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阴阳错国语
1983 0.0分 剧情片
保险公司调查员古志明(谭咏麟 饰)在雨夜赶回家参加和婚期妻Ivy(叶童 饰)订婚四年的庆祝,不巧雨天路滑,古志明险些撞到一名红衣女子……Ivy为人脾气火爆,古志明虽有不满也只得忍受,当夜古志明胞弟玩起了碟仙游戏,与此同时,名叫张小瑜的红衣女子不慎失足坠楼身亡,正在进行中的碟仙游戏恰好收到了张亡故的信号。次日,古志明奉命调查张小瑜死因以便进行理赔,岂料连串怪异现象在古的身边发生。在古志明和Ivy的..
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阴阳错粤语
1983 0.0分 剧情片
保险公司调查员古志明(谭咏麟 饰)在雨夜赶回家参加和婚期妻Ivy(叶童 饰)订婚四年的庆祝,不巧雨天路滑,古志明险些撞到一名红衣女子……Ivy为人脾气火爆,古志明虽有不满也只得忍受,当夜古志明胞弟玩起了碟仙游戏,与此同时,名叫张小瑜的红衣女子不慎失足坠楼身亡,正在进行中的碟仙游戏恰好收到了张亡故的信号。次日,古志明奉命调查张小瑜死因以便进行理赔,岂料连串怪异现象在古的身边发生。在古志明和Ivy的..
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靓妹仔国语
1982 0.0分 剧情片
靓妹仔来自一个破碎的家庭,在家中得不到父母的爱,在学校也得不到老师的理解。一次,她在舞厅中认识一男友,他十分爱护和关怀她,令她对他产生倾慕。由于种种原因,靓妹仔和她的3个同学慢慢步向堕落,结果4人都有不同的收场:一个变成瘾君子;一个因失恋而向杀;一个贪玩而引火焚身;最后只剩下她自己一个人,整日只是和其他舞女争风吃醋。后来她虽与久别的男人重逢,但这也是他们永别的时候.
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靓妹仔粤语
1982 0.0分 剧情片
靓妹仔来自一个破碎的家庭,在家中得不到父母的爱,在学校也得不到老师的理解。一次,她在舞厅中认识一男友,他十分爱护和关怀她,令她对他产生倾慕。由于种种原因,靓妹仔和她的3个同学慢慢步向堕落,结果4人都有不同的收场:一个变成瘾君子;一个因失恋而向杀;一个贪玩而引火焚身;最后只剩下她自己一个人,整日只是和其他舞女争风吃醋。后来她虽与久别的男人重逢,但这也是他们永别的时候.
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七号房的礼物2
2024 0.0分 剧情片
Two years have passed, and Kartika lives with Hendro and Linda. However, when Hendro agrees to adopt Kartika, the Social Service prevents it. The inmates in cell no. 7 and Hendro decide to fight for ..
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失忆杀人
2025 0.0分 剧情片
曾在东京郊外派出所任职的佐治英雄(小林薰饰)于十年前退休,如今依旧居住在同一街区。有一天,一个名为北岭亚弓(尾野真千子饰)的刑警为调查附近发生的杀人案件前来走访佐治。该事件的受害者,曾因对年轻女性进行跟踪骚扰而被佐治逮捕。此人在服刑后,此次又袭击了那名女性并使其受伤。佐治对自己当时未更加留意此事深感懊悔。   在推进事件调查的过程中,北岭偶然发现了让人怀疑佐治是犯人的物证,对看似正直的他是否为犯..
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《盲目的丈夫们》剧情介绍

影视大全提供影视作品盲目的丈夫们高清全集在线观看的影视全集网,剧情片《盲目的丈夫们》全集作品的导演是埃里克·冯·施特罗海姆   ,由萨姆·德·格拉斯  Francelia  Billington  埃里克·冯·施特罗海姆  Fay  Holderness  Richard  Cumming  主演,盲目的丈夫们在豆瓣的评分为0.0,本片由小编于2024-04-11 04:46更新,希望大家喜欢,可以把《盲目的丈夫们》推荐给你朋友,本作品的地址为 https://yuliansteel.com/movie/index36342.html

《盲目的丈夫们》简介:Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version  The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski)  From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.

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