封神:妲己搜索结果

纤纤影院

封神榜2000
中国台湾台语2000
哪吒前世乃仙童火德星君,其師雲中子神機妙算,預知星君將逢厄劫,特賜予神物混天綾、乾坤圈以擋災厄。果然,商朝四大名將之一李靖,為取鹿茸替帝乙治病,前來獵鹿,誤將星君射傷,星君墮崖重傷不治,群鹿哀號。此時靖妻殷十娘懷胎三年零六個月,臨盆在即,殷十娘終於誕下孩兒,靖滿心歡喜之際,卻赫見十娘誕下的竟是一個肉球,靖斷定此乃妖孽降世,揮劍將肉球劈開,但躍出來的竟是一個二歲小孩哪吃。哪吒童言無忌,經常口不擇言,令靖窘迫出醜,靖對哪吒成見更深,欲要除之,十娘護子心切,決定將哪吒送予女媧廟撫養。哪吒初嚐孤獨滋味,開始體諒為人父母之難處,靖被哪吒誠意打動,將哪吒接回家同住。好景不常,帝乙彌留之際,夢中見靖子哪吒滅商殺紂,懇求靖殺子以示忠貞,靖最後為報帝乙救命之恩,最後決定將哪吒放遂兇險非常的飛虎澗,聽天由命。幸好哪吒命不絕,為四大天王之一黃飛虎所救,虎膝下無兒,視哪吒為己出,百般寵愛在一身,養成日後嬌縱任性的性格。及後,哪吒認識了另一伐紂大將楊戩及其妹楊蓮花,虎獨女黃顏更對戩愛護有加,二人情愫暗生。另外戩好友孫有義性格古惑多計,時常找戩著數,而蓮花常被哪吒整古戲弄,蓮花不期然對哪吒漸生情愫。這時紂王登位,終日沉溺酒色,荒廢朝政,在奸臣鄧九公唆擺下四出搜獵美女,荒淫無道,更為一睹美女柳琵琶及妲己,竟派靖出兵活捉二人。轉眼十數年,哪吒長大成人,在黃飛虎過份的溺愛呵護下,終日撩事生非,有次更死嚷著要向李靖借取鎮天箭,藉此捕捉到入夜方幻變成雷鳥的雷震子,其後又與龍王三太子結下恩怨,後來誤打誤撞下打敗東海巨人,建功立業,十多歲就為紂王封帥,軍職更在父親李靖之上。豈料,哪吒多次闖禍,十娘雖暗中為他化解,但哪吒不知悔改,誤殺龍王三太子,闖下彌天大禍,最後哪吒為免連累靖與十娘,毅然削骨還父,削肉還母,化成遊魂野鬼。後來,幸得好友蓮花相助,犧牲自己,令哪吒死而復生變成蓮藕人。哪吒成為蓮藕人後沮喪不已,一蹶不振,幸得雷震子、殷十娘鼓勵,重新做人,得知西歧怪鳥為患,聯手滅之。哪吒更竟因禍得福,吃下啖神鳥之血而再生骨肉,法術大進,因禍得福!後來姜子牙在渭水直勾釣魚,說服文王起兵伐紂,姜更領導哪吒、雷震子、楊戩、土行孫助武王伐紂。紂王驚惶不已,豈料妲己遂施苦肉計,命令靖上陣與子對敵,靖雖心有不忍,惟君命如山,不得有違,遂帶兵上陣,與哪吒自相殘殺。

纤纤影院

芳心封鎖
以色列希伯来语1969
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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