搜索"1980" ，找到 部影视作品
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A vicious alligator named Ramon, who was flushed into the city sewer as a baby, survives to become a 32-foot-long menace who devours animals and people alike. Ramon's so huge because of the steady diet of dead pets - treated with growth hormones - that he's fed on for 12 years. Now the tremendous brute is angry and looking for revenge. Only detective David Madison knows of Ramon's existence, and it is his task to prove to the rest of the city that a tropical beast lives in their midst. Veteran screenwriter Sayles' script finds the perfect blend of comedy and horror, making this an entertaining romp through the sewers of Chicago.
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In this futuristic sci-fi film, based on the legends of the Golem, insane scientists have invented technology that give them total control over the half-human, half-android population of Earth. Trouble ensues when one of the creatures begins showing independent will. He must be destroyed lest he influence the rest. They pursue him, but somehow he continues to elude the evil doctors. ~ Sandra Brennan, All Movie Guide
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抢孤是一种庙会活动。通常在每年的夏季举行。台湾部分民间在中元节普渡后，会将祭祀的供品提供民众抢夺，称为「抢孤」。一种说法是为了与孤魂野鬼抢夺祭品，另一种说法是为了吓退流连忘返的鬼魂。案例“抢孤”在我国的一些重要的传统节日中也得到广泛的运用。如中国的“盂兰盆节”又称“中元节 拳师苏望达受日本人佐佐木指示，开设抢孤大会，受到阿善师等爱国人士强烈抵制，阿不幸死在苏手中，其徒弟连与何及西罗七剑等人最终没让佐与苏等人的阴谋得逞，捍卫了自己的民族尊严，打败了苏，佐也战败自尽。 “抢孤”是台湾的一项祭祀亡灵的活动！后来成为权势者铲除异己的工具……本片由 张人杰执导，龙天翔、云中岳、董力主演！
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陈云轩（李维新 饰）和女儿陈秀娟（刘冬 饰）来到台湾，两人没有一天不想念生活在大陆的亲人们。一日，陈秀娟随生物考察船出海，竟然遇到了海盗，宁死不屈的陈秀娟选择了跳海保身，之后得到了名叫方杰（徐敏 饰）的男子的救助，才免于一死。两个人漂流到了一座小岛上，在那里安顿了下来，等待救援。 某日，秀娟看到头顶有飞机飞过，而飞机上硕大的“八一”标识让秀娟放弃了求救，因为她舍不得孤身一人留在台湾的父亲。在岛上滞留期间，陈秀娟和方杰之间渐渐产生了真挚的感情，方杰解开了陈秀娟对于大陆生活的诸多误会。最终，陈秀娟跟随方杰返回了大陆，并且见到了自己阔别数十年的母亲和弟弟。
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电影剧情： 少女张碧玉十七岁，生于小康之家，生活无忧无缺。张父忙于赚钱，张母则沉迷打麻雀，小弟年纪又小，碧玉心事无人可诉，苦闷非常。碧玉看见学校里许多同学都一双一对，羡慕不已。 虽然也有一两个同学追求她，但她的一颗芳心却落在李晚成老师身上。碧玉不但借辞请老师补课，还请他老师参加音乐会。她得不到父母的关心，暗恋李老师又遭拒绝。遂贸然接受花花公子何少青的追求，险告失身。碧玉羞愤自杀，幸获救，并获双亲、师长谅解，重过新生活。 外文名：Sweet seventeen 出品时间：1954年 出品公司：自由影业公司 发行公司：自由影业公司 摄制公司：华达片场 制片地区：中国香港 类 型：剧情 片 长：108分钟 上映时间：1954年07月16日 对白语言：国语 色 彩：黑白 职员表： 监制：黄卓汉；袁德甫 导演：秦剑 编剧：莫康时 摄影：王剑寒 剪辑：潘照；梁恭 灯光：梁炳 录音：谭宏远 剧务：陈英杰 场记：赵伯川 布景师：包天鸣 制片：潘炳权 音乐：叶纯之 场务：王海涛 化妆：方圆 洗印：樊家根 演员表： 角色 演员 备注 张碧玉 林翠---- 李晚成黄河---- 张伯年石磊---- 王妈马笑侬---- 张少帆水维德---- 张太太裘萍---- 朱医生吴景平---- 罗校长陈濠---- 方志雄杨文凯---- 霍锦江陈榴霞 ---- 何美萍童真---- 小萧马力---- 何少青岳麟---- 陈汉杨帆---- 蔡淑兰杨雯---- 江小珠丹妮---- 黄云左青---- 方萍伊玲----
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郊外的狗牙山上，高佬、病甩毛（郑则仕 饰）和矮脚虎等五个游手好闲的流氓终日偷鸡摸狗，好不逍遥得意。近来天气晴好，阿华与阿玲（庄静而 饰）兄妹唤上三名青春朋友，一同去狗牙山露营，在露营地，阿玲被矮脚虎一伙撞见，后者遂其歹意，但碍于阿华在场不能得逞。但不该发生的事情还是发生了，阿玲在河边遭矮脚虎等人强暴，阿华操起斧头追凶，却惨遭流氓们算计，惨死山中。虽有当地村长包庇，但这伙流氓仍被警方拘捕，可阿玲受辱后精神错乱，已没有指认罪犯的能力，于是恶徒得以逍遥法外，出面作证的村民也遭到毒打。此时家中的玲父为一双子女的遭遇痛彻心扉，决定要靠自己的双手惩治凶手！
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A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art. Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.