导演:陶秦
简介:被誉为香港电影史上出色爱情歌舞片,阴差阳错的布局加上载歌载舞,令人赏心悦目。林黛饰演一随歌舞团远赴日本的年轻歌舞艺员,人在异乡,排遣寂寞,在征友广告中认识一年青男子,虽素未谋面,但书信早已互生情愫。谁知对方正是舞蹈团团主!此角由当年首席喜剧小生陈厚扮演,欢喜冤家与扑朔迷离的爱情故事,是《网上情缘》的怀旧版,林黛更凭此赢得第八届亚洲电影展最佳女主角。而本片布景及摄影非常华丽,首用伊斯曼七彩阔银幕,水平直逼当年好莱坞歌舞片大制作,同年,另获同届亚洲影展最佳美术指导、最佳音乐、最佳剪辑及最佳录音等五项大奖;令此片在第一届金马奖获得最佳导演及最佳音乐两项大奖项,电影歌曲悦耳,由姚敏作曲,静婷主唱,风行半个世纪。
主演:仲代达矢 新珠三千代 高峰秀子 中村玉绪 川津祐介 笠智众 内藤武敏 岸田今日子 瞳丽子 金子信雄 石黑达也 北村和夫 高原骏雄 山内明 二本柳宽 御桥公 上田吉二郎 成濑昌彦 菅井琴 中村美代子 南美江 北原文枝 菊地勇一 木村幌
导演:小林正树
简介: 北满洲,梶等残败兵一个劲儿地向南逃。途中遇到逃难的男女老少,虽然帮助他们,但因饥饿疲劳一个个相继死去。梶历尽艰辛来到还残留着日本老人和女人的开拓村,他准备在这里和苏军作战,但是日本女人高喊“别在这里打仗了!”之后,他们开始了俘虏收容所的生活。梶对收容所里桐原这 个卑劣小人,恨之入骨。之后,他又被诬告,被罚作苦役。在森林中忍受苦役后,回到了收容所。当得知自己保护过的弱兵被桐原杀了后,且没被问罪,梶绝望了。他杀了桐原,然后逃出了收容所。他在大雪漫漫的荒原中流浪,念叨着妻子的美好,渐渐地冻僵了。
主演:Andrzej Banaszewski Beata Barszczewska 马里乌什·德莫霍夫斯基
导演:斯坦尼斯拉夫·罗泽维格
简介: In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth." The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era. The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved. The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair. At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance? Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'." After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others. In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."
主演:Dennis Lotis 克里斯托弗·李 帕特里夏·杰塞尔 瓦伦丁·戴尔 Venetia Stevenson
导演:约翰·卢埃林·摩西
简介:在教授艾伦·德里斯科尔(克里斯托弗·李饰)的推荐下,一名年轻的女学生南·巴洛(维尼西亚·史蒂文森饰)前往虚构的马萨丘斯·埃茨小镇怀特伍德,对巫术进行研究。她发现这个小镇被一个臭名昭著的女巫伊丽莎白·塞尔温/纽利斯夫人(帕特里夏·杰西尔饰)的转世所占据,她在17世纪被烧死在火刑柱上。为了保持她的不朽,每年都必须向女巫献祭处女——而今年,这位学生是被选中的受害者。
导演:石龙
