剧情(🛺)(qíng )简介：(🍶) EIGHT HOURS OF FEAR (aka HACHIJIKAN NO KYOFU, 1957) offers a classic suspense plot focused on a group of people confined to a small space under threat from criminals who have taken control of them. In this case, it's a small rural bus containing about 15 passengers on their way to make a train to Tokyo after the train line they meant to ride has stopped service due to a landslide. The bus is then stopped and boarded by a pair of criminals fleeing with the proceeds of a bank robbery. The passengers constitute a microcosm of Japanese postwar society and their numbers include a businessman and his arrogant wife; a lecherous lingerie salesman with crude personal habits; a radical student couple given to singing Russian work songs; a despairing single mother with her baby; an aspiring actress on her way to an audition; a seasoned sex worker lamenting the closing of American bases in Japan; an old couple going to visit their daughter; and a detective escorting his prisoner, a convicted murderer. The driver is an old man who works rural mountain routes and the rickety bus is a relic of an earlier age. The movie itself, although filled with references to World War II and postwar problems, plays like it could have been filmed and staged twenty years earlier. It has the feel of a much older movie and deliberately recalls such Hollywood movies of the 1930s as Frank Capra's IT HAPPENED ONE NIGHT, much of which also takes place on a long bus trip through back roads, and John Ford's STAGECOACH, but with a much darker edge than either of those films. 在20世(🍤)纪(jì )30年代(🍀)，一战(🗞)飞(fēi )行高(🔑)手(shǒu )Roger Schumann沦落到(dà(🧝)o )在惊人(rén )的特技飞行巡回表演里演出，因(✋)此，他的家(🍉)庭生(🍀)活相当困(💹)难，可(🦌)(kě )他只是(🈹)(shì )沉醉于(yú )他(🥛)唯一(yī )的最爱(🛄)(ài )---飞机。当记者(zhě )Burke Devlin在表演(yǎ(🏆)n )现场出(chū(🔍) )现，来(🎺)(lái )给一战(😆)(zhàn )英(👵)雄Roger写(xiě )个(🚖)"发生(🥂)(shēng )在Shumann的故(🕸)(gù )事"时， 他很讨(🔚)厌英雄目前的困境，可是却(🏡)被他漂亮的妻(😶)子LaVerne深深地(🥇)吸(xī(🤝) )引着。 Police detective falls for singer, gets involved with gangster killing. 前拳(✝)击(jī(🐿) )手岛木(mù(✝) )让次（石原裕(💲)(yù )次郎 饰(shì )）经历(lì )了人生(shēng )的大起(qǐ(😹) )大落，如今(🍳)在某(🥜)港口经营(🚬)一家(💊)名为“礁石(🎆)”的饭店。他每(mě(👓)i )天等待(dài )遥远(👮)巴(bā )西的来(lái )信，那(nà )里有(⚡)他(tā )的哥(🤕)哥(gē(🐿) )，让次(cì )时(👋)刻准(🗑)(zhǔn )备启程(📓)(chéng )奔(🐁)往那(nà )个(🍔)自由(yóu )的国度(💔)(dù )。只是(shì )，无数(shù )次的闻(wé(🐼)n )讯信件最终换(🐚)来的都是(🐊)“查无(🏎)此人”的回(♐)复。某(🔘)晚，让次邂(🏬)(xiè )逅一名(míng )形(🍌)色慌(huāng )张的女(nǚ )子，她(tā )自称叫(jiào )早枝子(👋)(zǐ )（北原(🚛)(yuán )三(😇)枝 饰(shì )）(🆔)，是某(🍆)夜总会的(🤳)歌手，因失守伤(🐜)害了对她欲行(🧚)不轨的男人而四(sì )处躲藏(🙏)(cáng )，几欲(yù(🎚) )轻生(😊)。让次收(shō(💽)u )留了(🤮)早(zǎo )枝子(⬆)，短短(🐎)几(jǐ )天的(🌉)相(xiàng )处让他(tā(🦃) )们彼此(cǐ )呼声好(hǎo )感。然(rá(🏇)n )而阴云(yún )突至(⚓)，早枝子最(🥈)终被(🤗)控制她的(🎈)黑帮(✡)所带走。与(🌈)此同时，让次也(🎬)从这群黑帮(bāng )处得到(dào )哥哥的(de )蛛丝马(mǎ(🤾) )迹。 陶(táo )秦(🍡) .... 导演(🛹)(yǎn ) 陶秦 .... 编(🗻)(biān )剧(🔙) 邵人(rén ) .... 监(🖨)制 茅(máo )芦 .... 副导(🕺)演 董绍咏 .... 摄影(✴) 张金 .... 作词 沈又新 .... 作曲 尤敏(👅) .... 演唱 孤女(🛬)沈云(💪)兰得(dé )富(😳)翁顾(📿)(gù )颂梅收(🈚)(shōu )留，与(yǔ )颂子(🕦)少(shǎo )梅青梅(mé(🛶)i )竹马。少梅赴(fù )沪升学(xué )，颂(🐈)妹(mèi )觊觎(🗿)长(zhǎ(🕚)ng )兄家财(cá(👠)i )，假装(🎙)(zhuāng )遭夫抛(🗳)(pāo )弃(🐣)入住(zhù )顾(📲)家，并欲撮合女(❇)儿陆慧珍与少梅。 A regional independent film? A western swing musical? An early Robert Altman script? A roman à clef about real-life popcorn baron Charles Manley? A masterpiece? Corn’s-A-Poppin’ is all these things and more. Produced on the cheap in a Kansas City by a band of young talent schooled in the production techniques of The Calvin Company, the Midwest’s most innovative industrial film studio, Corn’s-A-Poppin’ is just about the most free-wheeling and sing-able hour of cinema we’ve ever seen. Down-home crooner Jerry Wallace plays Johnny Wilson, the star of the Pinwhistle Popcorn Hour, a half-pint (and half-hour) variety show with acts ranging from pro-hog caller Lillian Gravelguard to Hobie Shepp and the Cowtown Wranglers. Might the cornpone bookings be an act of sabotage by rogue PR man Waldo Crummit in a bid to gut the Pinwhistle Empire? It’s up to Little Cora Rice to save the day. Songs include: “On Our Way to Mars,” “Running After Love,” and “Mama, Wanna Balloon.”