剧情片

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剧情：故事以一对身处战时的夫妇为中心，一直等待着参战丈夫归来的妻子独力支撑生计，生活困苦。为了支付儿子的医药费，妻子在无可奈何的情况下，被迫干了一次卖淫的勾当。丈夫归来之后，妻子坦然的如实相告，却令丈夫非常生气，大感羞辱气愤之余，更大打出手，将妻子强暴了。 　　丈夫帮助一个妓女找了一份工作，虽然理解妻子的行为，却难以原谅……

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故事发生在一所大使馆中，在小男孩菲利普（Bobby Henrey 饰）的眼中，管家班尼思（拉尔夫·理查德森 Ralph Richardson 饰）是如假包换的英雄。这其中的原委要追溯到菲利普经常外出的父母身上，父母不在，照顾和看管菲利普的责任自然就落到了班尼思的身上，在菲利普这样一个敏感又单纯的年纪，一个替他打点一切事宜的人就等同于无所不能的英雄。 　　可班尼思真的如同菲利普所认为的那样正直和勇敢吗？当然不是，他不过是一个再普通不过的成年人罢了。尽管已有家室，但班尼思还是和一个名叫朱莉（米歇尔·摩根 Michèle Morgan 饰）的年轻女子保持着暧昧关系，甚至趁菲利普的父母不在家时偷偷将朱莉带到大使馆幽会。没想到，一次意外夺走了班尼斯夫人的生命，而这一单纯的事故在菲利普看来，却是一场蓄意已久的谋杀。

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弗雷德（亨弗莱·鲍嘉 Humphrey Bogart 饰）和鲍勃（提姆·霍尔特 Tim Holt 饰）是两名穷困潦倒的流浪汉，一日，在酒吧中，他们从精明智慧的霍华德（沃尔特·休斯顿 Walter Huston 饰）口中听闻了有关金矿的消息，走投无路的两人打起了淘金的主意，他们谎称是猎人，驻扎在了山上。经历了种种苦难的挫折，幸运的三人找到了金矿。然而，随着金砂数量的增加，原本相互信任的三人之间出现了裂痕。 　　在一次下山采购的过程中，名叫科迪（布鲁斯·班尼特 Bruce Bennett 饰）的年轻人发现了他们秘密，跟随而来的科迪表示想要从中分一杯羹，三人决定杀之而后快。就在这个节骨眼上，一群土匪开始向山上进发，他们想要的是这三个“猎人”狩猎得到的“兽皮”。在种种阴谋和贪婪本性的趋势下，本来有着美好前景的三人走向的破灭的结局。

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让是一名性感美艳的女模特，某日，她被发现惨死在公寓里，凶手逃之夭夭。侦探唐（巴里·菲茨杰拉德 Barry Fitzgerald 饰）和助手吉米（唐·泰勒 Don Taylor 饰）负责调查此案，发现看似一目了然的案件，隐藏了种种的疑点。 　　随着调查的深入，越来越多的嫌疑人的身影浮出了水面，巧合的是，他们都曾经和一宗连环入室抢劫案有着千丝万缕的关联。当年抢劫案的真相成为了解开这次事件的关键的钥匙。又一宗入室抢劫案发生了，这次的罪魁祸首亦是被害人，唐和吉米终于逮住了隐藏在重重线索背后的关键人物——一个名叫薇利的男人，他的行踪目前仍然隐藏在迷雾之中。

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　　整整10季！！

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佩吉（KathrynSheldon饰）是合唱团里当之无愧的女王，拥有美丽的外表和温柔的个性的她深受观众的同僚们的喜爱。一次偶然中，佩吉邂逅了名为兰迪（哈罗德·米勒HaroldMiller饰）的富家公子，兰迪被佩吉深深的吸引，坠入了情网，随即展开了热烈的攻势。面对兰迪的热情，佩吉虽然也春心萌动，但是还是显露出了一丝犹豫。原来，佩吉的母亲梅（阿尔米拉赛逊斯AlmiraSessions饰）也曾有过和女儿相似的惊人的经历。只是，梅当年的勇敢选择并没有给她带来好的结果。有母亲充满了痛苦和失败的例子在先，站在人生的十字路口的佩吉不知道该如何选择。