简介:根据潮剧《陈三五娘》改编。元宵之夜,潮州城灯火辉煌,笙歌沸腾,大家闺秀黄五娘携婢女益春外出观灯,巧遇邻妇李姐相随做伴。泉州才子陈三途经潮州前来观灯与五娘邂逅,两人一见倾心。李姐请五娘讲灯屏故事,五娘熟读诗书,谈吐雅俊,陈三大为钦佩。陈三遗扇在地,李姐拾扇给五娘。五娘读了陈三扇上题诗,见其诗情奔放,...才思横溢,顿生爱慕之情。五娘与陈三四目相接,含情脉脉,但因彼此以礼自待,各奔东西。宦官之子林大,灯下观五娘美貌,拦住去路,幸李姐解围,五娘和益春才仓皇离去。帘外桃花满树,五娘挥毫和陈三诗一首。聪明的益春道破五娘心事,五娘斥之。五娘之父贪财附势,将五娘许婚林大。五娘哀求父母缓提亲,而老父顽固不允,反斥女儿不孝。五娘见林大为人粗鄙,痛断肝肠,愈加思念陈三。陈三护送哥嫂到广南任所后,专程重来潮州,但寻遍全城,未见五娘。一天,陈三自楼下经过,与五娘意外重逢。五娘情不自禁,以绣帕裹荔枝投掷。陈三大喜,装成磨镜少年,人府与五娘相会,但因失手镜碎,惊动了黄父,两人未能交谈。陈三卖身进入黄府,欲向五娘倾吐衷肠。不料黄府家规很严,内外隔绝,反增二人相思之苦。来年春天,五娘考虑再三,命益春唤陈三花园相会,岂知又节外生枝,见面难说真话。陈三一怒之下,决定离开,幸被益春苦劝留下,并为其安排见面机会。一日,黄父外出,益春帮助陈三上楼与五娘相会,两人互吐衷肠。黄父突然返回,与黄母同上绣楼。陈三躲在帷中,目睹黄父迫女成婚,五娘抗拒,甚至将以身殉情,深为感动。五娘父母离去,陈三与五娘誓共生死。随后在林大一再催嫁、黄父逼女成婚的情况下,陈三与五娘不再顾忌,相约出走。是晚三更,陈三、五娘和益春三人一起逃离黄府,奔向光明。显示详情
主演:Billy Falbo J. Lawrence Cassingham Rooney Kerwin
导演:赫舍尔·戈登·刘易斯
简介:美国早期经典喜剧,一个人想象,每个人都认为他是赤裸裸的。他去看看心理医生,看看他是可以治愈的。
主演:路易斯·乔丹 伊冯·弗奴克丝 皮埃尔·蒙迪 伯纳德·德兰 佛朗哥·席尔瓦 克劳丁·科斯特 让-克劳德·米歇尔 Yves Rénier 玛丽·莫吉 让·马丁内利 亨利·吉索尔 Alain Ferral 罗尔达诺·卢皮 亨利·维尔伯特 让-雅克·德尔伯 保罗·阿米奥 亨利·阿里乌斯 安德烈·达利贝尔 雅克·迪南 乔治斯·拉内
导演:克洛德·奥当-拉哈
简介: 埃德蒙(路易斯·乔丹 Louis Jourdan 饰)本是一个朝气蓬勃的年轻水手,他对生活充满了热情,与人为善的个性亦为他在江湖上结识了诸多朋友。梅塞迪丝(伊冯·弗奴克丝 Yvonne Furneaux 饰)是埃德蒙心爱的姑娘,当埃德蒙完成了此次海上作业回到陆地上后,两人就准备成婚。不幸的是,埃德蒙的幸福惹得情敌费尔南多(Jean-Claude Michel 饰)十分眼红,他和昏庸的法官威尔弗(Bernard Dhéran 饰),利用莫须有的罪名将埃德蒙送入了大牢。 十七年过去了,在狱友的帮助下,心中充满了仇恨的埃德蒙越狱成功,出狱后的他只有一个念头,那就是对导致他沦落到今天如此境地的所有人展开复仇。埃德蒙摇身一变成为了神秘莫测的基督山伯爵,在成功进入了上流社会后,他的复仇计划也逐步的实施着。
导演:森一生
简介: 竜神の滝近くにそそりたつ断崖で刃を交える机竜之助(市川雷蔵)と宇津木兵馬(本郷功次郎)。盲目の竜之助は断崖から落下するが、お豊(中村玉緒)に助けられる。お豊はやがて廓に身を沈めた後、病に侵され自害して果てるが、竜之助はそんなお豊の死に対して、少しの動揺も見せなかった。東海道を東へ向かう竜之助は道中、生け花の師匠・お絹(阿井美千子)と出会う。お絹は道中師・がんりきの百(小林勝彦)に狙われており、竜之助は百の右腕を斬り落すが、誤って谷底へ転落してしまう。竜之助はお徳(矢島ひろ子)によって助けられ、お徳から甲府勤番の旗本・神尾主膳(島田竜三)の強引なゆすりの話を聞き、主膳の宿へ乗り込むが捕縛され、逆に幽閉されしまう。ある夜、主膳は色と欲から有野村の馬大尽の一人娘・お銀(中村玉緒)に迫るが、お銀は竜之助に助けを求めた。お銀の顔にはむごたらしい火傷の後があった。だがその声に、お豊、お浜の面影を感じた竜之助はお銀を連れて大菩薩峠に舞い戻る。豪雨で笛吹川が氾濫を起こす中、竜之助はお浜との間に出来た息子・郁太郎を求めてさまよう。そして竜之助の噂を聞きつけた兵馬もまた大菩薩峠へ向かう。決着の時が近づいていた…。
