在南斯拉夫与阿尔巴尼亚边境的一间哨所里，帕西科中尉（Emir Hadzihafizbegovic 饰）过着醉生梦死、百无聊赖的日子。一次极度压抑的风流快活之后，她突然感到下体一阵刺痛。经连队中唯一当过医生的士兵西尼撒（Toni Gojanovic 饰）检查得知，帕西科不幸感染了梅毒，而治疗大概需要三周左右。为了不让妻子知晓，愚蠢的帕西科竟然下达一条荒唐的命令。他声称阿尔巴尼亚企图入侵南斯拉夫，全连进入战备状态，一个人都不准离开。 　　蒙在鼓里的士兵们信以为真，而西尼撒也因此和中尉的老婆发展出一段危险的恋情……

在南斯拉夫与阿尔巴尼亚边境的一间哨所里，帕西科中尉（Emir Hadzihafizbegovic 饰）过着醉生梦死、百无聊赖的日子。一次极度压抑的风流快活之后，她突然感到下体一阵刺痛。经连队中唯一当过医生的士兵西尼撒（Toni Gojanovic 饰）检查得知，帕西科不幸感染了梅毒，而治疗大概需要三周左右。为了不让妻子知晓，愚蠢的帕西科竟然下达一条荒唐的命令。他声称阿尔巴尼亚企图入侵南斯拉夫，全连进入战备状态，一个人都不准离开。 　　蒙在鼓里的士兵们信以为真，而西尼撒也因此和中尉的老婆发展出一段危险的恋情……

暂无剧情简介

At Whistle High School, misfit students stumble upon a cursed object, an ancient Aztec death whistle. They find that when they blow the whistle, the terrifying sound it emits will invoke their future deaths to hunt them down.

At Whistle High School, misfit students stumble upon a cursed object, an ancient Aztec death whistle. They find that when they blow the whistle, the terrifying sound it emits will invoke their future deaths to hunt them down.

顾桥南父母双亡后被陆家收养，和陆家三女有婚约，定下22岁迎娶三人之一，后因沈怀初的出现被陆家三姐妹放了鸽子，心灰意冷之际跟暗恋他多年的余知鸢闪婚，三姐妹不信顾桥南另娶他人，以为他在演戏，为给顾桥南教训，故意偏宠沈怀初，一次次将顾桥南推开，还将顾桥南父母的遗物送给沈怀初，导致顾桥南对她们彻底死心。

A telephone rings in the dark—three times, pauses, then rings three times again. A fully-clothed figure lights a cigarette before rising from bed, dons a raincoat, then sets out into the night. Another figure emerges from the shadows, lights a cigarette, then discards a crumpled cigarette pack, which the first picks up and carries home. Back in his room, the first man places the refuse on his desk, paces apprehensively about his apartment before he finally removes the inner foil and examines it. After letting what it reveals sink in, he sets it on fire, and a cold look comes over his face... 　　Thus begins The Thief, a 1952 cold war, espionage thriller—unique in that it is completely without dialogue—directed by Russell Rouse, and produced by Clarence Greene, who co-wrote the screenplay. Allan Fields (Ray Milland) is an award-winning nuclear scientist working at the Atomic Energy Commission research laboratory. He is also a spy, photographing top secret documents, then relaying the miniature film canisters back through an elaborate network to enemy agents in Egypt. His signal is the telephone, and his liaison outlines his assignments through instructions on his cigarette refuse, with nary a word spoken. It is a dangerous business, and one that creates many close calls—too close for comfort. When one of his assignments goes awry, the FBI begins to close in, and the race is on to leave the country before he is caught. 　　The Thief has all the trappings of classic noir. Produced at the height of the "Red Scare," the film manages to maintain a constant state of tension, relying heavily on reaction shots and Herschel Burke Gilbert's riveting musical score. The cinematography heightens the effect, utilizing lighting and camera angles to convey the unspoken. Milland, who won an Oscar® for his role in Billy Wilder's The Lost Weekend, carries the part off to perfection, letting the audience read his character's thoughts solely through facial expression and body language. The direction also fools the audience into anticipating dialogue, then cleverly avoiding it. Only the Oscar®-nominated score and sound effects break the silence. 　　This is a fascinating use of visuals to tell a story, and a gripping suspense film, which held my interest throughout, and aside from one sequence where Fields' conscience begins to plague him, the narrative is fairly straight forward, without much in the way of gimmickry. Avoid the back cover text because it gives away the ending, which was the only part that didn't really work for this reviewer. For those interested in cold war-era film noir, this is certainly worth a look, if for no other reason than its uniqueness.

When an injured wife-murderer takes refuge on a remote Lancashire farm, the farmer’s three children mistakenly believe him to be the Second Coming of Christ.