梁宽(🐌)(kuā(⛪)n )主(zhǔ )理河(hé(💑) )南(🚲)宝芝(zhī )林分(⌚)馆(📟)(guǎn )，不值当地(⚡)土(📝)豪马云德父(fù )子所为(wéi )，屡起(qǐ )纷争。马家打(dǎ(⏭) )手铁拐(guǎi )李与(📃)宽(kuān )素有嫌隙(🗿)，于土地诞黄飞(🔐)鸿出狮采青时(🧛)，趁(chèn )机纠众(zhò(🕷)ng )破(pò )坏，展开一(⛹)(yī )场肉搏(bó )战(〽)。德(dé )父子终堕(🐁)楼(🙄)而死。
『嵐を(🤓)呼(🤨)ぶ男(nán )』（(😵)あ(⏫)らしをよぶ(📧)お(🎦)とこ）は、1957年(🈯)に公開された(💾)石原裕次郎主(🥟)演(🦐)の映画。石原(🦉)(yuá(✴)n )裕次郎(láng )の(💒)代(😮)表(biǎo )作の一(🐓)(yī )つ。その後も、主演渡哲也（1966年(nián )）、近(jìn )藤(🎍)真彦(yàn )（1983年）(🛡)によってリメ(🦄)イクされてい(⛸)る。北原三枝演(🤷)じるヒロイン(👔)の女帝(dì )マネ(😝)ージャーのモ(💹)デルは当(dāng )時(🛥)女(👻)性(xìng )マネー(🏸)ジ(☝)ャーのはし(🛐)り(🥥)として注(zhù(🍀) )目(🥘)を集(jí )めてい(⏭)た渡辺(fǎn )美佐(🎑)である。主題歌(🚹)も(🎾)裕次郎自ら(🌉)が(🏵)歌い、彼に(🐩)と(😌)っての最初(🎚)のヒット曲となり、独(dú )特の歌い方が今日で(🚆)もものまねの(👿)対象(xiàng )になっ(🔰)ている。
Part 1: After his father's ship, the Kannonmaru sinks, Jiromaru decides not to take over his
一串(chuà(⏭)n )悲凉的(de )歌声诉(🏾)说着蜘蛛城的(🤧)历史预言。战国(📱)时期，处于密(mì(🍺) )林(lín )围抱(bào )的(🥫)蜘(🕚)蛛(zhū )城，地(dì(✒) )形(🎥)复杂(zá )，敌军(🛰)攻(🛁)来此地，必然(🥁)迷(🚹)(mí )路，因(yīn )此城(❌)主(zhǔ )稳坐城(ché(🙇)ng )楼，指(zhǐ )挥若定(🔁)(dì(🐡)ng )，四面排出大(📠)将(🐈)御敌，可保此(🏵)城(🖐)固若金汤。大(📨)将鹫(jiù )津武时(shí )（三船(chuán )敏郎 Toshiro Mifune 饰(shì )）和副(fù )将(♒)三木因为平叛(🦋)得力，准备回城(🌛)(chéng )领赏。途中，二(🔺)人阴(yīn )错阳差(🚀)(chà )走入了(le )密林(🙋)深处，偶遇一白(📉)发老妪弹琴吟(🔍)唱。他们觉得此(😅)(cǐ(🌮) )事(shì )蹊跷(qiā(🛒)o )，怀(🌿)疑(yí )是敌方(🥈)(fā(🧐)ng )故布疑(yí )阵(♌)，因(🥘)此上前以武力(🐥)逼其(qí )就范。但(🔝)此人(rén )却预言(✨)(yá(❗)n )鹫津将(jiāng )夺(🍵)城(🎄)主(zhǔ )之位，三(🍸)木(🐚)之子也将继(🌲)承大统，正当两人将信将疑(yí )之时，此(cǐ )人化(huà )作(😗)一道(dào )白光销(🍜)(xiāo )声匿迹。此后(🙉)，回到城中，鹫津(🈷)(jīn )做了北(běi )城(🎑)城主(zhǔ )，但念(nià(🤛)n )及预言(yán )，心有(📨)(yǒu )不甘，于是在(😠)妻子浅茅的怂(🕸)恿(🚗)下，弑君，自立(Ⓜ)为(🏆)蜘(zhī )蛛(zhū )巢(🖕)城(🌎)(chéng )城主，然而这(🦄)(zhè )才只是(shì )预(💎)言的开始……(♋)
Just released from prison after serving a six-month sentence, Fernand Bastia goes into hiding. He has indeed double-crossed his gang by keeping part of the product of a robbery for himself. Thanks to his sister Marcella, Fernand has taken refuge in a small circus where she works. There, he falls in love with Gina but also arouses the jealousy of Quedchi, a fairground stall-holder who has seen him hiding the stolen money. After a while, Fredo Riccioni, the boss of the gang and his men, manage to trace him...
刘阿茂岳(yuè )丈(📣)年(😱)老(lǎo )乏嗣，决(🍪)定(🤯)三(sān )名女儿(⬜)(é(♑)r )谁先添(tiān )丁，谁得家产。襟兄为阻止茂生儿得产，使计令茂(mào )痴(🐜)呆症(zhèng )发(fā )作(🦐)。茂梦见(jiàn )五名(🈯)小(xiǎo )孩，后来果(📋)真与三姐诞下(🍖)五子，齐向岳(yuè(🌀) )丈拜寿(shòu )，但茂(🥕)(mào )不取岳(yuè )丈(🍸)家财(cái )，与妻儿(🔔)自(🛍)力更生。
時代(💟)を(🚏)超えて愛さ(🍽)れ(🚭)続ける長(zhǎng )谷(👇)川町(dīng )子の漫(🙋)(màn )画原作(zuò )の(😗)、人(rén )気シリ(🔁)ー(🎍)ズ第2弾。同窓(🐓)会(💋)(huì )で久々に(🍼)再(🦊)会(huì )した友(yǒu )人らから夫婦(fù )ののろけ話を聞かされたサ(🔋)ザエ（江利）(🐁)は、好意(yì )を(👱)寄せるマスオ(😟)（小(xiǎo )泉）と(🏞)の結婚生活を(🔎)密かに夢見る(🙁)ようになるが(📜)、(📿)そんな頃(qǐ(📕)ng )、(🧥)マスオが札(🍺)(zhá(📿) )幌から上京(🍕)し(🍈)た母親を連れ(🉑)て磯野家を訪(💖)ねてくる。
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)