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努努影院

倒计时
英国英语1969
The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R. 

努努影院

步入辉煌
大陆国语1994
  抗日战争时期,东北抗联司令员杨靖宇将军率部被日军重重包围,杨将军命令主力突围,自己只带三名战士——常怀忠、汤福禄和朱二十八留在山上吸引敌人重兵。二十九师师长程斌叛变投敌,使我突围部队损失残重,杨将军感到无限悲痛。程斌回家探亲遭母斥责,程妻愤然举枪处决了丈夫。常怀忠的恋人周凤兰上山为将军送粮,与常怀忠重新相见。日本人以高官厚利诱降杨将军,遭到痛斥。日军进攻,常怀忠和汤福禄阵亡,凤兰也与敌人同归于尽,烈士的头颅被悬挂在城头,许多百姓因向英烈叩头而遭屠杀。抗联主力派人去接应杨将军,却未能冲过日军封锁线。一位百姓为将军送粮也被日军杀死。杨将军和朱二十八终于闯出了敌封锁线,朱二十八身负重伤,不愿拖累杨将军,饮弹自尽,临死要将军以他的肉充饥,保持抗日大旗不倒。杨将军含悲掩埋了战友的尸体。他拖着精疲力竭的身体向山下爬去。饥饿无情袭来,杨将军扯出棉絮,和着雪吞进肚里。他又一次被民族败类出卖,陷入日寇包围。三木充满敬意劝降杨将军。杨将军大义凛然,怒斥敌酋,甘愿热血染我中华山河,不与日寇并立于世。日寇的子弹,向杨将军疯狂射来,杨将军中弹十三处,依然怒视敌寇,挺立不倒。三木折服了,面对如此强硬的对手,他脱下军帽,诚惶诚恐地鞠躬致敬……残酷的日寇为解疑虑,解剖了杨将军的遗体。结果发现,将军的胃与常人无异,所不同的是,将军的胃里没有粮食,有的只是棉絮和草……

努努影院

情陷中英街
大陆国语1997
  欧阳天峰(巫刚 饰)与何氏家族的何碧莲(陶红 饰)是从小就在中英街长大,两小无猜,青梅竹马。1949年中华人民共和国成立,中英街被中英两国政府分街对峙,本是街坊邻里,本是一家却被一块界碑隔离开来。此时的天峰和碧莲也都已经长大成人,两人相亲相爱,却因为一块界碑不能携手夫妻。在建国初期住在中英街两边的人们总是担心中国军队与英国军队交火,怕家人生命安全没有保证。此时的天峰还只是一个渔民小伙,虽然已经有了相亲的对象,但在他心里只有生活在英属街的碧莲。他们为了见一面要穿越边界,还引起不少国际纠纷。   进入建设时期,国民党特务分子利用中英街这个特殊的地理位置频频挑起暴乱,中英街进入紧急戒备时期。此时的天峰已与碧莲结为夫妻,并生下一个儿子。天峰应征入伍成为了一名解放军,而碧莲在香港独自抚养儿子。在一次国民党特务分子的暴动中,他们威逼碧莲当街喊反动口号和贴反动标语。进入“文化大革命”时期,碧莲当街喊反动口号和贴反动标语的事情被当成了批斗重点,中英街两边的任何来往都被当成批斗对象,碧莲就此不能带着儿子跨过界碑与一街相隔的丈夫相见。   1978年,中国实行改革开放。此时的香港已经发展成为亚洲经济最发达的地区之一。碧莲和他的兄长也在香港创立了何氏企业,并成功上市。在碧莲的帮助下,天峰也逐步创立了一家大型上市企业。而此时的他们虽然内心深爱着对方,但由于分离太长的时间和家人的原因,他们不能重新在一起,他们的儿子从心里面敌视天峰,不肯认这个亲爹,并且在生意上处处算计他。在亚洲金融风暴中,何氏企业陷于破产的绝境。天峰立劝中资公司和他一起出手从黑道公司手中收购回来何氏集团。患难见真情,经历了商场上的起落之后,天峰最终得到儿子的理解,一家人经历了半个世纪之后终归于好。

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