王姨,龙兄她有一个维吾尔族名字叫阿同汗。几十年来,龙兄她无私帮助着身边各民族的困难家庭。她不但帮助弱势群体,还带领他们做公益,并树立生活的信心和勇气。在她的鼓舞下
王姨,龙兄她有一个维吾尔族名字叫阿同汗。几十年来,龙兄她无私帮助着身边各民族的困难家庭。她不但帮助弱势群体,还带领他们做公益,并树立生活的信心和勇气。在她的鼓舞下
回复 :取材于著名的敦煌壁画。在唐代的河西走廊,飓风骤起,将波斯商人伊努思带领的商队卷入了风沙之中,伊努思被埋在沙堆里。中国画工神笔张和女儿英娘,无意中发现了伊努思,及时救了他。神笔张父女与伊努思告别后,不幸为盗所劫英娘被匪首窦虎劫走。英娘被迫学艺,在皮鞭和鼓乐声中长成了一个出色的歌舞伎艺人。五年后,窦虎带他的百戏班子来到敦煌市集,英娘含悲起舞,博得了众人的喝采,也引起了掌管市集贸易的官吏市令的邪念。这时,神笔张寻女也来到市集,终于与女儿英娘相遇。窦虎拿出伪造的"卖身契",阻挠父女团聚;垂涎于英娘美色的市令也从中作梗。这时,在此经商的伊努国挺身而出,不惜以重金为英娘赎身。在莫高窟内,女儿的舞姿,激发了神笔张的灵感,绘出了敦煌壁画中的衡世珍品--《反弹琵琶伎乐天》。伊努思前来看望神笔张,发现洞窟内的壁画和彩塑,为之惊叹。当窟内充满欢乐气氛之时,市令要将英娘征为歌奴,企图霸占她。英娘惊闻噩耗,失声痛哭。神笔张忍痛把女儿托付给生死盟友伊努思,让她随商队逃往异国。市令诡计未逞,将神笔张囚禁莫高窟内,罚他戴镣作画。一日,河西节度使偕夫人来到莫高窟,看到《反弹琵琶伎乐天》的高超画艺,赞赏不已。当他见到身带镣铐的神笔张时,大为吃惊。他得知真情后,当即下令为他除去长镣,并赏给神笔张一支官制画笔。从此,神笔张获得了自由。3年后,唐朝要召开27国交谊会。伊努思奉命作为波斯通商使节,就要率商队启程,英娘随商队返乡,欣喜万分。为感谢波斯亲人伊努思一家救护之恩,她将精心绣制的珍品《反弹琵琶伎乐天》赠给他们。神笔张得知27国交谊会即将召开,企望爱女能随商队返回。突然,他发现窦虎和市令正在密谋拦截波斯商队,他不顾危险,欲向商队报警,不幸被窦虎暗箭射中,倒在沙丘下。伊努思的商队遭到伏击,货物被抢劫一空,狠心的市令还要杀人灭口。危急关头,神笔张苏醒过来,爬上烽火台,点燃了烽火。市令与窦虎见已惊动四方,仓皇而逃。伊努思急步跑到神笔张身边,黯然泪下,英娘更是悲痛万分。神笔张临终前把窦虎的暗箭交给英娘,嘱咐伊努思和女儿一定要剪除市令和窦虎这些奸官恶贼……英娘悲痛欲绝,发誓为父报仇。27国交谊会隆重开幕。市令、窦虎把抢来的宝石琵琶献给河西节度使,以求升赏,这时,化装成老者的伊努思,向节度使请示献艺。英娘面蒙褐纱,跳起了盘上舞,获得了宾主的赞赏,舞罢,英娘扯开面纱,持箭直指仇人,并向节度使呈上暗箭,诉说使书被劫、父亲遭害的经过。节度使义愤填膺,下令拿下市令、窦虎,严惩了奸官恶贼,确保了中外通好。
回复 :战国时代,秦王嬴政(李雪健饰)以统一天下为大业。当时燕国为嬴政的心头之患,为帮助他早日完成统一霸业,赵姬(巩俐饰)献策到燕国假意策动刺杀嬴政的计划,如此一来,秦便有出兵攻燕的名目,争取燕国不战而降的可能。赵姬与燕太子丹(孙周饰)同心谋划刺杀嬴政的行动。执行任务的人选是名剑客荆轲(张丰毅饰),大隐于市的他为此重出江湖。与荆轲接触后,赵姬十分倾慕他的为人。赵姬拒绝再去说服荆轲。太子丹恼怒,将赵姬关押起来。于是,荆轲找到太子丹,提出放了赵姬,他就答应去刺秦王。与此同时,嬴政发现了关于自己身世的秘密,他恼怒不堪,甚至挥兵攻打赵国,暴行难述。大殿之上,荆轲却失手……
回复 :"The Witch Burnt Alive"After a very long, but visually arresting animated opening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking approximately a third of the film's running length. Mangano plays a superstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have prejudices and preconceived notions about her based on her public persona. The women are all jealous and the men all want to sleep with her, but all Mangano wants is to be left alone. It's a mostly somber satirical piece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous."Community Spirit"Bolognini's piece isn't really a story. It's more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hospital, driving him at breakneck speed throughout the city, but not stopping at locations where he might find aid. I won't give away the punchline here, but it succeeds in being amusing, even if it's the kind of thing that only is interesting the first time through."The Earth Seen from the Moon"The esteemed writer/director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to "Don Quixote", a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long period, they discover the literally speechless Mangano. She brings joy into their lives, but they are poor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not completely interesting, but the outlandish performances, artwork, and costumes does evoke great charm and likeability. Although mute, it's probably the most appealing of Mangano's five performances, and Toto is terrific."The Sicilian"Franco Rossi directs the fourth an shortest piece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It's violent, but easily the least satisfying of the five stories."A Night Like Any Other"Eastwood's appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. It's an enjoyable departure from his normal roles, playing a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which perfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is interspersed with comedic romance sequences revolving around the couple's past romantic interludes, and dreams of how their lives should be.