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清光绪年间，山河动荡，外忧内患，中国处在生死存亡的一线间。光绪皇帝（舒适饰）当朝，却因慈禧太后（唐若青饰）垂帘听政，身不由己，宛如傀儡一般。户部尚书翁同龢习光绪学经解义，并灌输启蒙思想，使光绪萌发变法之心；而光绪宠妃珍妃（周璇饰）亦每日存下银两，以作军资。\r甲午惨败，翁同龢开缺回乡，临别前向光绪举荐康有为。戊戌年（1898年），光绪与维新派展开变法，却受到慈禧为首的顽固派的抵制，双方矛盾愈演愈烈。太后一方定下计谋，企图借天津阅兵之际废掉光绪；而维新一派亦相时而动，派出袁世凯（罗维饰）刺杀荣禄，围执太后……

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萧元熙（赵丹 饰）因为不满意妻子的性格和行为举止而选择了离开她，之后，他将目标放在了家里的女佣余珍（秦怡 饰）的身上，余珍是落寞贵族出身的大小姐，脑袋里全都是封建残余思想，萧元熙决定从零开始，亲手将她改造成为思想先进的社会新女性。在萧元熙的一番煞费苦心后，余珍的思想果然产生了一百八十度的转变，对她非常满意的萧元熙总算能再次步入婚姻的殿堂了。 可是，让萧元熙没有想到的是，余珍的思想改变的超出了他能控制的范围，她已经不再是那个唯命是从的女佣了。余珍想要参加抗日救亡行动，为了阻止她抛头露面，赵元熙将她锁在家中。©豆瓣

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代价惨重的八年抗战终于结束，作为金融中心的大上海并未在胜利的曙光下重焕生机，前途未卜的国内政治局势以及飞涨的物价让这里的民众迎来新的磨难。供职于某贸易公司的普通职员胡智清（蓝马 饰）和贤惠勤劳的妻子蓝又兰（上官云珠 饰）、可爱的女儿妮妮（史恰恰 饰）过着还算殷实的生活。但随着时局日益动荡，智清一家的生计渐渐变得局促起来，偏偏老母亲（吴茵 饰）又带着弟弟春生（沈扬 饰）从农村赶来上海投靠。吃穿用度愈加紧张的同时，婆媳间固有的战争也让智清愁坏了头脑。胡的老板钱剑如（齐衡 饰）头脑机灵，擅长钻营，他昧着良心在此期间投机倒把，因嫌智清碍事而将这位同乡兼同学开除，使智清一家顿陷绝境。 动荡不安的大时代背景下，千千万万中国人悲惨命运的缩影……©豆瓣

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在上海大贸商业公司任职的李宗敏因公不幸遇难。公司念旧拨款抚恤李妻高礼芬。礼芬对抚恤金的处理很为难。在感情上她认为这是亡夫的卖命钱，应该用来做些有意义的事业，所以她把一些钱捐给丈夫生前挚友刘校长，购置校址作为纪念。她又考虑到在上海这个地方没有钱就无法生存，物价飞涨，妹妹丽芬又是一个不能自立的学生，这使她不能不为活着的人打算，最后决定把余下的一些钱托丈夫的另一个朋友、某商行的经历俞子昂代为经营。俞因投机失败商行亏损甚巨，急需敛财弥补，为了挪用这笔钱作为经营资本，他同自己的妻子离了婚，而和礼芬结合。刘校长赶来劝告礼芬不要企图依靠一个有钱的男人去求得一生的平安，生活往往会事与愿违，并劝告礼芬要把生命寄托在有意义的工作上。但礼芬害怕在物价飞涨的社会里没有钱就活不下去，只想依靠一个有钱的男人，甘当“弱者”。子昂与礼芬结婚后，礼芬贪图享乐，经常吃喝玩乐不在家。生活十分糜烂的子昂有诱惑丽芬与他有了不正当的关系，并有了身孕。礼芬十分痛苦，求助刘校长。刘校长认为这种悲剧是他贪图享乐，害怕艰苦的结果，他真心劝告礼芬，在这花花绿绿的上海千万不要沉醉于那种疯狂的生活，而要从自力更生中求得幸福和安全。礼芬明白了刘校长的一片心意，决心离开子昂走自己的路。她劝妹妹同行，却被丽芬拒绝了。礼芬走后，子昂更加为非作歹，玩够了丽芬便对她百般虐待凌辱。丽芬的幻想破灭了，她想报复，正在这时，子昂又因诈骗钱财而被告发，企图逃走。丽芬要他负责，子昂竟将她推下楼梯，警察赶来逮捕了子昂，丽芬小产被送进了医院。礼芬离开子昂后找到刘校长，开始了新的生活，当了一名小学教员。醒悟后的丽芬到学校找礼芬，她终于明白了金钱并不是幸福，也不意味着安全，只有依靠自己的双手去创造自己的生活才有前途。从此，姊妹俩一起从事教育工作，自食其力。

