解放战争时期的上海。战斗在敌人心脏的地下党人刘啸尘（陈少泽 饰），外星得知身边出了叛徒，外星自己的联系人周甫祥（谷子 饰）被敌人杀害，史秀英（向梅 饰）接替周的工作。特务组长张仲年（正华 饰）怀疑刘不是自己人，多次考察他，最终获得信任。刘啸尘和史秀英取得联系，敌人的重要情报不断被我方掌握。张仲年派特务队长杨玉林（王保华 饰）捕捉我罢工领导人，刘将情报转给史秀英，并和杨玉林亲自去“执行任务”路上杨认出了送情报的史秀英，刘机智设“路障”，掩护史逃脱。上海解放前夕，敌人拟订了大陆特务潜伏名单，保存名单的阿纪（朱德承 饰）被刘啸尘策反，潜伏文本落在了刘啸尘手中......
回复 :讲述女儿和妈妈一起生活会不富裕，幸福的生活着。可信任的男人（强仁）朋友一大笔钱支持强仁，竟是骗子，知道了挫折。结果平时生活条件等，在朋友的支持性买卖赚钱，也要让自己介绍工作的要求。
ԬҰ
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
回复 :어디까지 떨어지는지 봐봐! 저 끝까지!!! 내가! 내가 떨어트려 보일 테니까!” 군대입대를 앞두고 여행을 다니던 주연은 작은 아버지 댁에서 시간을 보내다 입대할 예정으로 지방의 소도시 버스터미널에 내린다. 과묵하고 무뚝뚝한 작은아버지에 비해 젊고 상냥한 숙모는 그를 환하게 반겨준다. 숙모를 만난 병원에서 그녀의 친구 미진과도 인사를 나누고 어렸을 때 친구였던 태호와도 안부를 묻는다. 네 사람은 미진의 태권도 도장에서 만나 운동으로 즐거운 시간을 보내고 주연은 미진과 술 한잔과 함께 뜨거운 밤을 보내게 된다. 주연은 그날 밤 자신의 친구 태호와 작은엄마 사이에 묘한 상황이 벌어졌음을 짐작하지만 애써 모른 척 한다. 그런 숙모를 묵묵히 지켜보는 주연. 그리고 집요하게 작은엄마의 잠재된 성적환상을 끌어내는 태호. 주연에게 깊이 빠져드는 미진까지. 주연의 입대 전 여행은 점점 깊은 일탈의 늪으로 빠져들게 되는데...
