦒)为了(le )逃避婚事，只(📏)身一人来(❔)到东(dōng )京找达(dá )郎相救。达(🙏)(dá )郎的(de )父(📠)亲因为节(jiē )子的(😜)病(bìng )而反(🥚)对两个人在(zài )一起(😝)，最终(zhō(🙃)ng )节子和达(🧚)郎(láng )用他(tā )们对(💗)爱的真(zhē(🎐)n )诚感动(dò(🎵)ng )了双方的(❌)父母。 太(🥪)平洋战争(🍺)(zhēng )爆发了(🍞)。达(dá )郎(❌)即将征赴战场(chǎng )，为(💙)了(le )不让节(🛒)子伤心，达郎没有(🤔)告(gào )诉节(🗿)子自己(🥦)(jǐ )将要出征……
Ji-hun takes a break from his art studies in Paris to return to Korea and visit with his family. While there, he falls in love with a young widow. However, their future happiness seems doomed as she is already engaged to be remarried
Although pretty much forgotten, The Last Round aka Il Conto é(🎞) Chiuso is a good example of a familiar story made fresh by the quality of its execution, as a stranger drifts into a decaying Italian industrial looking to settle an old score. But this violent modern-day (well, 1976) poliziotteschi is closer to Dashiell Hammett's Red Harvest than the first two films it inspired, Yojimbo and Fistful of Dollars, set in its own Italian Poisonville divided between two rival gangs that he soon sets against each other. Surprisingly, despite being directed by the sometimes more adequate than inspired Stelvio Massi, it's shot with striking visual imagination and remarkably fluid camera-work from Franco Delli Colli. The two leads are impressive too, with Luc Merenda a wonderfully effective and dapper villain and undefeated middleweight champion boxer and offscreen wife-beater and murderer Carlos Monzon a surprisingly effective leading man in the mould of a young Charles Bronson.
북간도에(🧝)서 바진탈이란 백(🎎)계 러시아(🕉)인이 노.일전쟁때 분실한 토(🔕)알파토 족(🎻)장의 인부를 찾으(➿)면 최신식(💂) 기관총 등의 무기를(⏭) 주겠다(🚧)고 흥정한(😨)다. 애국지사들은(💕) 무기를 구(📕)하기 위해(🈴) 인부 은닉(🎎)처가 그(📍)려진 지도(🤟)를 찾는다(🥣). 그 지도(🍵)를 판독할 수 있는 중(🎧)국인 오학(🕹)자에게 시켜서 장(🎖)소를 찾아(💃) 그곳을(🛁) 향한다. 일본군의 방(📢)해가 있지(🐙)만 정체불명의 백(🎽)두산이 애(🎤)국지사를 돕는다. 마침내 신(🐸)식무기를(💰) 얻게 된 그들은 독(🗯)립군 무장(🦐)강화의 보람찬 길을(💫) 떠난다(🎀).
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.
In 1926, famous evangelist Aimee Semple McPherson disappeared for six weeks. When she surfaced, she claimed that she had been kidnapped and held prisoner in Mexico. Others claimed that she was off carrying on an affair with a married man. This movie dramatizes the court hearing held to determine exactly what happened.