主演：芳艳芬,任剑辉,谭倩红,少新权,萧仲坤,马笑英
导演：陆邦
简介：影片简介：香港粤剧电影《含笑饮砒霜》由龙门影业公司于1959年出品。该片由陆邦执导，芳艳芬、任剑辉、谭倩红、刘克宣、萧仲坤、马笑英等领衔主演。该片是龙门影业公司创业作，改编自名伶薛觉先同名粤剧。主要剧情是：尹桃红被养母逼嫁黄百坛，尹桃红与爱人程一往欲服毒殉情，黄百坛却误饮毒酒身亡，尹桃红为救程一往承认杀黄百坛。程一往偶然救助巡按女儿，巡按感恩许以女儿，并提拔程一往任知县。程一往为尹桃红翻案，被巡按误会假公济私。后巡按知悉原委，赐假毒酒试探二人，尹桃红、程一往含笑饮砒霜，终感动巡按释放尹桃红。剧情简介：尹桃紅青樓賣唱, 與文武雙全窮書生程一往相戀。紅被養母迫嫁富豪黃百壇, 為不須壇替己贖身, 紅與往欲服毒殉情。剛巧壇到訪, 卻誤飲毒酒身亡。往為見紅故意惹事生非, 被判牢一天。該日有強盜劫獄, 往把強盜擊退, 又與捕頭搗破匪巢, 偶然求助巡按女兒...
主演：任剑辉,余丽珍,梁醒波,凤凰女
导演：珠玑
简介：趙平王（任劍輝）的東宮彩鸞（余麗珍）和西宮錦鳯（鳯凰女）同時產子。錦鳯子夭折錦鳯暗中以死嬰換鷥子，彩鸞再度懷孕錦鳯派人此作鷥奸夫，刺殺太后，更迫平王下令施刑，烙盲彩鸞雙目，把她棄於荒山，彩鸞幸得百獸保護，順利產子。续上集:东宫彩鸶与三太子玉麟居荒山十六年，鸾获华山圣母赐神眼，神翼及隐身宝扇，暗中回宫保护亲儿金麟。西宫锦凤欲杀金，鸾入宫营救，失手被擒。凤唆使金杀鸾，幸玉及时率百兽对付凤，凤惨死，金即帝位，接鸾回宫团圆
主演：關德興,,曹達華,,石坚,林蛟
导演：胡鵬
简介：天宮仙獸園的猩猩王偷去二郎神的寶牌，化身人形潛下凡間，到處奸淫擄掠，傷及清官張忠介的子女。介向天求救，驚動眾仙，卻都苦無良計對付猩，終由觀音將猩收服，並一一處罰犯錯的眾仙。
主演：肯尼思·莫尔,劳伦·白考尔,赫伯特·罗姆,维尔弗雷德·海德-怀特,I·S·乔哈尔,厄休拉·杰尼斯,Eugene,Deckers,伊恩·亨特,杰克·格威利姆,Govind,Raja,Ross,Basil,Hoskins,S.M.,Asgaralli,Sam,Chowdhary,穆特里·凯尔索尔,Lionel,Murton,艾伦·卡思伯森,霍华德·马里昂-克劳福德
导演：J·李·汤普森
简介：InBritishIndia,ayoungprincemustbetakentosafeyacrossrebel-heldterritory,andanoldtrainistheonlywaytodoit.
主演：吴君丽,罗剑郎,半日安,阮兆辉,陈宝珠
导演：陈焯生
简介：电影剧情：张金荣与赵家璧没有经母亲之命结合，并育有一子带来。金荣继母及同父异母弟弟为夺亡父留下的藏宝图，多年来对金荣一家百般欺凌。后家璧诞下另一儿子宝官，刚巧二嫂难产，婴儿夭折，家仆福伯害怕奶奶及二叔加害宝官，故把宝官新生儿交给二嫂养育，认作二嫂所出。金荣父亲的藏宝图规定，一定要等到十六年后才能找出宝藏，而宝图则由金荣保管。经福伯解释，宝官与母亲家璧相认。二叔及继母急不可待要迫令金荣交出藏宝图，甚至把金荣打伤。及发现宝藏空空如也，愤而生葬家璧。金荣两子孝感动天，得神鹰赐斧、棍，劈棺救母。福伯努力营救，金荣大难不死，亦回来拯救妻子，一家团圆。出品时间：1959年出品公司：大联影业公司摄制公司：国家片场制片地区：中国香港类 型：剧情片 长：107分钟上映时间：1959年11月19日对白语言：粤语色 彩：黑白职员表...
