电影 · 1958 · 美国 · 剧情,战争,传记
马克.罗布森导演,背景是在中国抗日时期。一位英国女佣葛拉蒂(英格丽.褒曼饰)想参加传教团来中国传教,但却因为资格问题而被拒绝入团。葛拉蒂不放弃这一想法,由西伯利亚铁路来华,到六福客栈传教并且帮忙。此时正是日本侵华时期,葛遇到中德混血儿上尉林(克德.朱尔吉斯饰)。林是国民党的情报官,劝葛回英国,而葛则以自己是中国公民而拒绝。后两人坠入爱河,但是时事不容得他们考虑。西昌传教士带来五十名孤儿,杰米逊博士准备用军车将孤儿撤往后方,葛便带领百名孤儿上路,经过爬山涉水千难万险,终于将孤儿们带到了西安,完成了一般人视为不可能的巨举。本片强调中华儿女抗日精神,场面壮观,感情丰富动人,令人深浸其中。本片曾获得最佳导演金像奖提名。
电影 · 1958 · 美国 · 恐怖
Out of the fifties "B" Science-Fiction monster movies, this easily ranks as the best. It"s most notable as the film that ALIEN is an unaccredited remake of, thus giving it a certain historical significance. The intriguing plot is about the rescue of the only marooned survivor (Col. Carruthers) of an ill-fated expedition to Mars. The authorities, pig-headed as usual, falsely assume that he murdered his fellow crew members, so that he"d have more provisions to survive; hence he is being brought back to Earth to face court-martial for murder. (There is also a somewhat interesting plot reversal here: Most movies of this nature usually begin with the ship leaving Earth, enroute to its otherworld destination, while, in this case, the "story" is believed finished, and begins as the characters take-off from the other planet, returning to Earth). As the rescue ship is leaving Mars, a lurking, ominous shadow is seen in the lower compartment. (A frightening, atmospheric moment, accomplished through sheer economy and simplicity). Carruthers insists of his innocence to his fellow captors, claiming that his original crew mates were slaughtered by a hostile, unseen presence on the desolute red planet, but three-guesses as to their reaction to his unusual plea. Naturally, he can"t prove it, and 50"s space authorities were not very alien conscience at the time. (As a side-thought, "unseen menace" may remind you of that highly "original" BLAIR WITCH). As everyone sacks out, a hapless supporting charactor whose name is at the bottom of the casting list (guess what will happen to him?) hears something in the lower compartment. Despite your futile "don"t go down there, you jerk!" pleas, he does just that, and is appropriately killed (more like thoroughly obliterated) by the shadowy figure with insatiable blood lust on its mind. In the victim"s case, dereliction of duty and sheer cowardliness would have been the wise decision. The scene is actually well-directed (for a change) and develops much suspense, as the entire film surprisingly does. The crew finally catches on that they have an unwanted ship crasher on board, and try every possible means at their disposal to eliminate it, but the unknown creature seems to copping an anti-death attitude. Proving to be an even more clever, worthy adversary, "IT!" also hides out in the ventilation shafts of the ship (now that should ring a bell). Cahn"s forceful direction generates considerable tension as the malevolent stowaway works its way up from one level of the confined ship to the next, eventually leaving the remaining characters trapped at the top. The movie"s suspense is blunt and right to the point: "IT!" has to kill them or starve, hence they have to kill "IT!" or die. Nothing like those "no two ways about it" choices. Rent it, or check for it on cable if you wish to know the outcome. For a low-budget quickie, IT! is quite impressive and memorable. The dreaded sense of claustrophobic tension, rendering the characters" helpless entrapment, is highly effective. This is a production in which the limited budget and small sets actually work in favor of the plot"s scary ambience. The black & white photography (Yes, it"s one of those!) helps to enhance its dark, creepy mood, and the sense of apprehension is quite high. (Modern day color freaks never seem to take that into consideration). The plot is also somewhat cynically ironic: If the creature hadn"t stowed away on the ship, Carruthers would have most likely been found guilty of the charges against him. The intelligent script (see what I mean about "rareity") was penned by noted Science-Fiction author Jerome Bixby (remember Twilight Zone"s "It"s a Good Life")? The picture"s taut editing eliminates any extraneous dross. (ALIEN tended to drag in its first hour with its sophomoric dialogue, and why did it have to include that stupid and ultimately counter-productive sub-plot of Ash being a robot, and further dragging the story down to another big bad conspiracy cliche? UNNECESSARY!!!) Director Cahn astutely keeps the rubber-suited monster off-screen and in the shadows through-out most of the proceedings, keeping your paranoid imagination on constant alert. Unfortunately, perhaps at the studio"s commercial insistance, it is a little over-revealed at the climax, but I haven"t claimed this to be the perfect masterpiece. The performances, though nothing award-winning, are nevertheless cool enough so that one becomes sincerely concerned as to their fates. Not many movies in recent times ever come close to achieving that. They can be over-produced from here to eternity, and usually only succeed in being gloriously annoying. This film"s story is not really totally original (what is?), for it is based on A.E. Van Vogt"s "VOYAGE OF THE SPACE BEAGLE." All ALIEN fanatics should track down an old used copy to see where the initial influence came from. As long as you"re not craving another CGI wind-ding, you may find it worthwhile. Just don"t expect the women to be Ripley precursors. This was still the sock-knitting fifties, sad to say.
