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本作はTVスペシャルとしては初めてTVシリーズからの素材流用を行っており、第4シリーズの準レギュラーである少女富豪レベッカ?ロッセリーニとMI-6のニクスが初登場した第1話「ルパン三世の結婚」と第3話「生存率0,2％」を流用することでTVシリーズを見ていない視聴者に彼らを紹介し、さらに新作パートを追加することで本作オリジナルの仮面伯爵と名乗る人物とルパン三世の「カリオストロ伯爵の遺産」を巡る心理戦?爭奪戦を描いている。このため、キャラクターデザインや作風は第4シリーズとまったく同じとなっている。 サブタイトルの「イタリアン?ゲーム」はチェスの序盤定跡の名稱であり、イタリアを舞臺としていることと、仮面伯爵が「遺産」を巡る各勢力をチェスの駒に例えたことによる。なお、本作のターゲットとなる遺産を殘した「カリオストロ伯爵」は18世紀のヨーロッパに実在したアレ...
英達情景喜劇家族滬上“添丁”老上海滑稽戲巨星嚴順開打造“笑彈”連環大批上海喜劇明星擔綱演出炮制原汁原味兒海派喜劇！已故編劇粱左以獨有幽默筆調寫出圍繞一所上海老“石庫門”房子里不同房客們所發生故事展現出大都市光環下那些普普通通上海人生活
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西林豐采社區居委會主任夏慧蘭，她好管閑事，堅持原則，讓小區內的居民避之唯恐不及；小區中少女小娟的跳樓事件，讓夏慧蘭意外地發現有傳銷集團藏身于豐彩社區中。在工商和公安部門均沒有證據、無法揪出幕后黑手的時候，夏慧蘭救人心切，決定鋌而走險，自己親自潛伏到傳銷組織中去。夏慧蘭的聰明才智使得自己很快就掌握了一定的證據，公安局副局長王大德、豐采社區物業公司董事長武國強、報社記者唐梅均在小區外密切關注，與夏慧蘭里應外合，同時這件事情也引起了西林市楊市長的關注。可夏惠蘭萬萬沒想到，隨著她不斷逼近傳銷組織高層、就要成功之際，另一樁塵封已久的人生往事也逐漸揭開面紗，浮出水面——楊市長竟是自己曾經的戀人，而自己不明下落的兩個兒子也意外的出現在她的面前，成為打擊傳銷之戰中爭鋒相對的對手。
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Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's Staroye I Novoye. It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, Staroye I Novoye, is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with Staroye I Novoye. The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel ARTE, natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.