简介:传说中,在马兰山的山顶上,生长着珍贵的马兰花,这种花能够给勤劳勇敢的人带来幸福。山脚下居住着王老爹(李保罗 饰)一家人,王老爹有两个女儿,大兰(王蓓 饰)好吃懒做,小兰(王蓓 饰)勤俭善良,小兰非常想要一睹马兰花的真容,为了满足女儿的愿望,王老爹决定登上马兰山,为小兰去采一朵马兰花。哪知道在山顶,王老爹一个没站稳,摔下了悬崖,幸运的是,这一幕被马郎(刘安古 饰)看见了,他救下了王老爹。 通过交谈,马郎得知了王老爹正是自己爱慕的姑娘小兰的父亲,于是以马兰花为信物,向小兰求婚,这可乐坏了王老爹,与此同时,黑心狼(董明 饰)也觊觎马兰花的魔力,开始打起了算盘。
主演:伊戈尔·福姆琴科 弗拉基米尔·扎曼斯基 玛丽娜·阿朱别伊 露德米拉·谢米奥诺娃 安东宁娜·马克西莫娃
导演:安德烈·塔可夫斯基
简介: 从五岁就开始学习小提琴的小男孩萨沙(Igor Fomchenko 饰)每天花大量的时间练琴,他和小朋友宛如生活在两个世界,有的淘气鬼甚至戏称他为“音乐家”。萨沙很苦闷,还要尽力躲开孩子们的奚落。有一天年轻的压路机驾驶员瑟黎卡(Vladimir Zamansky 饰)帮萨沙解了围,他们很快成为好朋友,开始了仅有半天的友谊。瑟黎卡约萨沙晚上去看电影《夏伯阳》,严厉的母亲得知后,将萨沙锁在家中,他们的约定最终未能成行…… 安德烈•塔科夫斯基处女作,亦是他在苏联国立电影学院的毕业作品,曾获纽约学生影展首奖。
导演:刘琼
简介: 梁洪(梁波罗 饰)本是苏中根据地的一名新四军干部。1943年上级派梁洪来到了设在上海的51号兵站,兵站对运往根据地的军用物资药品起了很大的作用。之前由于叛徒的出卖,兵站受到冲击。梁洪以上海帮会头目范金生的守门弟子“小老大”的身份出现在上海。他在我地下党组织的掩护下,与范金生的大徒弟吴淞巡防团长的黄元龙(邓楠 饰)拉上了关系。日寇情报处长龟田(李保罗 饰)对梁洪的出现起了疑心,命令情报科长马浮根(李维 饰)密切监视梁洪。在请客宴会上马浮根故意用帮会黑话来盘问他,梁洪轻松应答,马浮根虽疑惑却没有抓到把柄。龟田仍不死心,他用计想让梁洪暴露身份,不想被梁洪利用,反而使龟田与黄元龙发生内斗。就在龟田与黄元龙各怀鬼胎之际,梁洪已经做好了偷天换日的准备......
导演:谢铁骊
简介:1946年,萧祥奉命率一支农村土改工作队到东北某解放区元茂屯进行土地改革。由于群众对党的土改政策还缺乏了解,再加上恶霸地主韩老六指使窃据农会主任职务的狗腿子张富英暗中捣乱破坏,所以土改工作遇到了很大的阻力和困难。工作队一面深入发动群众,一面揭露韩老六的阴谋,并撤销了张富英的职务,改组农会。苦大仇深的赵玉林深信工作队是为穷苦农民谋利益的,便串联了郭全海、白玉山等贫雇农中的积极分子,配合工作队开展工作,使土改得以顺利进行。韩老七不甘心失败,他不但到处造谣破坏,还用假分地的手段收买人心。当他毒打给工作队送信的小猪倌时,萧队长和已经发动起来的群众将他抓起关押。逃到大青山里的韩老六率国民党残余武装袭击元茂屯,组织起来的农民自卫队英勇战斗,保卫家乡,在县大队骑兵的增援下,消灭了残匪,击毙了韩老七,但赵玉林却不幸壮烈牺牲。韩老六被人民政府依法惩办。元茂屯的翻身农民积极生产,踊跃报名参军,有力地支援了解放战争。
导演:易文
简介:朱兰早与富家子徐坚白(张扬)相恋。朱兰自幼父母双亡,由叔婶养大,但叔婶却因贪财而将她许配予同村的军人李志忠(朱牧)。坚白在外地求学,假期回乡与兰每晚相聚,被人发现,李志忠的父母闻讯,要求退婚,叔父(吴家骧)怒掴兰,被志忠阻拦,兰感动不已。 秋明心仪坚白,主动相邀。晚饭后坚白突感不适,秋明将他接回家中静养,亲侍汤药,坚白对秋明好感油然而生。兰知悉秋明与坚白同校同宿,自惭形秽。亮写信给他,佯称已自对象,提出分手。坚白接信,伤感不已,转移接受秋明爱意。 坚白因祖母(欧阳莎菲)病逝,回乡奔丧。弟弟坚中(田青)告以实情,坚白对兰爱念复炽,相约私奔。秋明到访。得悉二人的私奔计划,赶往劝阻兰。却发现兰原来肺病缠身,但兰不忍连累坚白,终于打消私奔之念。兰与明一夕长谈,竟成知己。 坚白意冷心灰,黯然北上投考大学。途中结识爽朗热情的少女苏亚南(叶枫...
