意大利种马
史泰龙20多岁时为了打进电影圈,硬着头皮在A片《The Party at Kitty and Stud"s》中与女主角全裸ML,展现各种离谱的姿艾旦影视,海外影院,海外影视,海外YY,海外抢先电影,海外手机影院,海外影院APP,海外中文影视,海外影视网,海外华人影院,海外影院tv,蛋蛋电影网,海外福利影院,haiwaiyingyuan。不少大明星在成名前都有过出卖皮肉的生涯:史提夫麦昆当过应召男、肖恩康纳莱曾经是L体模特儿,但他们都没有留下任何记录,唯独席维斯史泰龙在 A片中的演出是怎样也无法被磨灭。当他接拍这部片时,还是个23岁在纽约贫民区等待事业突破的小伙子,白天身兼电影收票员等数个工作,晚上才有时间拍片,他的片酬也只有区区200美元。 在片中,史泰龙扮演女主角Kitty的男友Stud,是两位男角中戏分较重的一位,除了他与另一位男星外,全片演员多半是女性,甚至有一场时间颇长的女同性恋床戏,史泰龙则在一旁从头看到尾。当然,所有人入镜时,身上多半一丝不挂,史泰龙的正、背面包括;重点 rdquo;,观众都可以看得一清二楚。当史泰龙日后因《洛基》(Rocky)成名时,这部A片马上改名为;意大利种马 rdquo;,再度上市。史泰龙不知为何没有把整部片的版权买下来,防止它对他的声名造成伤害,也就不得不面对此片30年后重出江湖,再给他的演艺事业一记重击的难堪场面了。
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等待方舟
耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.