15
7.7

花儿朵朵

导演:
陈方千,谢添
主演:
刘沛,王人美,呼中陶,张世鹏,凌元
别名:
未知
7.7
15人评分
国语
语言
1962
上映时间
未知
片长
简介:
六一”儿童节这天,孩子们为了庆祝自己的节日,组织了一个丰富多彩的联欢会,他们邀请了工人、农民、解放军战士和各方面的叔叔、阿姨们来参加他们的活动。方小华一早就动身到郊区公社去了。他是去接模范饲养员老爷爷的,因为饲养员老爷爷不但是养猪模范,而且是位歌唱能手。但是,在联欢会即将开幕时,小华还没有回来,而他又是第一个节目大合唱的领唱。这件意外的事,把演出的预定计划全部打乱了。憨厚的小后台主任急得有点手忙脚乱,但机智的小舞台监督却决定重新安排节目顺序。孩子们的每一个节目都非常精彩,博得了观众们的热烈掌声。但在后台,出于情况的变化,小舞台主任和小舞台监督之间却发生了许多有趣的纠葛。当小华快要到达的消息传来时,节目已将演完。小舞台监督又急中生智,拉着尴尬的小后台主任上台垫演了一个风趣的小节目,保证了联欢会的顺利进行。小华从来都是非常守时的,到底出了什么事呢?老爷爷立刻上台把这件事编唱了出来。原来在途中,他们碰上了一辆载重马车倒在铁道上,这时火车即将通过,情况非常紧张。小华不顾一切,勇敢地翻过重重障碍,游过湍急的河流,抄近道迎上了火车,在万分紧急中,他挡在铁道中间,机警地挥舞着红领巾,截住了迎面而来的火车,避免了可能发生的事故。老爷爷的歌声感动了全场观众,大家一起为小华的英勇行为热烈鼓掌。大合唱终于揭幕了,小华站在队中精神格外焕发,他用响亮的歌声领唱着主题歌《花儿朵朵向太阳》,歌声唱出了新中国少年儿童茁壮成长的欢悦心情,唱出了他们准备将来建设伟大祖国的远大理想。
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更新时间:2025年09月06日
主演:珍妮·艾加特,布莱恩·马歇尔,Clare Sutcliffe,西蒙·沃德
简介:The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R.
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