我的爱对你说

声(shēng )名(míng )狼(láng )藉的唐璜，终(💹)于(📭)决定和自己生(📒)命(👖)(mìng )中挚(zhì )爱(à(⏳)i )的(🔮)女人结婚，问题是他无法与(😺)妻(😋)(qī )子圆(yuán )房(fá(🥚)ng )，他(🔦)妻子的女性朋(😌)友对他提供了“帮(bāng )助(zhù )”，他和(😶)他(🏔)们在一起就完(⛑)全(💮)没有问题(tí )。过(🚪)(guò )了(le )一段时间，他终于发现是(💒)什(💚)么原(yuán )因造(zà(🤠)o )成(🧞)(chéng )了他的困境…… Rome, 1850. In prison, two young men, Bernardino and Mammone, condemned for murder wait their own death penalty to be executed, and pass their last hours telling each other lust and castration stories (4 flash-blacks). The first story involves a duc and a clergyman castrating themselves, while the lusty duchess and a lusty countrygirl are left alone. The second story is about a Calabrese shepherd who leads his unfaithful wife to eat her lover's testicles, supposing they were from cattle. The third story deals with the castration of a priest by the young man after whom he was lusting. And the last story is about a different sort of menage-a-trois. While some Italian crime films (particularly post-1977 ones) are just mindless violence (particularly violence against women), many pre-1977 ones are serious commentary on corruption and the justice system in Italy...and by extension to other Western countries. THE BIG FAMILY is such a film. The Mob is in charge at the film's beginning, the Mob is in charge at the film's end. Anyone who challenges it is killed or somehow taken out of the picture. A police inspector or prosecutor who is making progress may suddenly get the offer of a significant promotion...to another part of the country. Every branch of the government...and the church...is compromised. American businessman Richard Conte can come to Sicily hoping to do some construction projects and thinking that his friendship with the Don back in New York will help him here and that he doesn't have to play by the local rules. An honest cop works hard and makes countless sacrifices, and many good people die because he keeps on his quest. Eventually, he nabs the top man...and it turns out he has achieved nothing and he is back at square one. Even the top man is expendable to the overall survival of the big family. I was impressed by this film when I saw it fifteen years ago, and I'm still impressed with it today. It has enough action to satisfy any fan of 1970's Italian crime films, one of the most exciting genres in film history, but it also has a sobering message, one that is relevant to anyone watching the film anywhere. Although both CROSS CURRENT and GREAT TREASURE HUNT have their moments, THE BIG FAMILY is probably Tonino Ricci's most successful film as a director (I haven't seen his recent family films, although I especially want to see the Buck film with John Savage, nor have I seen the shark film with Treat Williams). Highly recommended to fans of the genre and those willing to see the value in a dubbed genre film. 小辣椒和(🛷)繡花枕受一(yī(💖) )位(🚉)(wèi )億(yì )萬(wàn )富(👵)翁(🛁)林某所託，飛往美國三藩市(🎛)(shì(🔲) )追(zhuī )尋(xún )他(tā(🌘) )的(🤾)獨生女兒林秀(🤥)鶯(🧤)的下落，並囑(zhǔ )二人(rén )將(jiā(😿)ng )此(🐮)行任務保持秘(🐰)密(🐠)。抵達後尋找(zhǎ(🕐)o )林女(nǚ )期(qī )間，因義助一女子(🈚)免(🥘)被小偷扒去巨(🕍)款(🚿)(kuǎn )，而(ér )與(yǔ )武(👑)館中的教頭張得標結為好友(🎃)。兩(🏌)(liǎng )人(rén )終(zhōng )在(🖖)嬉(👾)皮士聚集的地方發現了林秀(🚕)(xiù )鶯，可(kě )惜她(⛳)誤(👬)入歧途，結識了(😝)黑(🍫)社會歹徒羅(luó )拔(bá )吳(wú )。小(🐓)辣(🦐)椒和繡花枕表(🛩)明(📩)來意及說服(fú(😘) )她(💱)(tā )回(huí )港(gǎng )，不料羅拔吳獲(👺)悉(😈)秀鶯是香港富(🌶)(fù(🧖) )豪之(zhī )女(nǚ )，即(🤐)與其黑社會首領大哥合謀，將(💡)秀(👀)(xiù )鶯(yīng )擄(lǔ )去(〽)，小(🧟)辣椒和繡花枕為拯救她，聯(lián )同(tóng )教(jiāo )頭(tó(🌵)u )張(🕯)得標一起前往(🍵)歹(🏳)徒基地…… A young woman becomes involved in the sex trade in Bangkok Tara B. True is a ***ht attendant who makes a weekly swing through New York, Miami, and Los Angeles. In each city, she has a man: Edward, older and wealthy; Johnny, a beach bum with gambling debts; and, Davey, a rock musician on the cusp of success. Tara is a free spirit, faithful to each man in her own way, and so stunning that she dresses in a wig and ill-fitting uniform while she's working so men won't harass her constantly. The low-life whom Johnny is in debt to figures out a way to use Tara to help him execute a daring in-***ht robbery. But will Tara stand by helplessly, or is superchick ready for action? 出(chū )品公(gōng )司(🚬)(sī(🤸) ) 資深大導演岳(😜)楓(🌊)退休前最後一(🦖)部(🧤)(bù )電影(yǐng )。九姑娘(舒佩佩 飾(😈))之(🤭)兄巴杰(康華 飾(🤥))勾(🌬)結(jié )惡(è )虎(hǔ(🕉) )村(🎪)(cūn )惡霸胡蛟(王俠 飾)，圖劫鏢(💈)銀(🦏)，被(bèi )「鐵(tiě )沙(💩)(shā(🍙) )掌」駱宏勛(岳(⬇)華 飾)打傷。胡蛟恐(kǒng )事發(fā )後(🛒)(hò(🌓)u )被巴家追究，下(🍣)毒(🚗)將巴杰毒斃，嫁禍(huò )駱(luò )宏(hóng )勛，巴家上下誓(⛄)欲(🕵)殺死駱報仇…(🎃)…(🕶) Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it.