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備注:已完結(jié)
類(lèi)型:動(dòng)作片
主演:柯克·道格拉斯 勞倫斯·奧利弗 簡(jiǎn)·西蒙斯 查爾斯·勞頓 彼得·烏斯蒂
導(dǎo)演:斯坦利·庫(kù)布里克
語(yǔ)言:英語(yǔ)
年代:未知
簡(jiǎn)介: 公元前73年,來(lái)自古羅馬利比亞省的奴隸斯巴達(dá)克斯(柯克?道格拉斯 Kirk Douglas 飾)在加普亞格斗學(xué)校中愛(ài)上了女奴瓦瑞妮婭(瓊?西蒙斯 Jean Simmons 飾)。同年,格斗學(xué)校的奴隸在斯巴達(dá)克斯帶領(lǐng)下發(fā)動(dòng)起義,獲得自由,隨后斯巴達(dá)克斯與瓦瑞妮婭團(tuán)聚,結(jié)為夫婦。起義震驚了羅馬的統(tǒng)治集團(tuán),激化了元老院中貴族派和平民派的矛盾。貴族將領(lǐng)克拉蘇(勞倫斯?奧利維爾 Laurence Olivier 飾)乘機(jī)擊敗平民派首領(lǐng)格拉古(查爾斯?勞頓 Charles Laughton 飾),篡奪了首席執(zhí)政官的權(quán)力,實(shí)行獨(dú)裁。格拉古為了打擊克拉蘇,打算私下放走奴隸大軍;克拉蘇卻重金收買(mǎi)了海盜,并召回在國(guó)外作戰(zhàn)的兩支大軍。斯巴達(dá)克斯起義軍三面受敵,寡不抵眾,數(shù)萬(wàn)奴隸戰(zhàn)死,他與妻子和六千幸存戰(zhàn)友均被克拉蘇所俘。在最后的關(guān)頭,由于格拉古的幫助,情況又發(fā)生了變化。
備注:已完結(jié)
類(lèi)型:喜劇片
主演:瑪麗娜·墨蔻莉 朱爾斯·達(dá)辛 Giorgos Foundas 蒂托斯·
導(dǎo)演:朱爾斯·達(dá)辛
語(yǔ)言:英語(yǔ)
年代:未知
簡(jiǎn)介: 男人對(duì)女人說(shuō):“世界上最快樂(lè)的事就是求知”女人才不聽(tīng)呢
備注:已完結(jié)
類(lèi)型:愛(ài)情片
主演:貝納德特·拉封 弗朗索瓦·布里昂 亞歷山德拉·斯圖爾特 米歇爾·加拉布
導(dǎo)演:雅克·多尼奧-瓦克羅茲
語(yǔ)言:法語(yǔ)
年代:未知
簡(jiǎn)介:
備注:已完結(jié)
類(lèi)型:劇情片
語(yǔ)言:日語(yǔ)
年代:未知
簡(jiǎn)介: “愛(ài)咬耳朵的女人” 導(dǎo)演:增村保造 供職于銀座夜總會(huì)的漁家女紀(jì)美(若尾文子 飾)青春靚麗,她憑借狡黠的智慧周轉(zhuǎn)各色男人中間,騙盡感情與金錢(qián)。當(dāng)富家公子正巳(川口浩 飾)出現(xiàn)在紀(jì)美面前時(shí),這個(gè)一向精明的女人似乎也落入了感情漩渦…… “高價(jià)強(qiáng)行推銷(xiāo)的女人” 導(dǎo)演:市川昆 暢銷(xiāo)作家三原靖(船越英二 飾)無(wú)法忍受現(xiàn)有的生活,他獨(dú)自出走,來(lái)到湘南的海邊。在三原自殺之際,一個(gè)神秘的女子出現(xiàn)在他的面前。這個(gè)名叫土砂爪子(山本富士子 飾)女人自稱(chēng)來(lái)海邊吊唁去世的丈夫。兩個(gè)陌生之人的人生出現(xiàn)了交集,但在爪子美麗的面孔背后,似乎又隱藏著什么秘密…… “忘記愛(ài)情的女人”導(dǎo)演:吉村公三郎 京都某旅館的老板娘三津(京マチ子 飾)總給人不通人情、只認(rèn)錢(qián)財(cái)?shù)母杏X(jué),連好友也認(rèn)為她從來(lái)不懂愛(ài)情。但曾經(jīng)身為藝伎的三津,卻的確經(jīng)歷過(guò)刻骨銘心的愛(ài)戀……
備注:已完結(jié)
類(lèi)型:愛(ài)情片
主演:Zofia Marcinkowska Henryk Boukolows
導(dǎo)演:Kazimierz Kutz
語(yǔ)言:其它
年代:未知
簡(jiǎn)介: 50年代-60年代初波蘭電影學(xué)院派的經(jīng)典作品之一,堪稱(chēng)與同時(shí)代意大利導(dǎo)演安東尼奧尼的《奇遇》相比,改編自Józef Hen在社會(huì)主義波蘭時(shí)期被禁的小說(shuō)?! n 1960 his second film NIKT NIE WOLA / NOBODY'S CALLING, based on a Jozef Hen novel that was never published in Poland, described the fate of Poles on the Eastern Front. Kutz used the film to explore new formal solutions, collaborating closely with cinematographer Jerzy Wojcik to reveal the psychological landscape of a pair of lovers who are strongly affected by wartime events. The camera recorded the couple's inner experiences, contrasting their muted intimacy against the surrounding scenery of a ruined town. The film did not win over critics at the time of its release. It was not until later that critics recognized Kutz's effort to experiment with aesthetics in a manner akin to that pursued by filmmakers of the new wave. NOBODY'S CALLING came to be compared with Michelangelo Antonioni's THE ADVENTURE, which was produced around the same time.
