法外风云粤语
地区:意大利
  类型:华语
  时间:2025-11-01 11:25:00
剧情简介

简介:法外风刁手阿福(王道饰)是镖局的镖师,法外风一次走镖途中,与总镖头联手将劫匪击毙。但劫匪的哥哥是个螳螂拳高手,前来找他们复仇。结果镖局被踢,总镖头被杀,阿福流落江湖,吃劲苦头。最后,在一高人指点下,苦练功夫,终于报仇成功。振北鏢局的副總鏢頭阿福(王道)因緣際會認識扒手李奇(李昆),兩人相約到四海武館做拳靶子賺錢。某日,虎豹山莊莊主康奎(陳星)硬逼四海武館館主路正川(謝興)將妹妹路雲蘭(夏玲玲)嫁給其弟(翁小虎),並揚言若不答應,便毀掉他們的武館,雙方大打出手,路正川因此被打成重傷,路雲蘭氣得直闖虎豹山莊討公道,阿福尾隨而至,並使出蛇形刁手打敗康奎。為了感謝阿福傾力相助,路正川聘請阿福當教頭,教授拳法,還欲將雲蘭許配給他,阿福原本不同意,但在重重壓力下,最後還是答應了婚事。結婚當晚,康奎派其弟與南宮平(龍飛)上門找阿福報仇,雙方人馬在四海武館展開激鬥,路正川捨己救人,慘死於南宮平手裡。為了替路正川復仇,阿福日夜苦練,帶著十足把握與南宮平相約萬山岩較勁。阿福的蛇形刁手對上南宮平的螳螂拳,雙方難分高下,多虧李奇和雲蘭趕來相助,阿福才得以擊敗南宮平,替路正川報仇雪恨导演:张信义制作人:周福良 程兰荣 吴协建 许德宏原创音乐:周福良摄影:陈喜乐剪辑:蒋国权 黄秋贵服装设计:黄荣动作指导:柯受良 赵中兴录音:邝燕副导演/助理导演:王重光出品:东亚(香港)影业公司协利电影(香港)有限公司演员:夏玲玲王道黄家达陈星李昆龙飞谢兴徐忠信翁小虎张纪平马金谷闵敏齐后强荆国忠张宗贵赵中兴

1995次播放
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明星主演
唐峻洋
童芷苓
常宽
最新评论(514+)

夏绿蒂

发表于6分钟前

回复 :该片由最高人民法院影视中心、联播聚客(北京)国际传媒有限公司联合出品,山东省青岛市中级人民法院、青岛市即墨区人民法院联合摄制。影片通过讲述一个“拒不执行法院判决、裁定罪”的司法案例,刻画了失信被执行人在社会上遭遇的种种歧视与窘境,展现了各级人民法院开展执行攻坚的坚定决心,记录了法治中国建设的进步历程。


刘汉乐

发表于4分钟前

回复 :1949年1月,中国人民解放军将国民党 50 万军队围困于平津地区,总攻在即。是否能和平解放北平,取决于天津一战。此时的天津城内,暗堡、工事林立,士兵荷枪实弹进入状态,大战前的天津城已是一座炼狱。为了总攻的发动扫平道路,解放军炮兵侦察连连长蔡兴福、侦察兵马宝树、报务员廖枫、炮兵见习参谋葛贵忱四人临危受命,组成解放炮兵侦察别动队,乔装潜入天津城。此时,负责转移北平守军眷属的国军军需官姚哲在宪兵营长钱卓群的暗算下成为通缉犯,带女儿出逃时恰好与进城的蔡兴福一行人相遇,蔡兴福挟持姚哲欲完成任务。随着目标任务的逐步明晰,姚哲被暗算背后的秘密、钱卓群企图破坏北平和谈的阴谋、蔡兴福失踪儿子的下落都渐渐浮现出来……


郑筱蓉

发表于8分钟前

回复 :The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography.The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic.Gila Almagor in Tofano's "siege" is one of the first characters of the "modern" war widows to appear on Israeli cinema screens.The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film.It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief."Siege" was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas.Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film.This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.


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