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青草影视

我来自广州粤语
香港粤语1998
  围绕广州名茶楼之一的天然居少东周敬文(陈庭威 饰),邂逅在天然居卖唱的歌女(王馨平 饰),在街上认识刚从顺德农村来穗工作的陈炳(欧锦棠 饰),此君生性行侠仗义,并在天然居内工作,与男扮女装的天然居侍应李阿弟(文颂娴 饰)结为兄弟。周敬文一次北上韶关,却在铁路上遇上山贼(李树楷 饰),但同班列车却有当时广东军阀冯某之子(袁文杰 饰),广州当局因而很快剿灭该党山贼,而周冯则结为好兄弟。冯军阀的副官程忠(刘锡贤 饰)乃系广州大奸大恶之徒,陈炳得罪程某,因而被他诬为山贼同党,与李树楷等山贼一同被处决,后得冯少帅所救,而程忠则怀恨在心。却遭逢日本侵华,程忠勾结日伪,成为汉奸,将军阀冯某杀死,冯少帅因而改旗易帜,效忠重庆政府,此时敬文幼弟敬业(杜汶泽 饰)在损友唆使下,促长兄分家,天然居因而易手,而天然居内诸人均各散东西。广州沦陷,周敬文却挆降日本,成为广州伪政府维持会成员,但暗里却是从事救助广州同胞,天然居易手后北上从军的陈炳、冯少帅等人,均欲暗杀周敬文,后来真相大白,心结解除。而周敬文则在广州城内开办“天然豆品居”,制作豆品解救同胞之脚气病。

青草影视

我来自广州国语
香港国语1998
  围绕广州名茶楼之一的天然居少东周敬文(陈庭威 饰),邂逅在天然居卖唱的歌女(王馨平 饰),在街上认识刚从顺德农村来穗工作的陈炳(欧锦棠 饰),此君生性行侠仗义,并在天然居内工作,与男扮女装的天然居侍应李阿弟(文颂娴 饰)结为兄弟。周敬文一次北上韶关,却在铁路上遇上山贼(李树楷 饰),但同班列车却有当时广东军阀冯某之子(袁文杰 饰),广州当局因而很快剿灭该党山贼,而周冯则结为好兄弟。冯军阀的副官程忠(刘锡贤 饰)乃系广州大奸大恶之徒,陈炳得罪程某,因而被他诬为山贼同党,与李树楷等山贼一同被处决,后得冯少帅所救,而程忠则怀恨在心。却遭逢日本侵华,程忠勾结日伪,成为汉奸,将军阀冯某杀死,冯少帅因而改旗易帜,效忠重庆政府,此时敬文幼弟敬业(杜汶泽 饰)在损友唆使下,促长兄分家,天然居因而易手,而天然居内诸人均各散东西。广州沦陷,周敬文却挆降日本,成为广州伪政府维持会成员,但暗里却是从事救助广州同胞,天然居易手后北上从军的陈炳、冯少帅等人,均欲暗杀周敬文,后来真相大白,心结解除。而周敬文则在广州城内开办“天然豆品居”,制作豆品解救同胞之脚气病。

青草影视

芳心封鎖
其它其它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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