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故事取材自当时的一则新闻报道，描写人民解放军某营在行军休息时，一个刚刚参加革命的小鬼（马德明）因擦枪不慎走火，打死了一个老农民（陈强）的小儿子。为了严肃革命纪律，部队组织决定让小鬼偿命。 第二天在群众大会上宣布执行这一决定时，老农民却跑上讲台，要求连长（于洋）和指导员不要执行。因为老农民经过一夜的思考后，他从自己的亲身经历里对照了他过去所受的反动派的压迫和现在解放后的幸福生活，深深感到解放军就是自己的军队，要是没有解放军，就没有自己的翻身；而且小鬼也是穷苦人家的孩子，是自已阶级的子女，他的爸爸也是给反动派杀害的。老农民说：“不要枪毙小鬼，让他去打蒋介石反动派吧！”老农民的话感动了所有到会的群众，他们一致要求把小鬼留下。部队组织同意了群众的意见。老农民并把小鬼认作自己的义子。后来小鬼在战斗中立了功，受伤住在医院里。影片是以老农民去医院探望受伤的小鬼作为开头，用倒叙的方法来展开故事的。

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少年廖韵之与少女何绿音系同宅邻居 。夏夜，他俩同姐妹们院内乘凉，听 韵之继母如夫人讲重男轻女传统戏曲 故事。孩子们听到高兴处，韵之轻拍 绿音的头，绿音也同样回敬一拍，不 料触怒持男尊女卑观念的如夫人，如 夫人大发雷霆，迫使两小视同冤家。 不久，两家迁居，断绝往来。十年以 后，韵之、绿音都求学于上海艺术专 科学校，旧情新谊，感情愈炽，意欲 订婚。绿音姐业医，颇有阅历，叮嘱 妹慎重行事，绿音意不能决，暂疏韵 之。一天，绿音见韵之与女同学周小 曼谈话，状甚亲密。绿音恐失爱于韵 之，旧情重燃，二人终缔良缘。结婚 以后，韵之继母去世，绿音生一子， 家庭生活渐趋拮据。为弥补家庭开支 ，绿音雇女佣照料孩子，自己到贸易 公司工作。女佣照料不周，孩子患病 ，韵之感慨家庭失却温暖，内心痛苦 。是夜，孩子病危，韵之因忙于举行 盛大民众音乐会，绿音请姐姐、姐夫 为孩子治病。姐妹俩为使韵之安心主 持音乐会，向其暂瞒病情。演奏之前 ，韵之因念孩子之病，心不能安，小 曼竭力安慰，韵之吻其手以示感谢。 适孩子夭亡，绿音匆匆赶来报信，见 状黯然神伤，悄悄离去。绿音回忆往 事，深感社会给予女人压力太多太重 ，自觉无力挣扎，遂萌轻生之念，冀 以激起社会对妇女的关注。

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罗洁夫向死去的妻子绣兰的相片做忏悔，他的表妹小燕来说有一个怪事，有一个黑影老在跟着她，小燕走后,他一个人在屋内，幻觉中她死去的妻子又来跟他说了些话。后来小燕的同学于克明来说他接到一封恐吓信，信中说叫他与小燕断绝关系。罗洁夫他提出为了小燕的安全禁止于克明与小燕来往，经过痛苦的决定于克明同意离开小燕，罗洁夫向姐夫孟利群表明了他已爱上了小燕，但利群反对，并向小燕公开了姐姐绣兰死的真相。

