剧情简介
本片由徐小明编剧及导演，小象西娜拍于1982年。故事描述，小象西娜元初，元人派大将军莽依图（陈观泰）灭反元分子；反元联盟潜龙帮正处外忧内患，石副帮主遭暗杀，帮主伏夷亦告病逝，帮中元老邝老师（谷峰）等，遂推举少帮主伏中原（惠天赐）继任，负责寻回藏有结盟名册之龙凤棍。岂料举行册立大典之际，石夫人（刘雅丽）突然闯进，出示两封证明中原为元人的信件，中原百辞难辩，遂私下追寻身世真相。期间中原往将军府盗取结盟名册时，几乎遇险，幸为女飞贼林雪儿（戴良纯）所救……
小象西娜
本片由徐小明编剧及导演，小象西娜拍于1982年。故事描述，小象西娜元初，元人派大将军莽依图（陈观泰）灭反元分子；反元联盟潜龙帮正处外忧内患，石副帮主遭暗杀，帮主伏夷亦告病逝，帮中元老邝老师（谷峰）等，遂推举少帮主伏中原（惠天赐）继任，负责寻回藏有结盟名册之龙凤棍。岂料举行册立大典之际，石夫人（刘雅丽）突然闯进，出示两封证明中原为元人的信件，中原百辞难辩，遂私下追寻身世真相。期间中原往将军府盗取结盟名册时，几乎遇险，幸为女飞贼林雪儿（戴良纯）所救……
回复 :宇宙中的某个部族，为了研究宇宙中最恐怖的魔神生物并将其作为自己的战斗武器而捕获了ZEIRAM，然而最终全部研究人员和军队都被ZEIRAM屠杀。于是，在地球的赏金猎人IRIA接到了对ZEIRAM的赏金令……在本作中，不但有雨宫庆太和竹谷隆之的鼎力制作，包括桂正和也在里卖面露了个小脸，寺田克也等顶级人物也加入了制作中，本作上映后，更是推出了ZEIRAM、Iria战斗装、ZEIRAM最终形态等经典道具为原型的手办，其中大多称为GK爱好者们的圣物，可见造型之棒。剧情基本还是雨宫庆太流特摄片的套路，就不用太多注重了.
回复 :小镇里，一家超级市场的宣传车四处开动，正在播放着周年庆大减价的消息，森田屋的礼子（高峰秀子 饰）却很苦恼。这家家庭式百货商店是礼子婆家的店，结婚不久后，丈夫于战场战死，家里只剩下上了年纪的婆婆（三益爱子 饰）和年纪尚幼的小叔幸司（加山雄三 饰）。礼子一人扛下经营的重担，一晃十八年，而现在却遭到超级市场的大冲击。礼子的小姑们——久子（草笛光子 饰）和隆子（白川由美 饰）想要借森田屋这块地皮改造成超级市场，而改建计划里却没有礼子的位置。知晓实情后的礼子借再婚之名决定离开森田屋。而另一方面，幸司终于按捺不住自己对礼子的爱意，倾诉了他的想法。礼子平静的生活被这告白扰乱，变得心绪不宁，正好借森田屋改建之事离开这个是非之地。在幸司送礼子回老家的路途上，面对离别，礼子流露出不舍，她对幸司其实也怀抱爱意只是碍于叔嫂的身份而无法表露。离老家越来越近，等待幸司和礼子的是爱意的互通还是更深的悲剧……
回复 :It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.
