大(dà )刀王五（陈观泰 饰）本为北京城内豪杰，经营(yíng )镖局为(wéi )生(🚨)(shēng )，侠(xiá(💾) )名(míng )远(🥗)播。贩夫(⤵)走卒、(🏴)陌路好汉，遇事喊一声五爷，则王(wáng )五必出(chū )面(miàn )维护(hù )。湖北巡(xún )抚(🎆)之子谭(🔞)嗣同（(🍊)岳华 饰(📛)）入京(🙊)参议新政，慕王(wáng )五侠义(yì )之(zhī )名，有(yǒu )心结识(shí )。是日王五相会情人(🈶)金菊花(🕉)（贝蒂(🍉) 饰）时(🔍)遭仇(chó(🐧)u )人拦截(jié )，谭嗣(sì )同(tóng )仗义助(zhù )拳，二(èr )人相谈甚欢，结为豪气干云的异姓兄(😑)弟。 导演(👜)(yǎn )：傅(🐙)清(qīng )华(🐬)(huá ) 影片(🎍)(piàn )以(yǐ )睡梦的(de )方式展开故事情节。伊丽莎白守候在即将咽气(qì )的丈(🔆)夫(fū )身(🏑)(shēn )边，在(🏔)(zài )疲倦(🐚)中(zhōng )的(🍛)梦回到了过去：在母亲的做主下，年轻美丽(lì )的伊丽(lì )莎(shā )白嫁(jià(🏫) )给(gěi )了(⏭)卡穆(mù(💒) )拉斯卡(🏫)的庄园(💼)主、花花公子安托万·塔西。新(xīn )鲜劲过(guò )去后，安(ān )托万很(hěn )快就(🉑)对(duì )伊(🥌)丽莎白(🏻)产生了(🚗)厌倦，自(❎)己去花(🧐)天酒地。痛苦(kǔ )的伊丽(lì )莎(shā )白生(shēng )下(xià )了第一(yī )个孩子，回到母亲(㊗)家，但安(🕓)托万常(🗣)上门纠(👪)缠。为伊(⤴)丽(lì )莎(shā )白看(kàn )病(bìng )的大夫(fū )纳尔逊是个美国人，他们相爱了，之后(🗳)，伊丽(lì(🖨) )莎白怀(🎙)(huái )上(shà(🎽)ng )了纳(nà(🐝) )尔(ěr )逊的孩(hái )子。安(ān )托万听说后怀恨在心，扬言说要将儿子(zǐ )从伊(🐸)丽(lì )莎(🔏)白身(shē(🧟)n )边(biān )夺(🌃)走，还要(🏸)告(gào )伊(🚦)丽莎白犯有通奸罪。伊丽莎白的女仆试图将(jiāng )安托万(wàn )毒(dú )死，但(dà(💙)n )没有成(🛡)(chéng )功，于(🛁)是对安(👭)托万怀(🏨)着刻骨仇恨的纳尔逊亲自(zì )杀了这(zhè )个(gè )禽兽(shòu )，而后逃(táo )到美国(🐌)，伊丽莎(🔲)白却因(👈)蓄谋杀(📬)人罪进(💗)了监狱，身败名(míng )裂(liè )。出(chū )狱(yù )后，在(zài )得不到(dào )纳尔逊消息的情况(🕤)下，她同(🏝)现在的(❣)丈夫(fū(📗) )热罗姆(🐢)(mǔ )结了(🕕)婚(hūn )……伊丽(lì )莎白从(cóng )梦中醒来，现在，热罗姆也即将死去，她将只(👒)(zhī )身一(🦎)人(rén )。想(🗒)起(qǐ )渺(🐕)(miǎo )茫的(🐧)前(qián )途，她辛酸无比。 ★1973 電影旬報年度十大第七位(wèi ) 具争议(yì )性(xìng )和(🌭)开(kāi )创(🚩)(chuàng )性的(🚻)喜(xǐ )剧(🛄)演员伦(🍇)尼布鲁斯的传记电影，全片追溯伦尼(ní )布鲁斯(sī )反(fǎn )政府(fǔ )的(de )政治(⛓)观(guān )点(🎓)。全(quán )片(🏬)以倒叙(🍭)的手法(🍓)，分别从(🦂)母亲、妻子和(hé )经纪人(rén )的角度(dù )出(chū )发讲叙(xù )了喜剧(jù )演员伦(🆔)尼布鲁(🥓)斯的一(🗄)生。 1972年完(🌫)成的《守(🦍)节》以(yǐ )汉四郡(jun4 )时(shí )代的(de )战(zhàn )争时期(qī )为社会大背景，描写一对等待(🍫)从军丈(🌼)夫归来(🔳)的(de )母女(🕑)惨(cǎn )遭(👭)(zāo )轮奸(jiān )的(de )不幸故(gù )事。由于影片强烈的社会批判色彩，送审后不(bú(🕸) )得不减(🏔)(jiǎn )去(qù(🎿) )了近(jì(⛷)n )20分(fèn )钟(⚫)的段(duàn )落。 Two children go behind the scenes of a small circus. just viewed this movie and decided to take the time to make some comments since no one else has.overall I give the movie a 7,the score would be higher if there were less blood and more clothes on the females.Deserves an R rating.In the 1960's and 70's I spent many hours being entertained by dubbed movies,this one is dubbed so it is to my liking.What I like about it in no certain order is as follows:The movie is about the mafia...it's made by Italians,has alot of Italian actors...it seems fitting.Set in the early 1900's in America it has a dark look and mood...great atmosphere.I believe the character lionel stander plays is the same one ernest borgnine had in the movie "pay or die" that of an Italian on the police force combating the mafia,based on a real person.His character gives a sense of realism to the movie and made me wonder if the movie was based some on fact.The little I know about the real person is similar to the character in the movie.In the past I havn't seen much of Lionel stander in the movies but his performance as a tough cop is very good.He is not the main character though,a young man(placido ?)is,he plays a young immigrant that is a victim of circumstance.He is a just person that kills an expendable gangster in the heat of a fight,the victim had previously killed an elderly friend of his.He gets employment from the mob being unaware of the serious unlawful part he has in one of their cold blooded operations...he is a tragic figure.Other viewers might feel this movie is just another low budget poorly dubbed movie.The film left me with the feeling it may have been based more on fact than much more expensively made films about organized crime.It also left me wondering if the young main character was based on a real person-I liked the movie. Teresa Numa in Nardecchia, an orphan of a mother and daughter of a peasant and heartless Lazio peasant, then a war widow and a mother constantly looking for new jobs, she is often forced to steal in order to live. Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it.