主演：关仁,大声婆,陈立品,任剑辉,周小来,白雪仙,梁醒波
导演：俞亮
简介：杨春香和江谢祖情投意合，虽分隔两地，却无碍感情。兄耀祖为弟着想，修好木桥，定名为二郎以作纪念。因战乱失散，兄弟投靠姨丈。十年后，香为养母于街头卖艺，引起恶霸贾二爷垂涎，香拒被侵犯，贾感不甘。香被母迫嫁耀，始与谢重逢。谢虽重遇爱人，唯其早已是大嫂身份，只好忘却前事。香将真相告予耀祖，得其谅解。耀得知往事，离家从戎，以成全香、谢。十里亭上，香多番表明爱意，谢却碍于礼教，惟有辜负佳人。香失意之余，险遭贾强奸，复因自卫杀人被判死刑。谢遭贾的师爷所害变至失明，重回二郎桥，唏嘘万分。其时香被押至，谢深感悔意。行刑之际，幸得耀荣归来救，香与谢终再续前缘。
主演：新马师曾,余丽珍,欧阳俭,苏少棠,凤凰女
导演：珠玑,龙图
简介：电影剧情：神鸟大鹏下凡，偶遇庸仁福，施法术助福夺得美人韩明珠，鹏却被迫娶明丑姊珍珠。明不甘嫁福，新婚夜欲借酒移花接木，意图改嫁大鹏，却惊见鹏现出原形，后更遭鹏挟持，幸得十八罗汉将鹏收服。The Roc's long flight出品时间：1959年出品公司：立达影业公司制片地区：中国香港上映时间：对白语言：粤语色彩：黑白类型：奇幻，戏曲，粤剧职员表：监制：许立斋导演：珠玑；龙图编剧：卢雨岐；李愿闻制片：严牛撰曲：李愿闻；潘焯演员表：角色 演员 备注神鸟大鹏 新马师曾 ----韩珍珠 余丽珍 ...
主演：罗莎娜·斯基亚菲诺,爱尔莎·玛蒂妮利,洛朗·特兹弗
导演：莫洛·鲍罗尼尼
简介：The exploits of three young Roman criminals are chronicled in this socially conscious drama. The young men commit petty crimes all day begin with arms theft, and culminating with a night with three streetwalkers. After their pleasure, the boys try to cheat the hookers, but they ladies are smarter than that and have stolen their cash ahead of time. The punks then return to the city for more crimes. Exploits include the harassment of three homosexuals, and attempts to seduce some women.
主演：彼得·塞勒斯,珍·茜宝,莱奥·麦凯恩,Monte·Landis,George·Margo,Lionel·Murton,比尔·纳吉,麦克唐纳·帕克,Mavis·Villiers,Harold·Kasket,威廉·哈特奈尔,科林·戈登,大卫·柯索夫,蒂莫西·贝特森,沃利·布朗,Henry·De·Bray,阿特·吉尔摩,艾伦·吉福德,盖伊·迪吉
导演：杰克·阿诺德
简介：An impoverished backward nation declares a war on the United States of America, hoping to lose, but ...
主演：金山,田华
导演：金山
简介：1922年夏，铁路工人黄德发（鲁非 饰） 与江有才送京汉铁路警务处长魏学清的老太爷进城看戏，老太爷蛮横无理与军火车争道。危机中黄德发跳车逃命，江有才和魏老太爷双双辗死在火车轮下。事后魏学清竟以凶手罪名指控黄德发。京汉铁路工人林祥谦（李翔 饰）及律师施洋（金山 饰）地下 党领导老何（吴雪 饰） 和工人代表孙玉亮（张平 饰） 及时发动群众，设法营救了黄德发。1923年1月，在地下党负责人老何的指导下，京汉铁路十六个工会的代表与全国各界代表，经过合法手续到郑州集会，成立总工会。军阀吴佩孚（冯一夫 饰）却下令镇压。林祥谦等施巧计脱离险境。1923年2月4日，在党的领导下，京汉铁路工人举行了全线大罢工，交通中断。在英美帝国主义的支持下，军阀吴佩孚对手无寸铁的工人实施了震惊中外的大屠杀......
