息をもつかせ(😨)ぬギャンブル＆セクシ(🚒)ー・アクション(✡)！

The third film that Naruse made in 1950, White Beast (Shiroi yaji, 1950), was described by Kinema Junpo critic Tsumura Hideo three years later as "so indescribably miserable as to haunt me even today." Tsumura represents the bulk of Japanese critics of the time, who felt that Naruse experienced a terrible slump throughout the 1940s and this film seemed to be the "bottom of the ocean." The critical establishment was clearly not prepared to accept a woman's prison film featuring former prostitutes recovering from venereal diseases, unwanted pregnancies, and estranged lovers. With its catfights, hysterical tantrums, film noir lighting, and dramatic music, White Beast is indicative of the new influences of the Hollywood psychological thriller on Naruse. Caged (John Cromwell, 1950) initiated a cycle of women's prison movies in the United States that may or may not have been shown in Japan, but the stylistics of White Beast draw on the same paranoid woman's films and film noir conventions that preceded the American cycle.

本片係根(🐫)據台大男學生在萬華撿到一個包袱，進而被迫「冥婚」的社會事件改編而成。也是七０年代「(🎖)台灣鬼片之王」姚鳳磐在連續幾部古裝鬼片賣座後，第一部時裝鬼片，不僅奠定日後國片時裝女鬼長髮(😣)白袍的標準扮像，更捧紅了剛加入(rù )影壇不久的(🐙)王釧如，成為台灣第一鬼后。據聞當年本片轟動到(⬆)一票難求，造成(chéng )黃牛鬧事，警察開搶卻誤...

武兰自小跟着母亲武菊走南闯北(👶)的挑战各个搏击擂台，这是她们营生的技能(néng )，在擂台上打败对手，赢取丰厚的奖金维持生活。直至在泰国的一场地(dì )下拳赛(sài )中(🦆)碰上了一(yī(👛) )名日本格斗高(gāo )手－二阶堂优。相依为命的母女好(🐫)日子到了尽头，武菊本来与二阶堂势(shì )均力敌，可(🍅)是在裁判(pàn )王军在有意无意的帮忙下，武菊受到不公平的(😎)对待，被二阶堂优以犯规的手法连番重击，倒在擂台上，伤重死亡。年幼的武兰心知不妙，奔上台上抱着已无息渐弱的(📻)母亲，大哭起(qǐ )来却无能为力。小武兰(🈴)咬牙切齿地看着趾高气扬的二(🌰)阶堂(📋)优，并扬言一定会替妈妈(mā )报仇。

从西(xī )安到乌鲁木齐，途径兰州、嘉峪关、敦煌、吐鲁(🍝)番。沿着(zhe )古代的(de )丝绸之路(lù )，乘(🌾)着列车，横跨在这2600公里的中国大地上，由旅人速水重道带领我们去追寻那远古的繁荣。从干燥(⏰)的沙漠地带(♑)(dài )，到零下(xià )15度严寒的山(🚝)脉；从人口密集的大都市到雪(🍭)山深处的游牧民族；从兰州拉面(miàn )到羊头肉。列车行驶在中国大陆上，周围的(✉)风景不停变换。...

从粮食堆里伸出一双异(yì )常苍白的手，忽然抓住他的(de )脚。

他扣着她(🐞)(tā )的肩膀，哑(yǎ )着(zhe )声(🧘)道：我只是，先(👩)取一点利息。

张玉敏被张婆子这样一说，是彻(chè )底后悔了自己答应梨花的事儿，这个时候她的(de )心中已经没(méi )有了那洋洋得意的感觉，反而有了十二分的(de )防备。

韩雪和莫坐(🐈)在(zài )电话亭(🕺)里，另(🏾)外两只本(běn )想跟(gēn )着(🏦)进来，被莫两脚(😱)踢出去了。