乳色吐息

当年在努布拉岛营建侏罗纪公园时，约翰?哈蒙德（理查德?阿滕伯勒 Richard Attenborough 饰）曾把附近的索纳岛作为恐龙的制造工场。侏罗纪公园沦陷后，索纳岛上的恐龙在完全隔绝且缺少必要合成元素的情况下生存了4年时间。哈蒙德对此颇感好奇，他重新找到马科姆博士（杰夫?高布伦 Jeff Goldblum 饰），邀请他前往小岛考察。4年前经历让马科姆心有余悸，他断然拒绝哈蒙德的提议，但当得知女友莎拉（朱丽安?摩尔 Julianne Moore 饰）已前往小岛之时，只得跟随探险队整装出发。在索纳岛上，另一组野蛮的探险队已经先期到达，他们抓捕恐龙将其卖到外国。利欲熏心使得这些贪婪之徒全然不顾危险，竟然打起暴龙的主意。索纳岛旋即变成恐怖的屠杀地狱……

故事梗概：九侯爷坐镇济南府，剿灭山东盐帮，山东总督宋擎天率属下设宴庆功，溜须拍马奉承至极。殊不知，盐帮虽剿，但盐帮首领于慎独和二当家马康却生不见人、死不见尸。京城里，女神捕铁飞花得飞鸽传书，知九侯爷在山东性命难保，遂策马扬鞭，星夜兼程赶到济南总督府。铁飞花赶至总督府，时逢庆功宴酒酣歌欢兴致正浓。此时，黑衣蒙面人飞檐走壁，搅乱庆功宴兴致。待左右护卫制服黑衣人，总督宋擎天发现，来人竟是他派到盐帮的卧底。卧底告诉宋大人，失踪的盐帮首领于慎独已经派出杀手龙涉虚，欲取九侯爷性命。九爷性命关天，一旦出事，总督大人难脱干系。从自身安危出发，宋大人建议九爷回京交差，以图全身而退。九爷正欲拔腿回京，京城传来圣旨，着九爷继续坐镇济南，剿灭于慎独。为保全性命，九爷安排宋擎天以钦差身份示众，自己却躲起来吃喝玩乐。九爷不现身，于慎独和他派出的杀手龙涉虚自然也不现身，使得暗藏京城、欲置九爷于不测的重要人物不得而知。为引蛇出洞，铁飞花将计就计，运筹帷幄。在铁飞花的掌握中，济南城东秀才何真、正骨神医吴三手纷纷露面。子丑寅卯，生旦尽末，神秘人物纷纷登场亮相，铁飞花暗中观察，冷静分析，却不动声色。铁飞花的将计就计终于惊动京城的千岁越王。越王与盐帮关系过从甚密的事在朝廷和坊间早有传闻。越王微服抵鲁，下榻济南商贾巨富，暗中接触九爷。越王的到来，牵动着秀才何真和吴三手的眼神。原来，越王确实是盐帮的后台。此来济南，目的在于调开铁飞花，为龙涉虚刺杀九爷赢得机会。越王自以为机关算尽，不曾想到一切尽在铁飞花的掌控之中。当越王联袂九爷亲赴总督行辕看望宋擎天时，越王安排好的刺杀行动已经开始。危及关头，铁飞花神奇现身。已故边关将军龙相如的儿子龙涉虚不取九爷首级，却在与吴三手对手后，要了杀父仇人越王的性命。龙涉虚凄然自杀，留下九爷无限的感慨和铁飞花由衷的钦佩。

「青春几何时，黄鸟鸣不歇。天涯失乡路，江外老华发。」秀场台前热闹滚滚，莺莺燕燕载歌载舞，颠鸾倒凤，雌雄莫辨；舞台后，幽幽往事百转千回如烟雾般，呢呢喃喃层层包覆，挥之不去。叱咤日本秀场的异色综艺团「恶之华剧团」团长冯丽华，在离开家乡、远赴东洋的三十多年后，突然接到来自台湾老家的电话，电话那端慌乱告知父亲已于日前过世，要冯丽华尽快返乡。浪迹天涯三十年，浪子回头，孤鸟还乡，景物依旧，人事全非，朱颜亦改。对冯丽华而言，即将迈开步伐跨越的迢迢归乡路，不仅是为了替父亲送行并争取父亲留下的遗产。飘荡多年后的重逢，是为了重新抚视当年远走的缘由，终于有勇气面对往日未竟的爱欲纠葛，解放心中缠绕多年、无法忘怀的眷恋。

Passages from James Joyce's Finnegans Wake 1965 16mm film 90minsThis was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society.Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue.Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.