《洞房初夜》是齐皓执导，天堂黄膺勋、天堂王翔等主演的伦理剧情片。影片讲述了新婚夫妇惠姑和杨红玉洞房之夜发生的故事。嫁入同村杨家为媳，阳村的惠姑是远近闻名的美人。新郎官杨红玉也是一表人材，郎才女貌堪为天作之合。这天正是新婚之夜，惠姑忐忑中期待着洞房的来临。房门外，荷花嫂对新郎面授机宜，吩咐新郎官要温柔节制。房里，新郎官熄掉蜡烛，两人抱在一起…奇怪的第二天早晨，新郎官不见了新娘子却死在床上。因为天气炎热，担心尸体腐坏，杨家将惠姑草草埋葬。惠姑的娘家觉得事有蹊跷，将杨家告到官府。官府开馆验尸，却发现棺材里是一个老人的尸体。杨父被打入死牢。话说新郎杨红玉夜晚出走后，来到一个漂亮寡妇之家，被寡妇用药蒙倒然后迷奸，后来他用计逃脱，前去探望父亲，也被关入牢房…洞房之夜究竟发生了何事…原来洞房当晚，两位新人在床上打闹嬉戏。新郎无意间点中新娘的穴位，使新娘休克，新郎误以为新...
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回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
回复 :Sin and Illy have a plan on a Greek island they want to get 'clean' on their own. But the intention of the two girls fails already on the way to the airport. Finally Sin realizes she has to go the way out of heroin addiction all alone.
回复 :讲述了男主人公在女鬼们的帮助下实现初恋的故事