简介:长征途中,红军先头部队摆脱身后追赶的强敌,在张团长(李久芳 饰)和秦政委(周正禹 饰)率领下,来到自古称为“天险”的乌江南岸。江边的黄家村已被敌人糟蹋的不成样子,所有房屋被烧成砖头瓦砾,牲畜也被抢劫一空,江边只剩下几条冒着烟的破木船。部队一边组织战士救火救人,一边派出小 分队侦察敌情,伺机强渡乌江。江北的敌旅长(邢吉田 饰)接到行辕电报,要他死守乌江,他以大烟土为犒赏命令部下组织敢死队,抵挡红军进攻。先头部队第一次强渡失败后,笫二天夜里又组织偷渡,但因风疾浪高,只有陈连长(于纯绵 饰)等少数人侥幸过江。这时,敌援军已距南岸数公里,张团长心急如焚......
导演:高衡
简介:根据陈耘同名话剧改编。 50年代,盘踞在金门岛的国民党军队经常对大陆进行军事挑衅,福建沿海许多和平的村庄被炸毁,许多村民被炸死。上级领导为了保证群众的安全,决定将学校的学生转移到后方。生活在福建前线的中小学生国坚、林燕、铁牛、小明、小华人小志大,勇敢刚强,从小对国民党军队的暴行恨之入骨。他们要求留下支援前线,并且像董存瑞叔叔要求参军时那样,再三向公社赵书记央求。但赵书记仍然不同意他们留在前线,劝导他们服从命令,并派一辆汽车将他们送往后方。机灵的孩子们在半途中佯装肚子疼,巧妙地逃了回来。在路上他们见到一个“形迹可疑”的人,一直跟踪到营部,原来是到阵地视察的解放军团长。在营部他们遇到了赵书记,孩子们向赵书记要求一定要留下来,并保证一边参加前线工作,一边努力学习。赵书记见到孩子们决心很大,只好答应孩子们的要求。在执行任务中,孩子们也难免出现一些错误,有一次年纪最小的小明负责坚守电话机,因为贪玩和胆怯在敌人打炮前没有及时地敲防炮钟,赵书记和林老师没有责备他,而是不断勉励、帮助他克服缺点。孩子们在炮火纷飞、硝烟弥漫的阵地参加修工事,运炮弹,帮助民兵看守监督岗,敲防炮钟,给解放军叔叔送茶水、送饭、缝洗衣服鞋袜,在狂风暴雨的黑夜,还为解放军叔叔烤干衣服。同时他们还抓紧学习功课,与后方的同学比赛。在实践中,孩子们锻炼成为坚强勇敢的小战士。敌勾结,并冒充小明妈妈多年未见的、从南洋回来的弟弟。国坚看出破绽,一面派小明向赵书记报告情况,一面冒险陪特务上军事要地狮子山,暗中监视特务的行动。由于公社党委的周密策划和孩子们的机智勇敢,终于将特务和暗藏坏分子生擒。敌人不断加强对我沿海进行军事骚扰,公路大桥被炸断了,为保证运输,公社党委决定紧急抢修。林老师为抢修桥梁在敌人炮火中不幸牺牲。孩子们十分悲痛,他们向团长献上红领巾示报仇的决心。接着,我军以猛烈的炮火攻击敌人阵地。突然,团指挥部通向三连的电话线被炸断了,电话员小虎受了重伤。在紧急关头,孩子们手拉手,以身体接通了电话。当三连的炮火又向金门岛发射时,孩子们的脸上露出了兴奋的微笑。
导演:羽仁进
简介: 朦胧的黑暗中,一群少年冲过来,眨眼工夫把宝石店一抢而空,警察逮捕了这群还未成年的孩子们,并在少年鉴别审判后送入少年教养院。教养院有一种传统的习惯,先入院的人可以对后入院的人施行私刑。因在珠宝店行窃被送入教养院的新的少年犯中,有一个具有强烈反抗精神的少年——浅井。他在这种传统习惯下遭到了残酷的对待。浅井第一次被分配在洗衣班,班长是位蛮不讲理的少年。他和浅井发生了激烈的冲突。浅井被转到木工班,木工班长入狱前曾经领着一帮小伙伴在夜间繁华街上拦路抢劫,是少年们的头目,但在少年教养院里又是一个好领班。班员都很服从他,从不吵架。浅井开始在这个班里呆了下来,并在劳动中与伙伴们结下了深厚的感情。浅井终于迎来了出院的日子。 导演羽仁进是岩波培养的岩波式的纪录电影导演。羽仁进选择了真正有过少年教养经历的少年。因此他们的表演显得真切自然。他们的对白非常有生活特色,是任何熟练的剧作家所难以创作出来的,其中有很大一部分是演员的即兴创作。本片曾获第十一届曼海姆国际电影节金奖第二名,被列为1962年《电影旬报》十大佳片的第一位,并获日本电影导演奖,第十六届每日电影竞赛音乐奖,第十二届蓝绶带奖十大佳片第九位,日本电影记者会十大佳片第二位,第一届日本电影记者会奖,以及NHK十大佳片第五位,NHK最优秀新人导演奖。本片曾被选入日本名片200部。
主演:马塞洛·马斯楚安尼 达尼埃拉·罗卡 斯特法尼娅·桑德雷莉
导演:皮亚托·杰米
