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備注：已完結(jié)
類型：喜劇片
導(dǎo)演：沃爾特·朗
語言：英語
年代：未知
簡介：哈里（羅伯特·楊 Robert Young 飾）同妻子與三個(gè)孩子居住在風(fēng)景宜人的郊區(qū)，繁忙的工作讓他無暇照顧孩子們，面對(duì)三個(gè)整天調(diào)皮搗蛋的臭小子，哈里的妻子（瑪琳·奧哈拉 Maureen O'Hara飾）亦感到力不從心，請(qǐng)一位能夠幫忙又不會(huì)添麻煩的保姆似乎成為了哈里唯一的選擇，就這樣，一個(gè)名叫貝爾維德爾（ 克利夫頓·韋伯 Clifton Webb飾 飾）的人成為了保姆的最終人選?！ ≈钡截悹柧S德爾入駐哈里的家中之后，哈里才發(fā)現(xiàn)，這個(gè)表面看來溫柔的人其實(shí)是一個(gè)怪人，但是，神奇的是，他用不知道是哪門子的怪招，竟然將哈里的三個(gè)兒子給管教得服服帖帖，這讓哈里不得不服。隨著時(shí)間的推移，外界開始有了一些關(guān)于貝爾維德爾的不堪傳言，這些傳言究竟是不是真的呢？
備注：已完結(jié)
類型：喜劇片
導(dǎo)演：歐文·皮切爾
語言：英語
年代：未知
簡介：As told to a psychiatrist Mr. Peabody, middle-aged Bostonian on vacation with his wife in the Caribbean, hears mysterious, wordless singing on an uninhabited rock in the bay. Fishing in the vicinity, he catches...a mermaid. He takes her home and, though she has no spoken language, falls in love with her. Of course, his wife won't believe that thing in the bathtub is anything but a large fish. Predictable complications follow in rather tame fashion.
備注：已完結(jié)
類型：劇情片
主演：瓊·貝內(nèi)特
導(dǎo)演：斯蒂夫·塞克利
語言：英語
年代：未知
簡介：John Muller, medical school dropout and brilliant crook, plans a holdup which goes a little bit wrong, and finds vindictive gambler Rocky Stansyck after him. At the end of his tether, he stumbles onto a lucky chance to assume an impenetrable new identity as psychiatrist Victor Bartok. But irony piles on as Muller finds it's out of the frying pan, into the fire.
備注：已完結(jié)
類型：劇情片
主演：艾琳·鄧恩 芭芭拉·貝爾·戈迪斯 奧斯卡·霍莫爾卡 菲利普·多恩 塞德
導(dǎo)演：喬治·史蒂文斯
語言：英語
年代：未知
簡介：Loosely based on Kathryn Forbes' book -Mama's Bank Account-, this film actually contains richer detail and more intricate character- izations. In turn-of-the-century San Francisco, young Katrina Hansen chronicles episodes of life with her extended family, who combine traditional Norwegian values with modern American ways. So successful that it became a popular radio show, and then a TV sitcom, both with Barbara BelGeddes and Irene Dunne from the film.
備注：已完結(jié)
類型：劇情片
主演：未知
導(dǎo)演：尹大龍
語言：韓語
年代：未知
簡介：Synopsis Falsely accused as the murderer of my own husband... Oh, the cruel machinations of fate! A female teacher (Lee Yong-ae) gives shelter to an escaped convict, but her husband, misconstruing her intentions, reacts violently and accidentally stabs himself to death in the process. The teacher is charged with her husband's murder, but fortunately the prosecutor on the case is a former student of hers, of whom she had taken painstaking care when she was working at an elementary school. Remembering her kindness to him, the prosecutor uncovers her innocence in court, and she is acquitted of the crime. Notes A silent movie that allows us to examine the narrator-accompanied method of 16mm films (Chung Jong-wha) A Public Prosecutor and a Teacher is familiar to us for the performance of Shin Chool, Korea's last silent movie narrator (known as byeonsain Korean). Numerous critics have recommended the film, praising it as a silent movie that allows us to examine the narrator-accompanied method of 16mm films (Chung Jong-wha), the work of Korea's last silent movie narrator (Kim Hong-joon), a movie that reflects the public's consciousness and has great historical value (Lee Seung-hun), and the archetypal new-school film (Chung Sung-il). As evidenced by such commentary, A Public Prosecutor and a Teacherenjoys greater recognition for its historical value as the only surviving silent movie in Korea than for its artistic or technical aspects. What is ironic is the fact that this recognition derivesfrom a production and screening method that fell behind the times, as sound films (or talkies) had already become the norm when the movie was first made. Its inclusion in the list is therefore based on its historical, social context rather than on the film itself. Afterword - Narrated by Shin Chool, who is known as Korea's last silent film narrator, A Public Prosecutor and a Teacherhas been screened at several film festivals since the latter half of the 1990s.
備注：已完結(jié)
類型：劇情片
主演：Artúr Somlay Miklós Gábor Zsuzsa Bá
語言：其它
年代：未知
簡介：Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
備注：已完結(jié)
類型：劇情片
導(dǎo)演：朱石麟
語言：普通話
年代：未知
簡介：清光緒年間，山河動(dòng)蕩，外憂內(nèi)患，中國處在生死存亡的一線間。光緒皇帝（舒適 飾）當(dāng)朝，卻因慈禧太后（唐若青 飾）垂簾聽政，身不由己，宛如傀儡一般。戶部尚書翁同龢習(xí)光緒學(xué)經(jīng)解義，并灌輸啟蒙思想，使光緒萌發(fā)變法之心；而光緒寵妃珍妃（周璇 飾）亦每日存下銀兩，以作軍資。 甲午慘敗，翁同龢開缺回鄉(xiāng)，臨別前向光緒舉薦康有為。戊戌年（1898年），光緒與維新派展開變法，卻受到慈禧為首的頑固派的抵制，雙方矛盾愈演愈烈。太后一方定下計(jì)謀，企圖借天津閱兵之際廢掉光緒；而維新一派亦相時(shí)而動(dòng)，派出袁世凱（羅維 飾）刺殺榮祿，圍執(zhí)太后……
備注：已完結(jié)
類型：劇情片
主演：尼內(nèi)-克里斯汀·約恩松 本特·?？寺〉?/a> 米米·內(nèi)爾松 貝爾塔·哈爾 貝
導(dǎo)演：英格瑪·伯格曼
語言：其它
年代：未知
簡介：波利特（尼內(nèi)-克里斯汀·約恩松 Nine-Christine J?nsson 飾）是一個(gè)年輕的女人，長久以來，她都生活在抑郁的情緒之中，并且有著很強(qiáng)烈的自殺傾向，這一切和波利特所擁有的的非常不幸福的童年有著分不開的關(guān)系。波利特和母親之間的關(guān)系非常的糟糕，最近，她找到了一份工作，這令她感到開心，可是如此一來，她就無法再住在學(xué)校的宿舍里，這也就意味著，波利特必須重新和母親住到一起去?！ 〕ο嗵幒芸炀蛯⒛概畠扇酥g隱藏至深的矛盾給激發(fā)了，與此同時(shí)，波利特邂逅了一個(gè)名叫格艾斯塔（本特·?？寺〉?Bengt Eklund 飾）的男人，這個(gè)男人能否成為波利特的救命稻草呢？
