高清影视频道节目表
地区:意大利
  类型:神话
  时间:2025-07-16 11:00:32
剧情简介

这部惊险报仇片剧情复杂,高清线索纵横交错,高清黑泽明通过一宗贿赂事件,无情地揭露了日本官商界的黑暗,对人性的丑恶一面刻划得入木三分。在构图方面,黑泽明控制得更完美无瑕,通道、楼梯、房间的排列、镜的摆设,以至瓦砾堆的空间布置,都拍得均整有致,计算得惊人地准确。

126次播放
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明星主演
付静
童安格
仓持阳一
最新评论(929+)

陈明韶

发表于6分钟前

回复 :痞子武松(许冠杰饰)前往阳谷县寻找家兄武大(吴孟达饰),到景阳冈上骗吃骗喝,却借着酒意误打死一只老虎。阳谷县人将武松簇拥回县,县太爷将他封为都头。另一边,潘金莲(毛舜筠饰)与武大两夫妻正商量着如何骗钱,将目标锁定有钱却白痴的西门大官人。他们二人找到王婆,开始设计一个精细的行骗计划,而此时武松上门寻找家兄,二人害怕武松搅乱计划,所以百般隐瞒......


温碧霞

发表于8分钟前

回复 :根据柳青小说《铜墙铁壁》改编。1947年春天,蒋介石匪帮调动了数十万兵力疯狂地进犯陕甘宁边区。当时,边区的军民在毛主席和党中央的领导下,主动撤出延安,屡次给疯狂的敌人以沉重的打击。7月间,我军为了诱敌北进,猛扑榆林城。这时保证数万野战军的粮食供应,便成为陕北人民争取胜利的主要任务。沙家店是米脂县的一个区,那里设立了粮站。到那里领粮的部队很多,粮站的粮食眼看供应不上了。曹区长、区委金书记为了克服这个困难,派民兵队长石得富到邻区去催粮。路途中,运粮队遇上敌机空袭,幸亏石得富镇静地指挥防空,才没有遭到大损失。这件事得到同路的葛专员称赞。葛专员路过沙家店视察备战情况,他特别提醒他们不但要管好粮站,还要照顾全面,组织群众做好备战工作,千万不能让群众遭到损失。金书记遵照葛专员的指示,决定把粮站交给石得富负责,另外找村里的石永公、疤虎、二木匠等人协助石得富。粮站工作交代妥当后,区干部就下乡去检查备战工作。战争形势迅速发展着,北上的敌人已经逼近邻县绥德。当时人心惶惶,石永公开始动摇,地主又乘机放火破坏,而粮站里还存着180多石粮食。怎样妥善地处理这些粮食呢?石得富便到离粮站30多里的镇川堡 支前委员会去请示葛专员。镇川堡当时正在紧张撤退中,从榆林南下的敌人已到堡外的河对岸。石得富见到了葛专员。葛专员指示石得富当夜发给野战军一百石粮食,剩下的必须在天亮前全部疏散到大路以北。最后,他告诉石得富:“虽然敌人几乎占了所有的县城,但毛主席仍然留在陕北……胜利很快就会到来的。”这消息给石得富很大的鼓舞,当下他便赶回沙家店。那一夜,大雨倾盆,山洪暴发,石得富等人在粮站里一夜未睡,等待着部队来运粮。天明前,接到葛专员的紧急通知,才知道运粮队因道路被山洪隔断不能来了,让他们就地动员群众疏散粮食。就在这一夜里,敌人占领了镇川堡并决定明日经沙家店进犯乌龙铺。饥饿的敌人到处搜刮粮食,并准备抢劫沙家店粮站。黎明,敌人的前哨部队已经接近村口,但是粮站里还有80多石粮食来不及疏散。石得富领导大家埋好地雷,即上山准备扰乱敌人。在最危急的时候,曹区长带领游击队前来支援,终于击退了企图抢粮的敌人。石得富等人连夜又下山去疏散粮食,疏散不及的,就在当地埋下。又过了紧张的一夜,粮食刚疏散完毕,敌人就进了村,疤虎在掩护粮队的战斗中壮烈牺牲。石得富忙着掩护石永公撤退,又赶回粮站找到石永公来不及拿走的粮账,当他刚把粮账掩藏在村外的悬崖下时,不幸受伤被敌人抓住了。敌军中粮食恐慌已到极点,匪军官以为抓住了石得富就能找到粮食,因此,加倍酷刑毒打逼问粮食去处。但是他们除了被石得富痛骂之外,一无所得。石得富虽受重伤,但仍坚持斗争。当夜,他便跟一起被捕的群众,杀死哨兵,逃出了虎口。当他来到悬崖下面,发现粮账依然埋在地下时,心里便像落下一块大石头。这时我军已开始了猛烈的反攻。石得富在沙家店山顶的战场上,见到了金书记和石永公等人。他把自己奋不顾身保存下来的粮账,小心地交给了金书记。西北战役终于获得了辉煌的胜利,它给全国大反攻创造了有利的条件。具有革命传统的陕北人民,又一次在革命战争史上写下了光辉的一页。


西城男孩

发表于9分钟前

回复 :Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.


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