Withers
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Awealthyrais(aheadoflocaladministrationinTadzhikistan)buildshistoiletrightnexttothehouseofateacherinthevillage.Thearomasofthetoiletdisturbthelifeoftheteacher’sfamily;itisveryupsettingforthem.ButtheraisisalsoanewTadzhik(newmoney)andignoresthecomplaints.Moreover,everytimehevisitsthetoilet,heshamelesslystaresattheteacher’syoungwifeoverthefence.However,thepoweroftheraisissogreatthatnobodydarestoopposehim.Theteacherbuyscheaplyahomerightinfrontoftherais’shousefromanoldmananddecidestobuildapublictoiletthere.Itseemsthattheeraoffairytalesandlegendshasvanishedanditisnotpossibletomakefilm-parables.However,JamshedUsmonovcreatesfilm-parables.Ineveryoneofhisfilmsthereisacharactertellingalegendthatturnsthemeaningofthefilmallaround.InFlightoftheBeeitisataleaboutabee,whichsavedthelifeofanarmy:Onceuponatimeitwasacustomtokilloldpeoplewhoreachedacertainage.ButoneofthesoldiersofAlexandertheGreatdidn’thavethehearttokillhisfather.Hehidhiminhistravelingtrunkandcarrieditonhisbackduringmarches.Thearmycametoadesertandthewarriorsstartedtodiefromthirst.Nobodyknewhowtofindwater.Thefathersaidtohisson:Catchabee,tieawhitethreadtoitslegandfollowit.Itwilltakeyoutowater.Theyfoundwaterandthearmywassaved.Afterthatoldpeopleweresparedbecauseeverybodyrecognizedthemasasourceofwisdom.Thevillageteachertellsthisstorytohisstudentsatthebeginningofthefilm.ItisinterestingtonotehowinthefilmFlightoftheBeedifferentmentalitiesintermingledandco-existed.TheteacheristypicaloftheSovietintelligentsia:hewritesbooksthatnobodypublishes;helooksforjusticefromthegovernmentthathasneverbeenfairtohim.ThesurroundingsofthevillagearestillSoviet:theraishasLenin’sportraitinhisoffice;youngpeopleareidleanddrunkastheyalwayswereduringtheSovietera.Thenewcapitalists,thenewTadzhiksinthevillage,donotweardesignerjacketsanddonottalkoncellphones.Thenewmoneyispresentedinthecharacteroftherais.Ithasalmostafeudalquality;itisthepowerofalocallord.JamshedUsmonovhasauniquetalenttobalancethefunnyandserious,thesimpleandcomplicated.He,likenobodyelse,sensesthisborder,whereasimplestoryturnsintoaparableandfilmcharactersstandoutasarchetypesofdifferentperiodssettogetherinthegapoftimes.(kinokultura/GULNARAABIKEEVA)
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Hamid’s(8)fatherhasgonemissing.HismotherIshrathasturnedindifferenttowardsHamidandtheentireworldaftertheincident.Neglectedandlonely,withaheartsearchingforanswers,Hamidstargazesinthehopeofmeetinghisfather.Thenumber786alwaysbewilderedHamid.OnedayateachertellsHamidthatthisisGod’snumber.Usinghisfather’soldmobilephone,aftertryingdifferentcombinations,he?nallymanagestoconnecttoaperson,whoheisconvincedisGod.OntheothersideisAbhay,ahard-knuckledCRPFJawaan.Hamid’sphonecall,thoughsurprisingat?rst,intriguesAbhaywhoengagesinhumouringHamid.Thesetwo,unknowinglyandunintentionally,changeeachother’sworldforthebetter.
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A group of teenagers decide to take a vacation at the beach house of one of their fathers. The kid whose father owns the house just happened to accidentally kill his mother when he was a child. When they get to the house, the father has mysteriously disappeared.
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In1960sEngland,BlakeCunninghamandhisalcoholicmotherareforcedtomoveintothemysteriousClemonteHall,avastisolatedmanorhouse,tocareforhisdyingGrandfatherwhoresidesintheatticroom.Soon,ghostlygoings-onfillthehousewithdread,asitbecomesapparentGrandfathersillnessmayhaveasupernaturalcausethatcanonlybecuredbyuncoveringtheterrifyingsecretsofthehouseanditsdarkhistory.
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安迪·格里菲斯
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Narrated by the legendary Andy Griffith (THE ANDY GRIFFITH SHOW, MATLOCK), this heartwarming animated special is a charming re-imagination of the classic Christmas story following the three wise men on a wondrous quest to meet the newborn king. Their journey is told through rhymed narration alongside a soundtrack of holiday carols performed by The Brothers Cazimero from Hawaii. The digital release features a new original song by Jonas Myrin, a Grammy Award-winning songwriter.
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Two penniless brothers with no prospects, who hope to give their thirteen-year-old sister a better future, invent an unusual job for themselves: armed with masks and mini cameras, they publically demolish the identity of the various “neighborhood sly guys” who infest Italy, transforming themselves into two improbable “heroes for hire.”
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田崎龙太
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今年呀今年……以《桃太郎》为主题，前所未见的英雄诞生了！就像桃太郎借由犬、猿、雉的帮助打倒鬼般，DON桃太郎（红），率领了猿BROTHER（蓝）、犬BROTHER（黑）、雉BROTHER（粉）、以及鬼SISTER（黄）对抗邪恶。其名为‘暴太郎战队DONBROTHERS’！外貌及团队精神参差不齐的一群战士。以搭载化身资料=暴太郎战斗的5人，使用暴太郎齿轮化身变身成为DONBROTHERS！另外能变身成历代超级战队战士的姿态。他们从由内心产生欲望的人类所变成的怪物‘人鬼’以及，将人鬼从人类世界抹除的谜之组织‘脑人’手中，守护人类。……但这一切，还差得远呢。某日，突然得到英雄之力的女高中生·鬼头遥，在接受了神秘男·桃井阵的指令委托后开始引动了这个世界！“你是有伙伴的。首先你得找到‘桃井太郎’！然后向其宣示效忠！”桃井太郎到底是谁……？我的伙伴又是谁……？DONBROTHERS的故事就此开幕！来呀〜祭典开始啰！
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Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
