血洗鳄鱼仇
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2.0|04月30日|HD中字
简介:

  丈夫死后,阿尔蒂(瑞哈 Rekha 饰)带着孩子们回到了富有的父亲身边,开始了新的生活,好景不长,父亲的死让阿尔蒂再度陷入到了悲伤之中。佣人眼馋阿尔蒂继承的大笔遗产,他找来了自己的外甥桑杰(卡伯·贝迪 Kabir Bedi 饰),让他勾引单纯善良的阿尔蒂。事情的发展正如佣人所愿,阿尔蒂爱上了桑杰,两人结了婚。婚后,桑杰将再无用处的阿尔蒂推到了鳄鱼池之中。
  虽然大难不死,但阿尔蒂容貌尽毁,此时的她才明白一切都是一场阴谋,包括父亲的死。仇恨的种子深深的埋入了阿尔蒂的胸膛,通过整容手术,阿尔蒂摇身一变成为了性感名模,她回到了桑杰的身边,而此时的桑杰并未认出阿尔蒂的真实身份,就这样,复仇开始了。

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简介:

  本片讲述了1924年英国两名奥运健将的故事。1919年,剑桥大学凯斯学院的开学礼上迎来一名叫亚伯拉罕(本·克劳斯 Ben Cross 饰)的犹太学生。他擅长跑步,参加剑桥的环校挑战赛后一战成名。然而犹太人的身份让他饱受种族偏见之苦,因此他一心想赢得奥运会百米赛跑的金牌, 以此来对抗种族偏见。另外一位短跑健将是来自苏格拉高地的艾利克里德(伊安·查里森 Ian Charleson 饰),他极具跑步天赋,而他本人是个虔诚的基督教徒,认为自己的天赋来自上帝,他是为上帝而跑。在1923年的全国性运动会上,两名青年狭路相逢,艾利克里德最终赢得冠军。亚伯拉罕则请来了职业教练指导自己,备战奥运。
  1924年的巴黎奥运会来临,艾利克里德却得知百米资格赛在星期天举行,作为一名基督徒,他严格遵守着“安息日不得工作”的教义,最后他决定退出百米赛。另一方面,亚伯拉罕不仅要面对强大的美国名将,更要面对自己的内心。这枚奥运金牌,将花落谁家……

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魔鬼的陷阱
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主演:Vítezslav Vejrazka,米罗斯拉夫·马哈切克,Cestmír Randa,Vít Olmer,Karla Chadimová,Vlastimil Hasek,Frantisek Kovárík,雅罗斯拉夫·毛奇卡,约瑟夫·赫利诺马兹,贝德里奇·卡兰,Jirí Belohoubek,Jirina Bílá,Monika Indingerová,Ladislav Kazda,Milan Kindl,伊里·弗斯塔拉
简介:

  In the time of Counter-Reformation, a miller and his son come under investigation by a priest of the Inquisition, when rumors spread that their prosperity comes from working with the Devil.
  The Devil's Trap is a film directed by František Vlá?il, based on a novel by Alfréd Technik, adapted by František A. Dvorák and Miloš Kratochvíl. It was the first of three historical dramas that Vlá?il made during the Czech New Wave (technically he isn't really a part of the New Wave, however these films were made during the same era of artistic freedom), preceding his more well known Marketa Lazarová (1967) and Valley of the Bees (1968).
  Set in the late 16th Century during the Catholic Reformation, in the Moravian Karst, situated in what is now the Eastern Czech Republic, it tells the tale of a miller (Vítezslav Vejrazka), and his son Jan (Vít Olmer), who come under suspicion and are investigated by a Jesuit priest of the Inquisition (Miroslav Macháchek), when rumors of witchcraft are spread by the local regent (Cestmír Randa), who is jealous of the miller's prosperity and degree of respect among the local populace.
  As expected from Vlá?il, this film is a stunning experience all the way through. From the opening shot, an ominous manipulation of perspective with a close up of a mangled figure of Christ dominating the foreground against a tiny figure in black walking along the horizon, to the breathtaking confrontational finale inside the vast stalactite filled Karst caverns, it is a wonderful display of visual mastery.
  Maybe not quite as impressive as Marketa Lazarová, but still full of astonishing imagery. As seen from unique angles and distinct points of view which highlight the director's remarkable sense of awareness of framing, motion, and positioning on the emotional and dramatic tone of the scene. The most memorable being a repeated shot where the camera is suspended and launched with speed through the air towards the miller's door.
  The story here is a simple one and I would say more accessible than his later works. With a conventional structure emphasized as much by its plot and characters, than by its expressionistic cinematography or authentic historical detail. The events play out without much surprise, and there is a strong underlying, almost supernatural, mysterious aspect that is left unresolved, in fact barely explored, which is slightly disappointing, but only because it's so fascinating that I wish there was more.
  Acting is great all around. Particularly the villains: Miroslav Macháchek as the priest, casting a sinister and imposing shadow wherever he goes, and Cestmír Randa as the weasel like regent behind all the persecution. While Vít Olmer brings a charismatic leading man presence in his role as the miller's son Jan, in love with the lovely orphan girl Martina (Karla Chadimová), who becomes a dangerous object of rivalry between Jan and other young men of the village.
  The film also features the evocative music of Zden?k Liška (perhaps the most prolific composer of the Czech New Wave). In this his second of eleven collaborations with Vlá?il, his compositions are used sparingly, but to great effect, complimenting but never overpowering a scene. The best example of which can be heard in an amazingly shot celebration and dance sequence at the end of the second act.
  The Devil's Trap might not be a masterpiece, but it is still a strong effort, with a fascinating straightforward story and a glorious historical setting captured beautifully by Vlá?il's unmistakable visual prowess. A fine work that would also be the perfect starter plate to prepare yourself for the challenging feast of Marketa Lazarová or The Valley of the Bees. It even has an easy to digest running time. It's therefore puzzling why this gem remains largely overlooked and ignored.

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