黑道兄妹，原创赌命赌狠、原创拼死找你算帐！！程丽莺是同心帮老大程至高的独生女儿，狂傲有野心，有心继承同心帮老大之宝座，她先与同心帮最有实力的李正一，通奸在前，再与老大最赏识的吴荣华热恋在后。李正一为情而拼斗吴荣华，使老大程至高深感失望，李正一接受惩处。吴荣华却认为黑道险恶，用利刃挑断脚筋，使自己成为跛脚残缺人，脱离同心帮。程至高不齿丽莺之行为，气怒攻心，不幸逝世。丽莺成为财产之继承人。但同心帮来打之宝座遭受到李正一争夺。她与他依照帮规“赌狠赌命”。可是比是殴斗，丽莺决不是李正一之对手。她提出以自己的丈夫为代表人
回复 :该片讲述了一位住在淮河岸边淮水县沈家大院的一位普通老人梁大爷，他以挑卖淮河水为生，一生勤劳节俭、任劳任怨。当抗美援朝战争刚刚打响，为了保家卫国，他就主动把自己唯一的儿子送上了前线。抗美援朝战争取得了胜利，沈家大院的邻居们在得知梁大爷儿子牺牲的消息时，朴实的邻居隐瞒了实情，她们团结协作共同帮助梁大爷一家。终于有一天梁大爷在民政局知道了儿子牺牲的消息。他把真情埋藏在心里，并主动承担了给部分在朝牺牲的烈属和大杂院的孤独老人免费送水。年复一年，大院的邻居从没有人提起梁大爷儿子的事。这个靠淮河水长大的老人，以他顽强的意志和感人的善举，诠释着淮水人的优良品质!传递着淮水人的不朽精神!
回复 :Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
回复 :一次偶然中，艾迪特（沙希德·卡泼尔 Shahid Kapoor 饰）在火车上遇见了名为吉特（卡琳娜·卡普 Kareena Kapoor 饰）的女子，通过交谈，艾迪特得知吉特有一个相恋已久的男友安舒曼（Tarun Arora 饰），于是帮助吉特离家出走，去和安舒曼双宿双飞，而自己也回到了家中，承担起了家族企业那沉重的负担。时间流逝，艾迪特的心中一直没有忘却勇敢坚强的吉特。直到吉特的家人找到艾迪特之时，他才知道，吉特并没有能够和安舒曼在一起，他去找安舒曼，却发现此人是一个薄情寡义的混蛋，他对吉特避而不见，无处可去的吉特只能暂时在修道院中寄宿。艾迪特找到了吉特，说服她回到家人身边，然而，就在吉特答应之时，安舒曼却改变了态度，忽然出现在了吉特的眼前。