简介:故事发生在风景如画的西西里岛,贵族塞法罗男爵(马塞洛·马斯楚安尼 Marcello Mastroianni 饰)是一位没落的贵族,和妻子纱利雅(Margherita Girelli 饰)之间沉闷的婚姻让他感到十分的厌倦,再加上其美艳不可方物的表妹安吉拉(斯蒂芬尼娅·桑德雷莉 Stefania Sandrelli 饰)的不断勾引,塞法罗决心要甩掉纱利雅。可是,离婚在当时的意大利系违法行为,因此,想要从婚姻里脱身,塞法罗男爵只得另觅他径。 经过塞法罗男爵的种种“努力”,他终于将妻子杀死却只被判了极短的刑期,在铁窗之后,塞法罗男爵幻想着今后幸福生活的种种,心中不禁充满了希冀与兴奋。然而,当自由来临之时,他的生活真的会如同想象的一般美好吗?
导演:桑夫
简介:1958年秋天,正是全国大炼钢铁时期,大巴山岭南、岭北两县掀起大炼钢铁的高潮。岭北铁厂是厂长范启光白手起家建立起来的,几年来成绩显著,生产指标月月向上。但范厂长自恃有功,滋长了骄傲自满的情绪,追求个人名利,搞形式主义。副厂长兼党支部书记秦桂兰上任后,与范厂长的错误思想做针锋相对的斗争,引起范厂长的极大不满。这时岭南也建立了铁厂,但既无设备又缺乏技术人才,因此,他们派人到岭北去求援,但范厂长本位主义思想严重,以两厂不是一个系统为名拒绝派人帮助。秦桂兰坚持社会主义大协作的原则,并得到县委的指示,为岭南铁厂派出了技术人员何壮。何壮到岭南铁厂后,受到县委书记许康和群众的支持和欢迎。在许书记的领导下,岭南铁厂发展迅速,铁产量不断增长,并与岭北展开友谊竞赛。岭北铁厂因矿石质量不好,产量逐渐下降。范厂长认为扭转岭北生产局面,必须要调回何壮。他不顾秦桂兰和广大群众反对,派贾股长携公函到岭南调人,并打电话给何壮,说由于秦桂兰的原因致使铁厂将要垮台,继而使何壮对未婚妻秦桂兰产生误解,甚至两人在感情上出现裂痕。后来,许书记帮助何壮了解事情真相,提高认识,使两人重归于好。同时,许书记在与何壮谈话过程中发现何壮就是他20年前参加红军时失散的儿子冬娃,父子终于团聚。汉江上游连日阴雨,岭南运粮车辆被阻隔在大江对岸,使岭南陷入严重的断粮状态。何壮被派到岭北借粮,见到范厂长对岭南的灾情无动于衷,真正看透范厂长缺乏阶级友爱精神和本位主义错误。在党支部扩大会议上,大家对范启光提出批评,在大家的帮助下,范启光对自己的错误有所认识。在秦桂兰的启发下,岭北群众主动借粮支援岭南,岭南也主动提出支援岭北矿石。在大协作精神的感召下,范启光深刻认识到自己错误的严重性。为便于领导和有利生产,上级决定岭南、岭北两县合并改称赤龙县,岭南、岭北两县铁厂也合并为钢铁联合企业。从此,大巴山区高炉成林,呈现一片崭新景象。
主演:苏珊·斯塔丝伯格 罗纳德·刘易斯 安·托德 克里斯托弗·李 John Serret 伦纳德·萨克斯 Anne Blake Fred Johnson Heinz Bernard Bernard Browne Rodney Burke Brian Jackson Richard Klee Madame Lobegue Frederick Rawlings
导演:Seth Holt
简介:佩妮(苏珊·斯塔丝伯格 Susan Strasberg 饰)的父母在她很小的时候就离婚了,一直以来,佩妮都跟着母亲生活。一场意外夺走了母亲的生命,于是,孤苦无依的佩妮接受了父亲的邀请,前去和父亲以及继母一起生活。然而到了父亲家,佩妮却发现在那里的只有继母一人,虽然这个女人表现得非常的和善与热情,但佩妮还是对她充满了戒备。 继母家里发生的各种诡异的事情,以及始终下落不明的父亲让佩妮的神经越来越紧张,渐渐地,她开始分不清,在这里经历的一切,究竟是不是自己的幻觉。很显然,继母也希望佩妮产生这让的自我怀疑。
导演:诺曼·陶罗格
简介:Chad Gates has just gotten out of the Army, and is happy to be back in Hawaii with his surf-board, his beach buddies, and his girlfriend. His father wants him to go to work at the Great Southern Hawaiian Fruit Company, but Chad is reluctant. So Chad goes to work as a tour guide at his girlfriend's agency. Written by Pat McCurry {ccgrad97@aol.com}
导演:赛·恩菲尔德
