迅雷区 无码区 亚洲区
地区:内地
  类型:二战
  时间:2025-01-18 13:13:20
剧情简介

乾隆中期,迅雷大清河发大水,迅雷胜芳县令李满仓趁机贪污腐败,致使灾情愈加严重。为查看民情,乾隆皇帝带公主及贴身侍卫,微服巡游散州(今霸州)境内号称“胜水荷芳”的胜芳。不料,这一消息被反清复明组织天地会和痛恨清政府剿灭政策的东夷倭寇截获。一场惊天的刺杀阴谋拉开了序幕……乾隆等人入住胜芳和香斋客栈当夜,遭到薛树英的师兄、天地会香主江世成刺杀。薛树英念及旧情,也为了感化他,放了江世成。归来途中,薛树英从“仁义大盗”独行侠手中,得到文安县令李满仓贪污的账簿,而且得知山口太郎带了三百武士前来刺杀乾隆。乾隆不顾薛树英劝告,执意要前往衙门严惩李满仓。未知,李满仓已与日本倭寇勾结一起,张开一张大网,等待着乾隆等人来投。前礼部尚书左侍郎之子——左匡为父报仇,也循迹而来刺杀乾隆,结果被擒。但他也从乾隆口中得知,父亲是由于抗倭,遭到奸臣陷害所杀。左匡陷入了茫然中,并与独行侠意外相识。在独行侠的劝说下,做了乾隆的卫士。因为天灾人祸,一些河南、山东灾民逃到胜芳,胜芳名医吴道春,用祖传秘方免费救助了不少灾民,李满仓为得到药方,以莫须有的罪行强行封掉吴道春的药铺,并买凶欲杀此名医抢得药方。凶手在行凶之时恰被薛树英所遇,薛树英为救名医,遭杀手偷袭。吴道春之女吴春子感激薛树英,二人顿生情愫。山口太郎为了增强刺杀乾隆的实力,欲与天地会达成同盟,遭到了江世成的严词拒绝。于是,山口太郎用金钱厚禄收买了杨副香主,杨副香主指引日本武士,杀害了江世成的妻子,企图嫁祸薛树英,不料,薛树英反而帮助江世成认清了杨副香主的真面目。为保全自己,杨副香主污蔑江世成为背叛天地会的罪人,传令“凡有遇见江世成,格杀勿论”。乾隆前往衙门惩治李满仓,果然中了山口太郎的埋伏。还好,薛树英事先做了防范,才使得乾隆等人得以逃脱。刺杀乾隆行动失败,山口太郎大怒,派出女儿山口惠子、扳本龙一等武士,全城搜捕乾隆。天地会众人,在杨副香主的蒙蔽下,也配合行动。一场大规模的围杀开始了……乾隆听从薛树英的建议,藏身酒店中,不再外出。扳本龙一等人得知消息,率人奔来。早已淡出武林的老板娘,得知情况,奋不顾身,掩护乾隆逃走,力战而死。面对严峻形势,吴春子主动请缨,前往霸州搬救兵。与此同时,薛树英请求早已隐居此地昔日对手萧逸名复出江湖,助一臂之力,遭到拒绝。薛树英迟迟未归,让公主担心不已。乾隆等人,一路慌不择路,逃到一座废弃的寺庙中,山口惠子等人紧跟而至。危急时刻,吴神医挺身而出,假扮乾隆,引开了倭寇,自己也遭到杀害。乾隆逃跑途中,遭遇日本倭寇,伴随的左匡、王副将相继负伤,独行侠和醒悟过来的江世成赶到,无奈,寡不敌众,在杀尽倭寇的同时,左匡、王副将力战而死,江世成也身负重伤,并被尾随而来的杨副香主杀害。乾隆又一次命临危机。这时,幸而薛树英及时到来,带着乾隆和公主来到胜芳武会,求助师父董太师。胜芳武会众武师深明大义,为了国家平安,决心誓死保护乾隆。山口太郎和杨副香主带着剩下的所有精锐,将胜芳武会团团围住。经过一番激烈的搏斗后,就在薛树英即将命丧山口太郎刀下之时,萧逸名出现了,他与薛树英携手剪除了山口太郎等倭寇。为表彰薛树英三次救驾之功和胜芳各武会的爱国之心,乾隆特下圣旨,营建“御前侍卫”府;胜芳武会为皇家会,文官遇之下轿,武 官遇之下马,并御笔题写下“转秋千会”和“跨鼓会”两个会名。

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明星主演
ԬҰ
王壮
苏路
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雨婷

发表于9分钟前

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.


米雪儿

发表于7分钟前

回复 :三年前,林超科在离职时,带走了有生命的机器人TD18。三年后,林超科的女儿林玉,她的玩伴李机在自家的泳池发生了故障。他是机器人!林超科在检查李机芯片时发现了天大的秘密,竟与林玉密切相关!


瑞秋

发表于7分钟前

回复 :正在修学旅行中的高中生大助(神木隆之介 饰),其班级所乘坐的客车不幸遭遇了车祸,全班仅有两人幸免于难。当大助再度睁开眼,眼前所展开的,是生前只在书中见过的,血与火、疼痛与苦难交织的地狱图景,令大助感到心有不甘的是,他竟然是所有遇难者中唯一一个坠入了地狱的人,不仅如此,他依旧惦念着暗恋的女生广美(森川葵 饰),希望知晓她的安危。在地狱里,大助结识了地狱摇滚乐队“地狱图”的恶鬼主唱KillerK(长濑智也 饰),他同时亦是大助所就读的地狱农业高校音乐部的社团顾问。为了帮助KillerK完成生前的心愿,大助决定向几乎不可能完成的任务“天道轮回”发起挑战,这也就意味着,毫无音乐基础的他,必须在激烈的摇滚对决中战胜强大而可怕的对手。


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