电影 · 1958 · 美国 · 恐怖
The film opens with a narrated disclaimer over footage of an opening coffin. The narrator explains that the film"s climax is so terrifying that it may kill the viewer, and reassures the audience that if they die of fright while watching the film, they will receive a free burial service, and it closes on the casket which has a card inside reading "Reserved for You."[1] Newlyweds Jenni (Peggy Webber) and Eric (John Hudson) move into Eric"s palatial country home. Jenni is Eric"s second wife; his first wife Marion died when she accidentally slipped and hit her head on the edge of a decorative pond on the estate. At the home they meet Eric"s friends, the Reverend Snow (Russ Conway) and his wife (Toni Johnson), as well as Mickey (Alex Nicol), the developmentally disabled gardener. Eric privately mentions to the Snows that Jenni spent time in an asylum following the sudden death of both her parents, and Mrs. Snow reveals that Jenni is very wealthy. Jenni is disturbed both by Mickey"s belief that Marion"s ghost wanders the estate and by Marion"s self-portrait inside the house, which Jenni believes resembles her mother. When she begins to hear unexplained screaming noises and see skulls around her house, she believes that Marion is haunting her. Though Eric speculates to Jenni that Mickey, who was a childhood friend of Marion and thus dislikes Jenni, may be behind the trickery, Jenni worries that she is going insane. Eric then suggests to remove Marion"s self-portrait from the home. Eric and Jenni take the painting outside and burn it. While they clean up the remains of the painting, a skull emerges from the ashes. While Jenni panics at the sight of the skull, Eric denies that the skull is there. Jenni faints and Eric withdraws the skull and hides it, revealing that he was responsible for the trickery all along in an effort to get hold of her wealth. Believing she has finally lost her sanity, Jenni resolves to be committed. She tells Eric that the entire property will be meticulously searched for the skull as a last resort. Before Eric can retrieve it, Mickey secretly steals the skull and brings it to the Reverend, revealing Eric"s plans. That night, Eric prepares to murder Jenni and stage it as a suicide. Jenni sees Marion"s ghost in Mickey"s greenhouse and flees back to the house. When she enters, Eric begins throttling her. The ghost then appears and chases Eric outside and about the property; it finally corners and attacks him, drowning him in the decorative pond. After Jenni regains consciousness, the Snows arrive. Mrs. Snow comforts a hysterical Jenni and the Reverend discovers Eric"s body in the pond. Some undisclosed time later, Jenni and the Snows depart from the house. Reverend Snow declares whether or not Marion"s death was an accident will remain a mystery.
电影 · 1958 · 大陆 · 爱情
1950年,广西西部十万大山地区有待解放,匪首李汉光(方辉)和妻子李月桂(胡敏英)带领一股顽匪与国民党特务勾结,将百姓骚扰得苦无宁日。根据被解放军捕获的台湾派遣副司令雷震霆提供的线索,侦察科长曾泰(于洋)假扮他的身份来到李匪内部。 对眼前这位迟迟才到的“雷震霆”,李月挂夫妇自然没有掉以轻心,利用潜伏在解放军内部的特务所提供的情报,他们设多计将他考验,曾泰均惊险过关。过程之中,曾泰虽痛失战友耿浩(张勇手)等,却也利用自己的聪明才智铲除了对自己不利的诸多匪兵,尤其利用李月桂亲信、风情万种的阿兰(王晓棠)对他的迷恋,以攻为守逐渐取得了李月挂夫妇对他的百分百信任。
电影 · 1958 · 日本 · 剧情
剧情介绍: 同期毕业的几位同学,同时进入了几家大公司的宣传部门,成了竞争对手,他们表面上还礼尚往来,实际上已经没有了纯洁的同学之情.为了商战,恋人之间,女婿和岳父大人之间都展开了无情的争斗。加以情欲地渗透,真实地反映了人的动物性。异色华丽、对性爱大胆的描写与对新派女性的塑造开一代先河说起日本的大导演,人们可能不会想起这个名叫增村保造的人。但作为阶段性的日本新浪潮时代的代表人物之一,他是绝对不容各位影迷忽视的。虽然他的影片一直套着情色的外套,但透过情色又能道出人性和鲜明世界观的导演如今已经不多了,也许现在我们这些偏好情色片的文艺LM们也只能透过DVD来回味那个异样的风情了。增村保造因为在意大利留学多年,吸收了欧洲电影的浪漫色彩影响。因此他的大部分作品都异色华丽,甚至对性爱有超常大胆的描写。日本学者小笠原隆夫曾在《日本电影被虐者谱系》一文中指出,日本电影的被虐构图,实际上是非常日本化的一种感情构造。这种感情构造来源,是因为日本文化中的“性”与“死”之间的区别,一向显得非常的暧昧。影片登场人物对于爱的感受有别于常人的自虐性行为,无法自拔的执着带出一种妖艳美,这更能让人感受情感的深层意义。这也是此片导演增村保造乐此不疲的主题。《巨人与玩具》主要讲述了这样一个故事内容:同期毕业的几位同学,同时进入了几家大公司的宣传部门,成了竞争对手,他们表面上还礼尚往来,实际上已经没有了纯洁的同学之情.为了商战,恋人之间,女婿和岳父大人之间都展开了无情的争斗。加以情欲地渗透,真实地反映了人的动物性。《巨人和玩具》改编自日本小说家开高健创作的同名作品。开高健的主要作品有《巨人和玩具》(1957)、《日本三分钱歌剧》(1959)以及《越南战记》(1965)、《夏天的昏暗》(1972)等,大多采取离奇的寓意手法,表现对资本主义社会黑暗现实的反抗情绪,以及个人在强大势力面前的无能为力。特别值得一提的是他的短篇小说《玉碎》(1978)用回忆的笔法记叙对中国作家老舍的怀念。