主演：京町子,叶顺子,仲代达矢,中村雁治郎
导演：市川昆
简介：古美术鉴定家剑持（中村鴈治郎 饰）终于迎来自己的老年时代，他的身体各项技能都开始退化，然而其又心存不甘。剑持的妻子郁子（京マチ子 饰）端庄贤淑，出身僧侣之家且受着传统教育的她即使在夫妻云雨之时也拒绝欲望的宣泄。深知妻子隐含的欲望，剑持一方面想引导郁子变成一个放荡的女人，一方面也希望通过嫉妒来让自己重新焕发活力。他经常将年轻英俊的医学院学生木村（仲代達矢 饰）邀至家中，企图从木村和郁子的暧昧中感受强烈的嫉妒。同时他将真实想法写在日记里，并设法让郁子看到。夫妻二人由此展开危险、致命的欲望游戏…… 本片根据日本官能作家谷崎润一郎的同名原作改编，并荣获1960年戛纳电影节评委会奖、1960年蓝丝带最佳导演奖、1960年美国金球奖最佳外语片奖、1960年电影旬报最佳剧本奖。
主演：佐藤允,朝比奈知子,上原美佐,中丸忠雄,中谷一郎,夏木阳介,江原达怡,五十岚信次郎,中北千枝子,横山道代,盐泽登代路,泽村伊纪雄,谷晃,山本廉,堺左千夫,桐野洋雄,岩本弘司,堤泰之,宇野晃司,小川安三,杰瑞·藤尾,鹤田浩二,三船敏郎,中岛春雄
导演：冈本喜八
简介：第二次世界大战末期，日本在华北战场已显颓势。在某山谷中，日军独立第九十小分队被困在此地，不得动弹。这支队伍成员来自各个连队，被人戏称为“独立愚连队”。困于绝地的军人们神情涣散，沮丧绝望。 一天，军曹大久保（上村幸之 饰）和随军记者荒木（佐藤允 饰）伪装成中国人来到这里。大久保的弟弟原是独立愚连队的队长，后来传闻他和情人殉情而死。正在北京战地医院养伤的大久保怀疑其中另有隐情，他偷偷逃出医院来追查事情的真相。经过一番调查，大久保和荒木发现石桥中尉在这起殉情案中有重大嫌疑。与此同时，中国军队的总攻也在悄悄展开……
主演：藤川弘志,伊藤道子,望月優子,須賀不二夫,富永ユキ
导演：大岛渚
简介：家住川崎贫民街的初三学生正夫（藤川弘志 饰）和母亲、妹妹过着困苦的生活。母亲（伊藤道子 饰）常年在街上给人擦鞋，妹妹（望月優子 饰）因疏于家庭关爱而有些自闭，经常独自一人对着死老鼠画画。正夫虽然学习优秀，但为了贴补家用不得不上街做起买卖。他出售自己驯养的白鸽，聪明的白鸽会趁新主人不注意的时候飞回正夫家里。正夫便利用这种伎俩赚钱。 某天，他结识了精密机械会社老板重役久原（須賀不二夫 饰）的女儿京子（富永ユキ 饰），两人渐渐熟捻。在京子的介绍下，正夫参加了精密机械会社的考试。虽然考试通过，但他利用鸽子行骗的行为被人拆穿。愤怒的正夫再次返回街上卖鸽子，京子对其充满同情，然而他们终究是属于两个阶层的人……
主演：金·诺瓦克,弗雷德里克·马奇,格伦达·法瑞尔,阿尔伯特·德科,马丁·鲍尔萨姆,李·格兰特,李·飞利浦,埃菲·阿夫顿
导演：德尔伯特·曼
简介：A 24-year-old divorcee, Betty Preisser, a receptionist for a clothing manufacturer, takes some office work home which her boss, widower Jerry Kingsley, a man of 56, drops by to pick up. Professional rather than personal acquaintances, Betty tells Jerry of her loveless marriage to George, a musician. Jerry has a married daughter, Lillian, about her age, and a spinster sister, Ev...
