宋思(🎷)(sī(🔰) )清病(🎫)殁(🎮)后，妻(qī(📰) )朱丽玉心如(rú )止水，儿子的老师罗勉欧令(🀄)她重(chó(🕒)ng )新(🧔)焕发(🧦)(fā(⏸) )生气(qì )。家翁(wēng )迫玉领贞节牌(pái )坊，玉抑愤(👉)(fèn )难纾(🍚)，终(🔱)一病(📭)不(🖍)起(qǐ )。 The alcoholic owners of Dreamytime Escorts are approached by hit-man Mr Jolly,to 'take out' radio quiz host Nicholas Parsons. Parsons is due to open an off-licence owned by Heimie Henderson but Henderson has fallen foul of gangster Lovebucket who hopes to stop the opening by killing the star. The two escorts misinterpret the instruction to kill Mr Parsons and,instead,take him out for a night of drinking,using the blood money they were given. Next day,having failed in their task, they are forced to admit their mistake to Mr Jolly. Written by don @ minifie-1 金融业才俊(jun4 )丹尼（白梓(zǐ )轩 饰）在(🦊)香港偶(😬)然(🤚)遇见(♎)了(🥥)游泳教(jiāo )练观奇(qí )（彭(péng )冠期 饰(shì )），他(😨)们一个(🎴)事(🚯)业成(🏜)功(👣)，是国际(jì )公司的中坚(jiān )，坚信自己的(de )取向；另一(👳)(yī(🔈) )个为(🐉)生(➿)(shēng )病的(🚠)母亲时(shí )时担忧，为了(le )赚钱只得多(duō )份兼(🤰)职(zhí )奔(🥟)忙(⛰)，从裸(🔠)体(⚪)模特到送货(huò )样样做(zuò )得……在两(liǎng )人(💡)相遇的(🥂)时(📴)候(hò(🌌)u )，观(🚿)奇与自(zì )己女友(yǒu )的关系正走(zǒu )到了尽(🕤)头，丹(dā(💶)n )尼(🔵)慢慢(🥏)介(🐪)入(rù ) 了观奇(qí )的生活，他(tā )们一同出游，分享技能(👏)与(🥛)(yǔ )记(💬)忆(💊)，但丹尼尝试阐明自己的爱(ài )意之时(shí )，却被观奇(💰)(qí(🥘) )谨慎(🕗)的(📶)回绝了(🍽)(le )……观奇自(zì )己一段(duàn )悲惨的遭遇(yù )所(🚔)折磨，痛(✔)苦(👠)(kǔ )的(👮)记(⛴)忆横亘(gèn )在他和(hé )丹尼的关系之间，丹尼(🏗)未(wèi )有(🎞)放(🙅)弃(qì(♈) )，他(🦇)(tā )引导着(zhe )观奇，指着建设中的跨海(hǎi )大桥(🍻)声(shēng )称(🧤)“如(🍁)果大(🍯)(dà(🔆) )桥联通，就是(shì )你能接受我(wǒ )的时刻(kè )”…… Considering all the critical attention Howard Hawks has received over the years it's rather surprising that this film, the sixth he directed, is so little known. Admittedly, FAZIL is not at all typical of Hawks' work and lacks most of his recognizable directorial motifs, and on top of that features stars whose names only buffs will recognize, but it's a beautifully filmed, sumptuously mounted late silent drama that's worth seeing for its production values alone. For viewers of our era the most striking aspect of the film is that its story is based on a culture clash of West vs. East, specifically, the difficulties that arise when a European (presumably secular) woman who prides herself on being "free" and modern marries an Arab man who follows the old ways and is a devout Muslim. This material lies in a danger zone that Hollywood has rarely ventured into, even in recent years, and while to our eyes FAZIL is quite dated and very much a product of its time in its depiction of Arabic culture, it's nonetheless surprisingly even-handed in presenting both sides of the case in a painful divide that, needless to say, is still with us. A group of young mutants--humans with a genetic variation that gives them superpowers and makes them feared by the population at large--begin training at a school for heroes. Their studies are interrupted when they must rescue one of their number from a mad scientist who can enter others' dreams. Paul Martin (Kier) is a paranoid novelist who rents out a secluded cottage in the British countryside in order to complete his new book, a pretentious sex romp. He has split with his girlfriend Suzanne (Richmond) and is having problems writing his book. To do the typing for him, he employs a secretary, Linda Hindstatt (Hayden), whom he meets at the railway station. A couple of youths at the railway station intimidate Linda, prompting Paul to give them a battering. Afterwards, Linda takes a walk in a field where she is raped by the youths. As a result, she shoots them both dead. Meanwhile, Paul keeps having nightmares and all his advances on Linda are rejected. He gets Suzanne to come back and she begins having sex with Linda. Paul then crashes into a river, while Suzanne is murdered in the bathtub and everything erupts into a pandemonium of violence. Considering all the critical attention Howard Hawks has received over the years it's rather surprising that this film, the sixth he directed, is so little known. Admittedly, FAZIL is not at all typical of Hawks' work and lacks most of his recognizable directorial motifs, and on top of that features stars whose names only buffs will recognize, but it's a beautifully filmed, sumptuously mounted late silent drama that's worth seeing for its production values alone. For viewers of our era the most striking aspect of the film is that its story is based on a culture clash of West vs. East, specifically, the difficulties that arise when a European (presumably secular) woman who prides herself on being "free" and modern marries an Arab man who follows the old ways and is a devout Muslim. This material lies in a danger zone that Hollywood has rarely ventured into, even in recent years, and while to our eyes FAZIL is quite dated and very much a product of its time in its depiction of Arabic culture, it's nonetheless surprisingly even-handed in presenting both sides of the case in a painful divide that, needless to say, is still with us.