清秀妻子成了淫乱女
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弗雷德·阿斯泰尔,金杰·罗杰斯,维克托·摩尔,海伦·布罗德里克,埃里克·布洛尔,贝蒂·弗内斯,Georges Metaxa魔法坏女巫2
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陈勋奇,曾志伟,张敏长安的荔枝2025
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金南佶,金珠贤,郑镇荣,金英爱,文晶熙,金大明,李璟荣,姜信一,刘承睦,金明民锦衣卫2010
甄子丹,赵薇 Wei Zhao,吴尊,徐子珊,戚玉武,陈观泰,午马,洪金宝,罗家英,刘松仁狗狗与我的十个约定
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Loretta Young,Van Johnson张三丰之末世凶兵
刘屹宸,张洋,韦雨彤,王亚斌,刘威洲,喻亢灵蚀
桑德拉·埃斯卡塞纳,布鲁纳·冈萨雷斯,克劳蒂亚·普莱瑟,伊凡·查韦罗,安娜·托伦特,康斯薇洛·特鲁希略,安吉拉·费比安,卡拉·坎普拉猎枭风暴
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嗨,妈妈!
In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now. But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film). In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack. imdb comment
弗兰得狂欢节
Released in France as La Kermesse Heroique, Carnival in Flanders is set during the long-ago war between the Dutch and Spanish. A tiny village in Flanders is invaded by Spanish troops. The townsfolk have heard of Spanish cruelties in other towns, and decide to deflect the vanquishers by playing dead. This isn't terribly effective (you have to take a breath once in a while), so the wife of the burgomaster tries to soften up the invaders with a lavish carnival. So successful is this venture that the Spaniards allow the village to escape being decimated, or even taxed. An award-winner many times over, Carnival in Flanders was banned in Germany; evidently, Goebbels caught on that director Jacques Feyder and scenarists Bernard Zimmer and Charles Spaak were drawing deliberate parallels between the Spanish and the then-burgeoning Nazis.