Rudy Ray Moore is Petey Wheatstraw, whose talent for comedy is only topped by his gift for Kung-Fu. When his arch rivals, Leroy and Skillet, massacre him and his friends, Petey ends up in Hell and is given a unique opportunity: in exchange for his and his friends’ return to earth, he must wed Satan’s daughter. The only problem: she’s the ugliest woman he’s ever seen! Will Petey be able to defeat Satan with his magic pimp cane or will he be forced to become the Devil’s son-in-law?

Rudy Ray Moore is Petey Wheatstraw, whose talent for comedy is only topped by his gift for Kung-Fu. When his arch rivals, Leroy and Skillet, massacre him and his friends, Petey ends up in Hell and is given a unique opportunity: in exchange for his and his friends’ return to earth, he must wed Satan’s daughter. The only problem: she’s the ugliest woman he’s ever seen! Will Petey be able to defeat Satan with his magic pimp cane or will he be forced to become the Devil’s son-in-law?

他们是剑，弓，毒药等的主人，但对于女性忍者来，她们最致命的武器是她们的性别。她必须在爱情与任务中做出两难的选择，是牺牲爱人，利用身体完成任务，还是…… 　　They are masters of sword, bow, shuriken, and poison, but for a female ninja, sex is the deadliest weapon of all. Torn between her love for one man and her duty to the clan, one Kunoichi must make a terrible choice: sacrifice her lover and use her body as her masters' command, or forsake her vows and be outcast forever! And the perils of the flesh become even more lethal when a second female ninja arrives with her own seductive agenda!

他们是剑，弓，毒药等的主人，但对于女性忍者来，她们最致命的武器是她们的性别。她必须在爱情与任务中做出两难的选择，是牺牲爱人，利用身体完成任务，还是…… 　　They are masters of sword, bow, shuriken, and poison, but for a female ninja, sex is the deadliest weapon of all. Torn between her love for one man and her duty to the clan, one Kunoichi must make a terrible choice: sacrifice her lover and use her body as her masters' command, or forsake her vows and be outcast forever! And the perils of the flesh become even more lethal when a second female ninja arrives with her own seductive agenda!

Three women in a small village conceal dark secrets, including unholy alliances and a mysterious ingredient used in a popular curry restaurant.

Three women in a small village conceal dark secrets, including unholy alliances and a mysterious ingredient used in a popular curry restaurant.

战前日本最重要的无声电影之一。 　　This resolution recurs in several of Hiroshi Shimizu's silent films, of which Eternal Heart (Fuei no Shiratama, 1929) was shown at Pordenone. This film examines different aspects of modernity through the personalities of two sisters. The elder is in love with Mr Narita, but he marries the younger, only to find that she neglects him and spends her time attending parties and drinking. Thus summarised, one might read the film as essentially conservative - an indictment of a "modern" woman who fails in her wifely duties. But the older sister also personifies an aspect of modernity, since she works as a typist in a Tokyo office. Courted by her boss, she is introduced to his children, who speak scathingly of her profession, and criticise the morality of working women. Here, Shimizu's sympathies are clearly with the modern, professional woman against the spoilt and judgemental upper class. The film's intelligence, in fact, lies in its ambivalent attitude to the modern - an ambivalence that one can trace through Shimizu's later and finer silent films. Unfortunately, the narrative resolution is unsatisfactory; the hero's departure from Japan and the heroine's marriage to her boss fail to answer the problems that the film has posed. The final escape seems a contrivance, though it may be that this failing is to be blamed on Kikuchi Kan, author of the original novel, rather than Shimizu. 　　http://www.midnighteye.com/features/pordenone-silent-film-festival-2005.shtml

战前日本最重要的无声电影之一。 　　This resolution recurs in several of Hiroshi Shimizu's silent films, of which Eternal Heart (Fuei no Shiratama, 1929) was shown at Pordenone. This film examines different aspects of modernity through the personalities of two sisters. The elder is in love with Mr Narita, but he marries the younger, only to find that she neglects him and spends her time attending parties and drinking. Thus summarised, one might read the film as essentially conservative - an indictment of a "modern" woman who fails in her wifely duties. But the older sister also personifies an aspect of modernity, since she works as a typist in a Tokyo office. Courted by her boss, she is introduced to his children, who speak scathingly of her profession, and criticise the morality of working women. Here, Shimizu's sympathies are clearly with the modern, professional woman against the spoilt and judgemental upper class. The film's intelligence, in fact, lies in its ambivalent attitude to the modern - an ambivalence that one can trace through Shimizu's later and finer silent films. Unfortunately, the narrative resolution is unsatisfactory; the hero's departure from Japan and the heroine's marriage to her boss fail to answer the problems that the film has posed. The final escape seems a contrivance, though it may be that this failing is to be blamed on Kikuchi Kan, author of the original novel, rather than Shimizu. 　　http://www.midnighteye.com/features/pordenone-silent-film-festival-2005.shtml

A village faces a wave of terror when three women fall prey to demanic forces, becoming deadly instruments of malevolence and revenge.