Olli
搜索"Olli" ,找到 以下影视作品
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"whentwoworldscollide;theybecomeone."SetinthepicturesquecityofUdaipur,DhadakisthestoryofMadhukarandParthavi.Fromthemomenttheyseteyesoneachother;MadhukarandParthavifeltsomethingfamiliar,somethingpure,butastheirloveblossomed,sodidtheirproblems.Tornbetweensocietyandtheirfamilies,theirfatebecameuncertain.DHADAKisasimple,passionatestoryaboutfirstlove.
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艾尔文·拉考夫
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Survivors of a tragic shipping collision are rescued by a mysterious black ship which appears out of the fog. Little do they realise that the ship is actually a Nazi torture ship which has sailed the seas for years, luring unsuspecting sailors aboard and killing them off one by one. 91 Those who survive the ghost ship are better off dead!
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卡里·安德鲁斯
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美国与俄罗斯签订商业协议确当晚,一位主要人物被刺杀,而特种军队偷袭手布兰登?贝克特(查德?科林斯 Chad Michael Collins 饰)则被当成了头号怀疑人。逝世里逃生后,布兰登认识到此事可能牵涉到了当局外部的暗中诡计,于是便找到了他独一能信赖的搭档—他的父亲,“ 双狙人”托马斯?贝克特(汤姆?贝伦杰 Tom Berenger 饰)。父子二人再度联手,而这一次,他们不只要面临中情局!俄罗斯雇佣兵的追捕,更要面临一位人称“逝世亡蜜斯”的岛国日本极道杀手(秋元才加 Sayaka Akimoto 饰),而她占有着足以与二位传奇偷袭手相对抗的偷袭技巧......本片为“双狙人”系列的第八部作品。
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亚当·桑德斯
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IttellsthestoryofJimmy(Saunders),a42-year-oldman-childwhoselifehasn’tprogressedsincelosingtheelectionforseniorclasspresident25yearspriortothenowcurrentGovernorofTexas.Frustratedwithhiscircumstances,Jimmydecidestore-enrollinhighschoolandrunforclasspresidentagain.Butonceheleavesthesafeconfinesofhisdad’smemorabiliastoreandattemptstojointheTikTok-fueledpaceofGenZ,Jimmyquicklyrealizeshehasawholelotmoretolearnthanjusttheproperuseofgenderpronouns.
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Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
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Marseille,juillet1905.LejeuneMarcelPagnolvientd'acheversesétudesprimaires.Danstroismois,ilentreraau?lycée?.Troismois...uneéternitéquandonacetage.Carvoiciletempsdesvacances,lesvraies,lesgrandes!Enfantdelaville,ceretourtantattenduàseschèrescollinesd'Aubagne,cellesde?LaGloiredemonpère?et?LeChateaudemamère?letr...