主演：玛丽莲·梦露,托尼·柯蒂斯,杰克·莱蒙,乔治·拉夫特,帕特·奥布莱恩,乔·E·布朗,内赫米亚·佩尔索夫,琼·肖丽,乔治·E·斯通,戴夫·巴里,迈克·马祖尔凯,哈里·威尔逊,贝弗利·威尔斯,芭芭拉·德鲁,小爱德华·G·罗宾逊
导演：比利·怀尔德
简介：1930年代，动荡的芝加哥时常被强盗集团骚扰。乔（托尼?柯蒂斯）和杰利（杰克?莱蒙）本是乐团成员，两人因偶然目睹盗匪史巴克的手下在车库内射杀告密者而被穷追不舍。走投无路之下，他们男扮女装加入一女性乐团，并随该团来到迈阿密。该团中有位名叫秀珈（玛丽莲?梦露）的异常美丽性感女郎，乔晓得她一心想钓有钱人时，便化身石油王的公子企图得到她的芳心；另一面，杰利也对秀珈情有独钟，可是他却得到一位不知他是男儿身的富翁的不断纠缠，笑话迭生。不久，乔和杰利又遇史巴克一伙，只得再次逃亡，场面更加逗笑。
主演：内详
导演：居伊·德波
简介：Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves.Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.Our camera has captured for you a few aspects of a provisional microsociety.The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."?Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"? can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns.What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.Voice 2: Years, like a single instant prolonged to this point, come to an end.Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.Voice 1: Really hard to drink more.Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot.Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.To really describe this era it would no doubt be necessary to show many other things. But what would be the point?Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
主演：路易斯·乔丹,琼·克劳馥,霍普·兰格,史蒂芬·博伊德,苏齐·帕克,玛莎·海尔,黛安·贝克,布赖恩·艾亨,罗伯特·埃文斯,布雷特·哈尔西,唐纳德·哈伦
导演：让·尼古拉斯科
简介：卡洛琳·班德（Hope Lange）是一个刚毕业不久、在纽约打拼的女大学生，她进入费边出版公司担任秘书职位，并在那里认识了同样身为秘书的格雷格·亚当斯（Suzy Parker）和阿普里尔·莫里森（Diane Baker），格雷格和阿普里尔都很喜欢卡洛琳，于是邀请卡洛琳搬进她们的公寓，三个女孩就这样生活在了一起。卡洛琳的上司阿曼达·法罗（Joan Crawford）因为怀疑卡洛琳企图取代她的位置，所以一直百般刁难卡洛琳，然而卡洛琳自己却计划男友艾迪·哈里斯（Brett Halsey）一从欧洲回来便与其成婚，然后从公司辞职彻底投入家庭主妇的生活，但天不遂人愿的是艾迪在欧洲与其他女人成婚，伤心不已的卡洛琳只好全心投入工作之中，她和编辑迈克·莱斯（Stephen Boyd）的感情也因此变得越发复杂。阿普里尔是个天真单纯的女孩，刚一入公司就遭到了上司沙利马尔先生(Brian Aherne)的性骚扰，但却反而与其成为朋友，后来偶然间她认识了富二代德克斯特·基（Robert Evans）并与其交往，她幻想着与之成家立业却未料到自己所托非人。格雷格一直努力想要成为一个女演员，她偶然认识了导演戴维·塞维奇（Louis Jourdan）并与之谈起恋爱，有了塞维奇的帮助她以为自己已经可以全心追求演艺事业便放弃了秘书的工作，却未想到厄运已经就此埋下祸根。
