香港五十年代獨一無二的黑幫片。在幫會長大的刀疤項成（王豪），從義父手上繼承了幫會。但是義父的遺孀及親子，卻受到來自城市、愛慕虛榮的女子所誘惑，只重物慾，勾結日本人，把幫會的道義傳統破壞淨盡。項成最後只有以血來清洗。《傳統》將取材自西方的黑幫片結構，加上中國的俠義精神，創出一個傳統道義與腐蝕人心的城市物慾對抗的寓言，成為香港黑幫片一個基本模式。唐煌拍來神完氣足，王豪飾演的刀疤項成，充滿男兒氣概，是五十年代難得一見的「大佬」形象。

香港五十年代獨一無二的黑幫片。在幫會長大的刀疤項成（王豪），從義父手上繼承了幫會。但是義父的遺孀及親子，卻受到來自城市、愛慕虛榮的女子所誘惑，只重物慾，勾結日本人，把幫會的道義傳統破壞淨盡。項成最後只有以血來清洗。《傳統》將取材自西方的黑幫片結構，加上中國的俠義精神，創出一個傳統道義與腐蝕人心的城市物慾對抗的寓言，成為香港黑幫片一個基本模式。唐煌拍來神完氣足，王豪飾演的刀疤項成，充滿男兒氣概，是五十年代難得一見的「大佬」形象。

讲述了人类饮食习惯的改变过程，食物大批量生产所带来的一系列后果，以及肥胖与瘦弱的根源是什么，其中，一定有你想象不到的结论。

讲述了人类饮食习惯的改变过程，食物大批量生产所带来的一系列后果，以及肥胖与瘦弱的根源是什么，其中，一定有你想象不到的结论。

A masterwork of Sri Lankan cinema, this moving saga of family and class conflict was made by Lester James Peries, his country’s foremost filmmaker and a director much admired by India’s Satyajit Ray. 　　Gamperaliya is regarded as a cornerstone of Sri Lankan cinema, launching upon its release in 1964 ‘a revolution, not only in the way films were made, but also in the content,’ according to producer Anton Wickramasinghe. 　　Peries sought an alternative to the Bollywood-influenced melodramas that dominated Sri Lanka’s commercial cinema, writing stories that looked at the staple issues of melodrama in a more nuanced way. 　　The film, adapted from a novel by Martin Wickramasinghe, focuses on Piyal, a teacher and member of the new rising middle class, who falls in love with the daughter of his village’s leading aristocratic clan; the girl’s parents insist upon a marriage to a stuffed shirt of her own class, one that shifting social forces are already rendering obsolete. 　　Gamperaliya is filmed in an elegant and uncoercive narrative style that has been compared to Satyajit Ray’s Apu Trilogy; its aesthetic choices also have a moral dimension: at every level, this is a movie about the importance of setting aside illusion and exaggeration and seeing things as they are.

A masterwork of Sri Lankan cinema, this moving saga of family and class conflict was made by Lester James Peries, his country’s foremost filmmaker and a director much admired by India’s Satyajit Ray. 　　Gamperaliya is regarded as a cornerstone of Sri Lankan cinema, launching upon its release in 1964 ‘a revolution, not only in the way films were made, but also in the content,’ according to producer Anton Wickramasinghe. 　　Peries sought an alternative to the Bollywood-influenced melodramas that dominated Sri Lanka’s commercial cinema, writing stories that looked at the staple issues of melodrama in a more nuanced way. 　　The film, adapted from a novel by Martin Wickramasinghe, focuses on Piyal, a teacher and member of the new rising middle class, who falls in love with the daughter of his village’s leading aristocratic clan; the girl’s parents insist upon a marriage to a stuffed shirt of her own class, one that shifting social forces are already rendering obsolete. 　　Gamperaliya is filmed in an elegant and uncoercive narrative style that has been compared to Satyajit Ray’s Apu Trilogy; its aesthetic choices also have a moral dimension: at every level, this is a movie about the importance of setting aside illusion and exaggeration and seeing things as they are.