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影片以18世纪罗马尼亚的地下秘密组织“兄弟会”为线索,该组织密谋推翻贵族政府为目的。影片拍摄时期为罗马尼亚共产党执政时期,对“兄弟会”进行颂扬。当时的罗马尼亚受到法国大革命的影响,民族主义运动兴起。片中的“兄弟会”酝酿发动革命推翻贵族统治,而黄玫瑰则帮助 “兄弟会”与贵族军队作战。影片本来要拍成《007》那样的系列电影,但是因为后来罗马尼亚政局变化,电影业私有化,最后只拍到了第八部。 影片风格是美国西部片式的。男主角马尔杰拉图神出鬼没,神勇无比,为“兄弟会”出生入死。他不停地嗑瓜子动作,成为他的招牌。扮演马尔杰拉图的演员叫弗洛林·彼耶尔西克,据说,他在罗马尼亚电影表演界的地位,与现在的罗马尼亚电影创作协会主席塞尔裘·尼古莱斯库相当。片中的黄玫瑰很像个美国牛仔。比如,他的枪法很好,还会趴在地上听马蹄声,而且片中还出现了西部片必然会有的场面:群马追击四轮马车和酒馆里的群架。唯一不同的是,这个牛仔不爱叼雪茄,却喜欢嗑瓜子。他嗑瓜子的镜头深深印在了中国人的脑海里,即使他们早已忘记了影片的剧情,也不会忘记这个动作。 女主角阿卡塔是著名的演员,性感、风流、直率、刚勇、不择手段,为了盖剧院筹集资金而为当局效劳,成为“黄玫瑰”的劲敌。阿卡塔的扮演着MARGA BARBU是罗马尼亚享有盛誉的著名演员,是该片编剧的妻子。她于2009.2.28死于心脏病。在将用贵族斯特罗·格拉迪什泰亚努 (Stroe Gr?di?teanu) 的钱购买的武器运回该国后,电影《布加勒斯特蒂洛尔先生》中的场景转移到了布加勒斯特市。影片以马尔格拉图(弗洛林·皮尔西奇饰)和他的手下将武器带到这座城市开始。这些武器必须藏在 Moara Boarilor,但 B?zu de Iepure ( Szabolcs Cseh ) 告诉 M?rgelatu,磨坊主是 Agia 的手下。在战斗中,马尔格拉图受伤,但设法带着装有武器的手推车逃跑,而巴祖·德·伊普雷则被抓获。兔唇被指控叛国,即将被圣杯协会(他是该协会的成员)杀死,但他被女巫斯特里戈亚神秘地救了。在1848 年革命前后的布加勒斯特,“兄弟会”(其中包括CA Rosetti、Cezar Bolliac、Ion Heliade-R?dulescu和Alexandru G. Golescu - Ar?pil?)打算说服统治者格奥尔基·比贝斯库(Gheorghe Bibescu,1842 年 -1848 年)(由Ion Besoiu解释)批准一系列改革以改善人民的物质条件。与此同时,由贵族科斯塔什·苏苏 ( Teofil Valcu ) 和他的继子阿里斯蒂德 ( Ovidiu Iuliu Moldovan )(来自马夫罗格尼家族)领导的一群贵族——正试图利用“兄弟会”的行动来夺取罗马尼亚的领导权。当两个阵营正在制定计划时,这座城市正由女巫斯特里戈亚(Strigoaia)暗中统治,她是圣杯社区(包括盗贼和乞丐)的首领。[1]她向商人收取保护费,安排谋杀和勒索,并贿赂阿吉亚人民。社区计划杀死马尔格拉图,但他从马尔塔克(伊恩·迪奇塞努饰)那里得知了这个计划,并逃走了。苏苏贵族的阵营正计划袭击统治者格奥尔基·比贝斯库,为此他要求圣杯氏族为他们提供一名男子,被选中的人是巴祖·德·伊普雷。根据阿加莎的丈夫、意大利人文森佐·贡法隆(大卫·奥哈尼西安饰)提供的信息,马尔格拉图发现了这次袭击,并将其传达给“兄弟会”,然后设法挫败了它。他因此救了兔唇的命。马尔格拉图向德沃斯中尉(埃尼科·西拉吉饰)的嫂子埃利萨夫塔求助,后者被圣杯抓住并被关进地窖。向商人索要的巨额捐款引起了城市的自发骚乱,数名“兄弟会”成员以及乞丐被阿吉逮捕。统治者下令逮捕斯特里戈亚,斯特里戈亚逃跑并释放了马尔格拉图。尸体将圣杯社团的成员聚集在监狱门前,要求释放被捕者。马尔格拉图也加入了他们的行列,要求释放被捕的“兄弟会”成员。战斗发生了,但阿吉亚用大炮介入并平息了骚乱。由于勇敢的行为,兔唇被杀。马尔格拉图和斯特里戈亚以及其他革命者被捕。最后,幽灵摘下面具,显露出自己是阿加莎·斯拉蒂内亚努(玛加·巴尔布饰)。她告诉玛格拉图,兔唇(真名贝内代托)是她和贡法隆的儿子。
