[美国/三级] 所多玛的罪恶 (一刀未剪) [中文字幕][AVI/1.00GB]

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【影片片名】：所多玛的罪恶 (一刀未剪) [中文字幕]
【影片又名】：All The Sins of Sodom (1968).
: C1 m6 W5 f# A* q2 R& N" k, v) d% ^* I【平均评价】：★★★★★★→ 6.0 颗星
2 m3 X$ h8 r( h1 ^( |【影片大小】：1.00 GB  
【影片时间】：01:35:26  
/ H( }" Y3 P! q6 _& y+ v【影片格式】：AVI   【D9→转製AVI】
. ^, R* I/ T- w/ ^【影片尺度】：三级  (18禁)
【视频尺寸】：900X504  (优质清晰版)  
【影片演员】：Morris Kaplan. Maria Lease. Marianne Prevost. Peggy Steffans. Cherie Winters. etc.
2 S: d% P3 N# i& H【档案数目】：2个AVI+11个图片群  (种子内有图)
【语种发音】：英语对白. 简体中文字幕.
- G% u; n+ o2 }: f【影片内容】：时装.成人.剧情.色情.性慾.女同.淫荡.3P.自慰. 等.
# O  L- c, Q' ]8 J* M" v& _! z【影片片商】：JOSEPH SARNO FILM.  
2 m) B/ G3 K2 \【画质资料】：NTSC16:9 / Video Quality:2400 Kbps.
【内容附註】：※片内不加入自己ID, 亦不植入窃佔为己有的炫耀水印字语.
. _) w$ x$ I7 C/ }【回覆附註】：※不喜此类型者请自律, 请勿回覆损人不利己的无聊言词!!
【验证码】：d18164d16186016a6bd1f5d39443c435d96d9791
【种子製作日】：2012-02-01
【种子期限】：完30种後5天内不定期补种 (3週後删档)
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【影片资料】:
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- l' P5 S: v" H2 R      “索多玛的罪恶”看点：擅长驾驭情色题材的瑞典籍约瑟夫萨诺，一生情色作品丰富，其中尤以这部“索多玛的罪恶”，是其最为代表的作品。“索多玛的罪恶”故事：海宁是一个时尚摄影师，他感到人的裸体量创造了他喜欢的摄影模式。提供了一个在理想的男性幻想电影和色情的模式，探索人体艺术和搜寻完美机会，以达成对妇女的性命令。一切似乎顺利，直到出现神秘的乔伊斯，黑暗和感性，海宁与乔伊斯进入引诱性游戏 ......
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% U" ]: d5 V8 e' b% O4 j/ U      令人震惊的，感性的和戏剧性的，这个 1968年的戏剧感是之一乔萨尔诺的最引人注目的电影 - 一个慾望和迷恋色情故事，一个雄心勃勃的摄影师，他的性爱和感性来操纵女人们之间，亨宁是以时尚色情摄影师，驱动他的摄影艺术辉煌愿景。他感到鼓舞的是一个文学代理製作色情裸体和工作量，创造了与他最喜爱的形态，编造的完美佈局。一切似乎顺利，直到神秘的乔伊斯; 黑暗和感性，乔伊斯扮演摄影师的自我游戏，驾驭亨宁和莱斯利之间的一个楔子，勾引他的其他类型之一。由他自己的野心所蒙蔽，亨宁乔伊斯是编织的毁灭性的网页，终而无法达成慾求心愿，成就被销毁无存.........

【Storyline】：

     This is a striking feature by Joe Sarno that displays to the full extent his skills in high-key black and white lighting, effective mise en scene, and casting and directing actors. The series of models parading in and out of fashion photographer Henning's life and bedroom (in a not so subtle reference to the film BLOW UP), offers the perfect opportunity for a cinematic and erotic exploration of the ideal male fantasy, which is total artistic and sexual command of a stable of beautiful and willing women. The nymph who enters his life, occupies his spare room, and slowly turns his ideal setup upside down is yet another component to this fantasy, at at least for the viewer, as it allows for girl on girl scenes in which the models are further dominated sexually, and in which there is more sexual variety and kinkiness at play. Sarno's use of the female face captures the erotic more fully than many films which are fully graphic, and the psychological components of sexual desire are both varied and realistic.

+ y% H5 M. k4 E8 `7 a' K# t$ a      Indeed, viewing the film made me understand fully what it would be like to be a male with the desire to sexually dominate a series of women, as it presents such a fantasy outside of moral concerns or even social concerns, but purely as a giddy lifestyle of pleasure from which no escape would ever be desired. Oddly enough, this also gives the women, who are otherwise so individual and so uniquely beautiful, an interchangeability that can be chilling to the heart of a romantic. There is a Sadean dimension to the pleasure that erases the importance of the women, even as they are made full subjects in terms of their equal and complicit engagement in the acts which they crave.
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      The man always remains intact and individual, insofar as he is the only male on screen in a sea of women, and because he is a complete person and an artist in his own right, liking sex but not needing it to complete and define him. The women, on the other hand, have no identity separate from what sex gives them (their inside dimension) or what their appearance offers to the screen and to his camera (their outside dimension). They are eaten up by both cameras and by the male gaze, in such a voracious way that there is nothing left to hide, and in this feat lies Sarno's skill as a director, that he can lay this vulnerability bare and get these actresses to go to places that you normally don't see women go in movies.

      Therefore, the goal of the photographer in this film (to capture something in women that is fully erotic, fully female in the darkest sense), is met successfully by the protagonist's camera, and also by Sarno's camera. Even as the photographer in the film complains that he can't capture on film the expression that his lover has when she is transported by pleasure, Sarno's camera shows us this expression, and tells us at the same time that we are watching something extraordinary.
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忘记了

所多玛的罪恶

忘记了

不知道可好看啊

bmbx

还是黑白的片子，够久远

10066

楼主。你太毒了