主演：利诺·文图拉,桑德拉·米洛
导演：埃德沃德·莫利纳罗
简介：《城市中的见证》是由埃德沃德·莫利纳罗执导，利诺·文图拉、桑德拉·米洛主演的犯罪片。[1]该片讲述了实业家皮埃尔·威尔第杀害自己情妇，情妇的丈夫对凶手进行报复的故事。实业家皮埃尔·威尔第（Pierre Verdier）将他的情妇珍妮·安切林（Jeanne Ancelin）扔下火车，杀死了她。她的丈夫安切林决定对谋杀他妻子的凶手进行报复，凶手已被司法部宣判无罪。他在家里等他，然后把他吊死。他离开了这个地方，没有人看见，至少他是这么想的。但不幸的是，出租车司机兰伯特目睹了他。安切林别无选择，只能摆脱他[2]。简介：《城市中的见证》是一部1959年的意大利-法国合拍电影，由埃德沃德·莫利纳罗执导，利诺·文图拉和桑德拉·米洛主演。影片讲述了一个在城市中成为目击者的男子，因为他的证词而被杀的故事。故事发生在法国的一个小城市，讲述了托尼·法比安（利诺·文图拉饰）是一位成功的建筑师，他有一个美丽的妻子和一个可爱的女儿。一天晚上，他目睹了一起谋杀案，凶手是他的老板、他最好的朋友和他的妻子的情人。托尼为了保护自己和家人的安全《城市中的见证》是一部1959年的意大利-法国合拍电影，由埃德沃德·莫利纳罗执导，利诺·文图拉和桑德拉·米洛主演。影片讲述了一个在城市中成为目击者的男子，因为他的证词而被杀的故事。故事发生在法国的一个小城市，讲述了托尼·法比安（利诺·文图拉饰）是一位成功的建筑师，他有一个美丽的妻子和一个可爱的女儿。一天晚上，他目睹了一起谋杀案，凶手是他的老板、他最好的朋友和他的妻子的情人。托尼为了保护自己和家人的安全，开始向警方提供证词，但这导致他的生活开始崩溃。他的妻子对他失去了信任，他的女儿被绑架，并最终被谋杀。托尼决定用自己的方式来处理这个问题，结果引发了一连串的悲剧。这部电影被认为是意大利新现实主义电影运动的代表作之一，对于法国电影工业的发展也产生了很大的影响。影片的导演莫利纳罗强调了社会现实主义的观点，并在这个故事中展现了警方的腐败、职业道德的缺失、以及普通人在正义与安全之间的冲突。此外，利诺·文图拉的出色表演和优秀的摄影技术也使这部电影成为了一部经典的影片。
主演：查尔顿·赫斯顿,杰克·霍金斯,哈雅·哈拉里特,史蒂芬·博伊德,休·格里夫斯,玛莎·斯考特,凯茜·奥唐内,山姆·谢斐,芬利·柯里,安德鲁·莫瑞尔
导演：威廉·惠勒
简介：故事发生在古罗马时期，护民官米撒拉(史蒂芬?博伊德 Stephen Boyd 饰)回到了故乡，重遇了儿时的好友宾虚(查尔登?海斯顿 Charlton Heston 饰)。宾虚家是犹太人的豪门，在犹太人中享有相当高的待遇，为了控制犹太人，使他们安份的臣服于古罗马帝国的统治之下，米撒拉希望宾虚帮忙。但宾虚不肯出卖自己的民族，于是两个好友决裂了。随后，米撒拉找了借口治了宾虚一家谋反罪，宾虚被卖到一艘军舰上当奴隶，而他也失去家人们的信息。一次偶然机会，宾虚立了战功，得到了古罗马的皇帝接见，他回到了故乡，也开始了他的复仇之旅!
主演：詹姆斯·斯图尔特,丽·莱米克,本·戈扎那,阿瑟·奥康纳,伊芙·阿登,凯丝琳·格兰特,乔治·C·斯科特,奥森·比恩,拉斯·布朗,莫瑞·汉密尔顿,Brooks,West,肯·林奇,约翰奎尔伦,霍华德·麦克尼尔,Alexander,Campbell,Ned,Wever,Jimmy,Conlin,Royal,Beal,Joseph,Kearns,James,Waters,约瑟夫·N·韦尔奇,艾灵顿公爵,Irv,Kupcinet
导演：奥托·普雷明格
简介：律师贝克正在追查一桩凶杀案，当事人梅森中尉和他那自称被死者强暴的太太对真相有所隐瞒，死者邦尼和他们夫妻俩到底有何秘密？贝克能查到线索，找出事实的真相吗？
