暫無(wú)簡(jiǎn)介

南方邊陲小鎮，綽號“釘子李”的老人自恃棋藝高超，他將老將釘在棋盤(pán)上，聲稱(chēng)無(wú)人能令他拔釘挪將，獨孤求敗。在那個(gè)特殊的時(shí)代，百萬(wàn)青年上山下鄉。小鎮新來(lái)的書(shū)記（牛犇飾）輸棋后憤憤不平，派下屬去城里尋找擅長(cháng)琴棋書(shū)畫(huà)的人才。外號“棋呆子”的北京青年王一生（謝園飾）稀里糊涂成了破壞文化大革命的現行反革命，最后被尋找他的人救了出去。他似乎對所要去的地方根本沒(méi)任何想法，只要有飯有棋就一切都好?！昂我越鈶n(yōu)，惟有下棋?！贝糇右恍闹辉谄寰?，他將在那個(gè)陌生的所在和各路高手留下令人神往的對決……本片根據阿城的同名小說(shuō)改編，并榮獲1989年度金雞獎最佳男演員獎（謝園）。

二戰前夕一個(gè)狂野的探險家在非洲乞力馬扎羅山附近尋找失落的鉆石礦 納粹也正在尋找鉆石礦準備為希特勒的野心計劃計劃提供強大的資金。

雨夜，華盛公司保險柜被撬。幾天后公司要員林森攜重要文件在一起蓄意車(chē)禍中失蹤。晚報記者沈丹丹拍下車(chē)禍照片。刑警隊長(cháng)羅浩將某公司經(jīng)理劉威龍列為重要嫌疑對象。一天兩個(gè)青年潛入沈丹丹宿舍，欲偷竊罪證照片，被羅浩和沈丹丹嚇走。原來(lái)，簽合同上當的劉威龍鋌而走險綁架了林森。羅、沈二人趕到藏匿林森的倉庫，差點(diǎn)被狡猾的劉威龍炸死。羅浩緊追劉威龍，兩人在海邊展開(kāi)搏斗。眾刑警趕到將劉威龍抓獲。沈丹丹和羅浩兩人逐漸擦出了愛(ài)的火花

　　電影劇情：
　　少女張碧玉十七歲，生于小康之家，生活無(wú)憂(yōu)無(wú)缺。張父忙于賺錢(qián)，張母則沉迷打麻雀，小弟年紀又小，碧玉心事無(wú)人可訴，苦悶非常。碧玉看見(jiàn)學(xué)校里許多同學(xué)都一雙一對，羨慕不已。
　　雖然也有一兩個(gè)同學(xué)追求她，但她的一顆芳心卻落在李晚成老師身上。碧玉不但借辭請老師補課，還請他老師參加音樂(lè )會(huì )。她得不到父母的關(guān)心，暗戀李老師又遭拒絕。遂貿然接受花花公子何少青的追求，險告失身。碧玉羞憤自殺，幸獲救，并獲雙親、師長(cháng)諒解，重過(guò)新生活。
　　外文名：Sweet seventeen
　　出品時(shí)間：1954年
　　出品公司：自由影業(yè)公司
　　發(fā)行公司：自由影業(yè)公司
　　攝制公司：華達片場(chǎng)
　　制片地區：中國香港
　　類(lèi)    型：劇情
　　片    長(cháng)：108分鐘
　　上映時(shí)間：1954年07月16日
　　對白語(yǔ)言：國語(yǔ)
　　色    彩：黑白
　　職員表：
　　監制：黃卓漢；袁德甫
　　導演：秦劍
　　編?。耗禃r(shí)
　　攝影：王劍寒
　　剪輯：潘照；梁恭
　　燈光：梁炳
　　錄音：譚宏遠
　　劇務(wù)：陳英杰
　　場(chǎng)記：趙伯川
　　布景師：包天鳴
　　制片：潘炳權
　　音樂(lè )：葉純之
　　場(chǎng)務(wù)：王海濤
　　化妝：方圓
　　洗?。悍腋?br/>　　演員表：
　　角色                         演員                          備注
　　張碧玉                        林翠----
　　李晚成黃河----
　　張伯年石磊----
　　王媽馬笑儂----
　　張少帆水維德----
　　張太太裘萍----
　　朱醫生吳景平----
　　羅校長(cháng)陳濠----
　　方志雄楊文凱----
　　霍錦江陳榴霞                          ----
　　何美萍童真----
　　小蕭馬力----
　　何少青岳麟----
　　陳漢楊帆----
　　蔡淑蘭楊雯----
　　江小珠丹妮----
　　黃云左青----
　　方萍伊玲----

　　Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.'
　　By day he's a store clerk in an upscale gourmet eatery, and these scenes raise a smile, especially for anyone who's visited the actual chain in New York City -- the portrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imported French cheese cut to impossibly exact standards. His efforts to remain outwardly polite (while you know he'd like to take the cleaver to the relentless clientele) are pretty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and provides the movie with most of whatever lightness it possesses.
　　Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hopeful chemistry, and you may begin to feel you want to see these two get together.
　　One of the main competitors for our lady's affections, a stockbroker (Kevin Anderson), is played as caricature: he's the beer swilling frat-boy whose idea of after-sex sensitivity is flipping on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comparison to Broderick's sensitive man. Think of John Candy in Splash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't help but be charmed by the likeable goon. Whereas this character is merely a goon, and pretty unlikable all around.
　　While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) presentation of sex and adultery. (SPOILER AHEAD, skip to next paragraph.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many people use this countering maneuver in arguments. What's unbelievable is what happens next: the guy starts responding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard pressed to find a married person in the world who, when faced with his/her partner's totally unexpected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the poor schnook, and we'd see Sciorra's character in a poor light. And since that particular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken.
　　Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our couple will finally see a clear path to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrupt conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...