迪迪好萊塢

　　風(fēng)間重吉は花田秀次郎との果たし合いで左腕を失った。出所した秀次郎は林田一家の世話になる。樺島一家は採(cǎi)石の入札をめぐって林田と老舗“淺野屋“を圧迫していた。樺島の客人となった風(fēng)間は、秀次郎に果たし狀を渡すが、女房が兇弾に倒れ、秀次郎とともに死地に向かう。

　　傳說龍鳳雙劍合璧，能有無比神力。魔鬼黨首領(lǐng)笑鐵面覬覦桂王手中鳳劍寶劍，桂國(guó)陷入危機(jī)。諸葛四郎受託挺身而出，竟遭受真平的復(fù)仇挑釁，諸葛四郎腹背受敵。困境中英雄勇敢集結(jié)，和魔鬼黨展開搶奪寶劍大戰(zhàn)。諸葛四郎與魔鬼黨，到底誰會(huì)搶到那支寶劍？※本片可切換國(guó)語、臺(tái)語發(fā)音，另有客語發(fā)音版

　　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.

霧山捕蛇人深陷苛政與蛇禍雙重絕境，異變的陰影籠罩村落，一場(chǎng)關(guān)乎救贖與守護(hù)的博弈悄然開啟。