主演：拉娜·特纳,约翰·加文,桑德拉·狄,苏珊·柯娜,罗伯特·阿尔达,丹·奥赫里奇,胡安妮塔·摩尔,卡琳·迪克尔,Terry,Burnham,John,Vivyan,Lee,Goodman,安·鲁滨逊,特洛伊·多纳胡,桑德拉·古尔德,David,Tomack,乔尔·弗吕莱恩,杰克韦斯顿,比利·豪斯,Maida,Severn,Than,Wyenn,Mahalia,Jackson,弗兰克·贝克,George,Barrows,Paul,Bradley,Chet,Brandenburg,Teddy,Buckner,Ge
导演：道格拉斯·塞克
简介：罗拉（拉娜·特纳 Lana Turner 饰）和苏西（桑德拉·狄 Sandra Dee 饰）是一对相依为命的母女。在工作中，罗拉是一位女强人，总是将她的大部分时间都投入到繁忙的职务中，生活里自然而然少了很多对于女儿的关注，久而久之，母女之间的隔阂越来越深。这感情的裂痕在她们都爱上了同一个男人之后，最终导致了悲剧。安妮（朱安妮塔·摩尔 Juanita Moore 饰）是一名黑人女子，而她的女儿莎拉（苏珊·柯娜 Susan Kohner 饰）则是混血，莎拉一直以母亲的肤色为耻，这不断的伤害着安妮的感情。然而，母性的本能驱使着安妮一次又一次的原谅的莎拉，并且依然如故的爱着她。
主演：谢添,林彬,马薇,于蓝,韩涛
导演：水华
简介：1931年“九一八”事变后的冬天，浙江某小镇也和全国各地一样，掀起了抵制日货的运动。镇上“林源记”老板的女儿林明秀（马薇 饰），因穿了一件日本面料的旗袍而受到同学的鄙视。她回到家中哭闹，责怪父亲尽卖些东洋货。此时林老板（谢添 饰） 也正为县党部勒令停售东洋货伤透脑筋。不得已他只好把东洋货冠以“国货”的标签出售。年关将至，正是讨债用钱的时候，各商铺纷纷以打折甩货来相互倾轧。“一.二八”沪战爆发的消息使林老板添了新的忧虑，因为他还欠着上海某商行的货款，此时上海客人（陈述 饰）来催债, 林老板只好跟钱庄借贷，然而钱庄非但不肯，反而要求他还清陈债，幸好伙计寿生从乡下收帐回来，才打发走了上海客人。而此时“林源记” 的竞争对手“裕昌祥” 放出了林老板准备携款逃走的谣言，小股东们纷纷上门讨要本钱，林老板只好求余会长（韩涛 饰）帮忙辟谣，余会长却借机提出让林的女儿做...
主演：里坡,贾六,胡朋,刘季云,张璋,王孝忠,张亨利,孟庆芳,谢万和,王润身,刘江,朱启
导演：冯毅夫;李俊
简介：抗战初期的冀中平原上，日寇的“三光”政策所到之处，村村坟莹、遍野哭声。平地一声惊雷，马本斋（里坡 饰）高举抗日义旗，从东北返乡成立抗日义勇队，网络民间抗日志士，抗击日寇的侵略。由于缺乏正确的领导，回民义勇队在最初的战斗中损失惨重，幸得八路军营救，方获重生。马本斋毅然断决利诱，率部参加了八路军，并将队伍改编为回民支队。他的副官白守仁（王孝忠 饰）暗中与日寇勾结，企图拉队伍投敌，马本斋怒火中烧，当众将其击毙。凶恶的日寇抓来马母(胡朋 饰)逼马本斋就范。马母英勇不屈，绝食殉国。目睹日寇的卑鄙暴行，马本斋心中激发了更强烈的民族仇恨......
主演：弗朗西斯科·拉瓦尔,玛格·洛佩兹,丽塔·马塞多,埃达·卡拉斯科,Manuel,Arvide,路易斯·阿瑟维斯·卡斯坦尼达,David,Reynoso,Noé,Murayama,Pilar,Pellicer,伊格纳西奥·洛佩斯·塔尔索,Aurora,Molina,Ofelia,Guilmáin,何塞·查韦斯,Victorio,Blanco,Edmundo,Barbero,罗森达·蒙特罗斯
导演：路易斯·布努埃尔
简介：纳萨林（弗朗西斯科拉瓦尔 Francisco Rabal 饰）是一名将自己的全部都奉献给了上帝的神父，他放弃了教堂里优渥的条件，心甘情愿的前往环境十分糟糕的偏僻村庄布道。然而，纳萨林的虔诚却并没有换来应有的尊敬，因为帮助了犯下了谋杀罪行的妓女安达拉（Rita Macedo 饰），纳萨林遭到了信徒的唾弃和教会的驱逐。 然而，纳萨林并没有放弃信仰。安达拉的好友比阿特里兹（玛格洛佩兹 Marga López 饰）的姐姐的孩子身患重病，请求纳萨林的祝福，奇迹发生了，孩子的疾病竟然神奇的痊愈了。就这样，安达拉和比阿特里兹成为了纳萨林的信徒。比阿特里兹的前男友平托（Noé Murayama 饰）十分嫉妒纳萨林，对他进行了无情的污蔑和中伤。
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