備注:已完結(jié)
類(lèi)型:劇情片
主演:馬克·米歇爾 吉恩·凱樂(lè)蒂 菲利普·勒魯瓦 邁克爾·康斯坦丁 雷蒙德·
導(dǎo)演:雅克·貝克
語(yǔ)言:法語(yǔ)
年代:未知
簡(jiǎn)介: 1947年,法國(guó)康復(fù)監(jiān)獄。在押犯克勞德(馬克·米歇爾 Marc Michel飾)剛搬入11號(hào)牢房時(shí),受到其他四位獄友的排擠,謹(jǐn)慎小心的馬努(菲利普·雷羅伊 Philippe Leroy飾)、狡猾奸詐的羅藍(lán)德(吉恩·克勞迪 Jean Keraudy飾)、兇悍強(qiáng)壯的吉奧(邁克爾·康斯坦丁 Michel Constantin飾)和心機(jī)深重的“閣下”(雷蒙德·繆涅爾 Raymond Meunier飾)。很快,彬彬有禮的克勞德獲得了四人的認(rèn)可與接納,并讓他加入到正在精心謀劃的一場(chǎng)驚心動(dòng)魄的越獄行動(dòng)中。五人準(zhǔn)備掘地三尺挖個(gè)地洞逃出去,然而此時(shí)克勞德卻得到了獲得自由的好消息。 由法國(guó)犯罪片大師雅克·貝克執(zhí)導(dǎo)的經(jīng)典越獄片《洞》,堪稱(chēng)電影史上關(guān)于越獄題材最偉大的影片。這部雅克·貝克生前的最后一部作品,入圍1960年第13屆戛納電影節(jié)金棕櫚獎(jiǎng)、榮獲法國(guó)電影評(píng)論協(xié)會(huì)最佳影片獎(jiǎng)、英國(guó)電影學(xué)院獎(jiǎng)最佳外語(yǔ)片和最佳外國(guó)男演員提名、法國(guó)《電影手冊(cè)》十大佳片之一等多項(xiàng)殊榮。
備注:已完結(jié)
類(lèi)型:劇情片
導(dǎo)演:格奧爾基·達(dá)涅利亞 伊戈?duì)枴にm金
語(yǔ)言:其它
年代:未知
簡(jiǎn)介: 1960年捷克卡羅維發(fā)利國(guó)際電影節(jié)最佳導(dǎo)演水晶球獎(jiǎng)。 Originally titled Seryozha, the Russian A Summer to Remember was co-adapted by Vera Panova from her own short story. War and Peace director Sergei Bondarchuk plays the new stepfather of young Seryozha (Borya Barkhatov). So close do the stepfather and the boy become in the months following their meeting that, when time comes for the boy to move on in life, he refuses to leave his new dad's side. Their summer idyll takes place on a Soviet collective farm, managed by Bondarchuk and depicted by novice filmmakers Georgiy Daneliya and Igor Talankin in the most glowing and apolitical of terms. Though there isn't much to the plot, the film admirably succeeds as a sort of cinematic tone poem. From All Movie Guide: Russian filmmaker Georgi Daneliya ranks among his country's most popular directors of satirical comedies. The Georgia-born Daneliya comes from a distinguished family of film performers; his grandmother, Veriko Andzhaparidze, was a famed Georgian silent film actress, his cousin, Sofiko Chiaureli, is also a major actress, and his mother, Meri Andzhaparidze, spent more than a decade at Mosfilm Studios. However, he first chose to train as an architect (perhaps out of respect for his father, an engineer). Following his graduation in 1955, Daneliya worked only briefly in that field when he decided he'd rather be in films, enrolling in Mosfilm Studios' Directors' Courses in 1958. In 1960, Daneliya co-directed Seryozha/A Summer to Remember with Igor Talankin. Two years later, he made his solo directorial debut, Put K Prichalu/The Way to the Wharf (1962). His 1969 comedy Ne Goryuy!/Don't Worry! successfully blended humor and melancholy, a device that would become Daneliya's trademark. In addition to directing, Daneliya co-authors the scripts for his films and occasionally works on screenplays for other directors. Daneliya has won numerous national and international awards for his work. In 1964, his Ya Shagayu po Moskve/I Walk Around Moscow received an honorable mention at the Cannes Film Festival, while in 1975 Afonya received a special award at the All Union Festival, a major U.S.S.R. event. Daneliya's biggest hit in the U.S.S.R., Mimino (1977), earned the special prize at the Moscow International Film Festival and the U.S.S.R. State Prize. In 1991, Daneliya earned the Nika Award (the Russian equivalent to an Oscar) for Best Screenplay for Pasport (1990).
備注:已完結(jié)
類(lèi)型:劇情片
主演:碧姬·芭鐸 夏爾·瓦內(nèi)爾 Louis Seigner
導(dǎo)演:亨利-喬治·克魯佐
語(yǔ)言:法語(yǔ)
年代:未知
簡(jiǎn)介: IMDB簡(jiǎn)介:Dominique Marceau is on trial for the murder of Gilbert Tellier. The counsels duel relentlessly, elaborating explanations for why the pretty, idle and fickle girl killed the talented and ambitious conductor freshly graduated from the conservatory. Was it passion, vengeance, desperation, an accident? The acquaintances of Gilbert testify, as well as Dominique's former lovers, and her sister, Annie, the studious violin player engaged to Gilbert. The evidence they give progressively paints a more finely-shaded picture of the personalities of Dominique and Gilbert, and of their relationship, than the eloquent and convincing justifications of the counsels. Written by Eduardo Casais