简介: During the US Civil War, Union POWs escape in a balloon and end up stranded on a South Pacific island, inhabited by giant plants and animals. They must use their ingenuity to survive the dangers, and to devise a way to return home. Sequel to '20,000 Leagues Under the Sea' . Written by Stewart M. Clamen <clamen@cs.cmu.edu> In 1865, during the siege of Richmond, Virginia, the union soldiers POW Captain Harding, Neb and Herbert escape in a balloon during a storm with two confederate prisoners, Sergeant Pencroft and the journalist Spilett. The uncontrollable wind takes the balloon to a mysterious island in the South Pacific in the area of New Zealand. Captain Harding self-proclaims the leader of the group and they look for food; sooner they discover that they are stranded in an island. Further, they are attacked by a giant crab that becomes their first meal. Along the days, they build a shelter and finds that the island is inhabited by giant animals. A couple of days later, they find two castaways on the beach, the aristocratic Lady Mary Fairchild and her sexy niece Elena. Later they find a trunk with weapons and instruments like sextant and shelter with a journal of a man left alone in the island by pirates. When the pirate vessel arrives in the island, they are helped by Captain Nemo of the Nautilus, a submarine that had supposedly sunk in the coast of Mexico eight years ago. Nemo is famous as the man that tried to end strike among man. When the volcano begins activity, they need to leave the island to save their lives. Written by Claudio Carvalho, Rio de Janeiro, Brazil
导演:郑君里
简介:解放前,江西血吸虫病肆虐,方老爹(钱千里 饰)、方妈妈(上官云珠 饰)一家逃难来到浙江,怎知这里也是该病重灾区。不久,方老爹病死异乡,儿子冬哥(徐志骅 饰)被抓丁,童养媳苦妹子(尤嘉 饰)无奈之下另嫁他人。解放后,党和政府为了根治血吸虫,成立了血防站,并从上海派来医生指导群众群防群治。此时苦妹子的丈夫已患病死去,她自己也患了病,在血防站意外重逢失散多年的冬哥,两人述说离别之苦,冬哥对她的遭遇充满同情。方妈妈也终于见到失散十年的苦妹子,当知苦妹子患了血吸虫病,她十分揪心,因担心儿子也被感染,她劝儿子离开此地,但善良的冬哥不愿放弃他深爱着的苦妹子。毛主席视察病区后,全国组织有关行业下大气力,采取标本兼治,苦妹子有救了......
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