聊齋花弄月
聞一多（Orz...)生性風(fēng)流，但卻有惡妻，不時(shí)施以酷刑，令他苦不堪言。一日往省城辦貨途中，遇一相士，指他會遇上艷鬼癡纏，聞不信離去。但回家途中，突見一弱質(zhì)纖纖的少女在樹林狂奔。弱女自稱小翠，家貧被賣到青樓，因受不住皮肉之苦而出走，聞憐其身世于是邀其返家小住，但礙于惡妻，于是讓小翠喬裝男仆，果然瞞過惡妻，二人得以相棲嬉戲。一次，惡妻強(qiáng)拉小翠沐浴，幫其擦背之際發(fā)覺小翠竟然是女兒身，大怒并將小翠鎖在刑房。聞回家被妻怒斥，但聞仍否認(rèn)，妻要聞當(dāng)面殺小翠以示清白，誰知刑房內(nèi)不見小翠蹤跡
劇情簡介
聞一多（Orz...)生性風(fēng)流，但卻有惡妻，不時(shí)施以酷刑，令他苦不堪言。一日往省城辦貨途中，遇一相士，指他會遇上艷鬼癡纏，聞不信離去。但回家途中，突見一弱質(zhì)纖纖的少女在樹林狂奔。弱女自稱小翠，家貧被賣到青樓，因受不住皮肉之苦而出走，聞憐其身世于是邀其返家小住，但礙于惡妻，于是讓小翠喬裝男仆，果然瞞過惡妻，二人得以相棲嬉戲。一次，惡妻強(qiáng)拉小翠沐浴，幫其擦背之際發(fā)覺小翠竟然是女兒身，大怒并將小翠鎖在刑房。聞回家被妻怒斥，但聞仍否認(rèn)，妻要聞當(dāng)面殺小翠以示清白，誰知刑房內(nèi)不見小翠蹤跡
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耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾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.