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備注：已完結(jié)
類型：愛情片
主演：米歇爾·西蒙 迪塔·帕爾洛 讓·達斯特 Gilles Margarit
導演：讓·維果
語言：法語
年代：未知
簡介： 故事從一場婚禮開始，駁船亞特蘭大號的船長迎娶了漂亮的鄉(xiāng)下姑娘朱麗葉?；楹?，朱麗葉開始了全新的船上生活。一開始她對船上生活感到新鮮有趣，和丈夫的相處也甜甜蜜蜜，然而很快她便厭倦了這種單調(diào)枯燥的生活，漸漸地向往起大城市巴黎的熱鬧繁華。船長為了滿足朱麗葉，將亞特蘭大號開往巴黎?！ ∪欢陂g發(fā)生種種波折，導致船長遲遲沒有帶朱麗葉去巴黎，二人的矛盾日漸加深。不久，朱麗葉悄悄離開了亞特蘭大號，獨自去了巴黎，船長得知后生氣地駕船而去。分開后船長對朱麗葉無限思念，終日神不守舍。孤零零一人流落在巴黎的朱麗葉，最終會選擇留在燈紅酒綠的巴黎，還是回到亞特蘭大號上，回到深愛自己的丈夫身邊？
備注：已完結(jié)
類型：劇情片
主演：Giuseppe Gulino Aida Bellia Gianfra
語言：其它
年代：未知
簡介： 意大利人民反抗侵略，戰(zhàn)爭場面拍的相當宏大，各種優(yōu)美流暢的長鏡頭，演員表演內(nèi)斂自然，這部電影標志著意大利的電影人已經(jīng)掌握了非常嫻熟全面的電影技藝，被譽為當時意大利電影的最高成就絲毫不為過
備注：已完結(jié)
類型：劇情片
導演：茂文·勒魯瓦
語言：英語
年代：未知
簡介： In the Mohave Desert, Olga runs a gas station, lunch counter, and auto camp with her younger sister Myra. In a 24-hour period, Olga must deal with Myra's desire to go to a town dance with a cad, the appearance by happenstance of George, an old boyfriend whose conduct is never above suspicion, and the overnight presence of two women recently divorced in Reno, who, with a chauffeur, are carrying valuable jewels. George gets wind of the jewels and plays with Olga's heartstrings to set up a robbery. Myra arranges to sneak off with her beau. It's hot, and the heat lightening is crackling on the horizon. Is Olga's life of peace and hard work in the desert about to change for the worse?
備注：已完結(jié)
類型：愛情片
主演：莫里斯·舍瓦利耶 珍妮特·麥克唐納 愛德華·艾沃瑞特·霍頓 尤娜·默克
導演：恩斯特·劉別謙
語言：英語
年代：未知
簡介： 劉別謙初嚐美高梅大製作的派頭，一切筆法更神采飛揚。開敞的場景、空前的排場讓人物裏裏外外恣意張開：寡婦的心更顯孤獨，男女的愛更加沒處安放。坐擁小國大部分財富的寡婦忽然要搬到巴黎重新尋找生活色彩，國王唯恐國祚不保來一招美男計，派出風流種子色誘寡婦。本來一個用情一個求性，幾番邂逅與折騰，改寫了男男女女的基本需要。歌與舞沒有賣弄甜膩，反而放在愛情的沉重中換來了歌頌。歌與影無間交流，劉別謙輕歌劇巔峰之作，亦成了荷里活極有代表性的一章。司花利亞與珍娜．麥當奴最後一次合作，後者散發(fā)從未有過的成熟韻味?？胺Q最性感的音樂劇?！ ated "the sexiest musical in the thirties", The Merry Widow could well be the sexiest musical ever. Jeannette MacDonald, sensual and majestic as a Persian cat, is the wealthiest widow in the kingdom of Marschovia. On a visit to Paris, she attracts a flurry of gold-diggers. To prevent her fortune from passing to foreign hands, the king sends a romantic envoy to court her. He chooses Captain Donilo, whose cavalier attitude to women is not limited to his rapport with Maxim's "girls, girls, girls". Osé but not blasé, this elegant adaptation of Franz Lehar's operetta out-classed von Stroheim's silent in opulence, culminating in the grandest of grand balls. Source: 28th HKIFF
備注：已完結(jié)
類型：喜劇片
導演：霍華德·霍克斯
語言：英語
年代：未知
簡介： 紐約百老匯，戲劇導演Oscar Jaffe（約翰·巴里摩爾 John Barrymore 飾）捧紅了女演員Lily Garland（卡洛·朗白 Carole Lombard 飾），兩人成為百老匯票房保證，同時也是一對情侶。合作三年后，Lily因為受不了Oscar對她私人生活的過度干預(yù)，偷偷跑去了好萊塢演電影。Oscar一怒之下起用了新的女演員，可惜票房很差，還在芝加哥欠下了債。在從芝加哥回紐約的二十世紀列車上，Oscar機緣巧合又和Lily在同一列火車上。Oscar試圖挽回Lily，不管是愛情還是演戲，但Lily已經(jīng)有了另外的戀人，也對重新和Oscar合作不感興趣。這列火車上碰巧有一位腦子不大好使的大富翁，Oscar利用這個富翁給他開了張支票，試圖以這張支票來讓Lily簽了演戲的合約。然而這位所謂“大富翁”原來不過是個精神病人，Oscar手中的支票毫無價值。心灰意冷的Oscar決定開槍自盡......
備注：已完結(jié)
類型：劇情片
導演：孫瑜
語言：其它
年代：未知
簡介： 二十年前，金哥一家三口從鬧饑荒的村子里逃出來，母親給他留下了“向前找路”的信念。二十年后，金哥（金焰 飾）長大成為一個生性樂觀、不怕艱難的青年，他在城市里做工結(jié)識了五個青年——剛強的老張（張翼 飾），聰明的鄭君（鄭君里 飾），粗笨的章大，有志氣的小羅（羅朋 飾），千靈百 怪的韓小六子（韓蘭根 飾）。因為受到欺侮剝削，六人決定另謀生計，去修筑一條重要的軍用公路。在村口的飯館里，他們認識了兩個美麗的女子——丁香（陳燕燕 飾）和茉莉（黎莉莉 飾），幾個年青男女日漸結(jié)下了深厚的友誼?！ ‰S著軍事形勢日益緊張，日本帝國主義加緊對中國的侵略，金哥號召大家加緊修筑公路幫助軍隊對抗敵人。另一方面，敵人收買了漢奸要求停止修筑公路。于是，金哥等六人被請去了胡幫辦，胡老爺對金哥他們進行威迫利誘，要么收下洋錢終止筑路，要么挨鞭子等死……
備注：已完結(jié)
類型：愛情片
主演：弗雷德里克·馬奇 伊夫琳·維納布爾 蓋伊·斯坦丁 凱瑟琳·亞歷山大 吉
導演：米切爾·萊森
語言：英語
年代：未知
簡介： Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play "La Morte in Vacanza" by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained. [Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration. To see what’s behind all the conversation about love, the suave but na?ve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming. More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching. (Howard Schumann, talkingpix.co.uk) In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it. (Dennis Schwartz, homepages.sover.net) I've heard DRACULA was advertised with the tag line "The Weirdest Love Story ever told!" (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts. (Dave Sindelar, scifilm.org) See also the remake: Death Takes A Holiday (1971)