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二战过后，罗马同许多城市一样，充斥失业和贫困，人们常常为一个工作机会争得头破血流。已失业多时的里奇（Lamberto Maggiorani）费劲千辛万苦获得一份海报张贴的工作后，却为这份工作需要一辆自行车犯愁，为了以后的日子好过，他用妻子的嫁妆--床单从换回已经当掉的自行车，不想，他的自行车在上班第一天就被盗。里奇同儿子布鲁诺（Enzo Staiola）寻遍罗马大街小巷，也没能找到他赖以活命的自行车，眼见无指望的日子又要降临，里奇决定以牙还牙，可是他的运气却没有别的小偷好。

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波利特（尼内-克里斯汀·约恩松 Nine-Christine Jönsson 饰）是一个年轻的女人，长久以来，她都生活在抑郁的情绪之中，并且有着很强烈的自杀倾向，这一切和波利特所拥有的的非常不幸福的童年有着分不开的关系。波利特和母亲之间的关系非常的糟糕，最近，她找到了一份工作，这令她感到开心，可是如此一来，她就无法再住在学校的宿舍里，这也就意味着，波利特必须重新和母亲住到一起去。　　朝夕相处很快就将母女两人之间隐藏至深的矛盾给激发了，与此同时，波利特邂逅了一个名叫格艾斯塔（本特·埃克隆德 Bengt Eklund 饰）的男人，这个男人能否成为波利特的救命稻草呢？

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A ship carrying a band of black-marketeers, including a beautiful woman, eludes police after a battle at sea and lands on a remote island where a marine meteorological observatory is stationed. They take over the observatory but tragedy ensues as a violent typhoon approaches the island.

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　　莱昂纳（芭芭拉·斯坦威克 Barbara Stanwyck 饰）是衔着金汤匙出生的富家千金，因为她的神经非常的脆弱纤细，导致她只能整日卧病在床，和外界唯一的联系就是一台电话。这一天，莱昂纳的丈夫亨利（伯特·兰卡斯特 Burt Lancaster 饰）迟迟没有到家，于是莱昂纳想要打个电话到亨利的办公室里找他。哪知道电话串了线，莱昂纳听到电话那头的两个陌生男人正在谋划如何杀害一个无辜的女人。                                                                    　　又惊又怕的莱昂纳决定拯救这个女人的性命，于是她拿起了自己唯一的武器——电话。然而，当莱昂纳打电话将自己的所见所闻告诉警察时，却并没有人愿意相信她。更糟的是，两名凶手似乎也知道了莱昂纳的存在。

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Jefty, owner of a roadhouse in a backwoods town, hires sultry, tough-talking torch singer Lily Stevens against the advice of his manager Pete Morgan. Jefty is smitten with Lily, who in turn exerts her charms on the more resistant Pete. When Pete finally falls for her and she turns down Jefty's marriage proposal, they must face Jefty's murderous jealousy and his twisted plots to punish the two.

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　　1938年，北平城胡同里有一户张姓人家，在张老先生故世以后，张老太太带着四个儿子和三个女儿过着安乐幸福的日子。但好日子没过多久，“泸沟桥”事变爆发，日本鬼子进了城，一家人被逼之下只得各奔东西，过着各自的日子。抗战胜利后，儿女们陆续地从各地赶回家乡，并述说着他们各自的遭遇，一家人总算团圆了。可社会却越来越乱，日子越过越穷。张老太太不得不咬牙卖掉房子。儿女们又各自追求自己的理想去了，张家不知何时才能团圆……

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战败后的日本，真田（志村乔饰）是名喜欢喝酒的贫民社区医生，他擅长治疗肺结核。一天黑社会头目松永（三船敏郎饰）由于手上受伤找他治疗，谁知被真田看出了肺结核的症状。他劝松永去照X光检查一下，可松永不愿接受自己生病的事实，反而大骂真田一通并争执起来。但是松永回去以后症状越来越严重，拍片后证实确实是肺结核，嘴上逞强的他还是接受了真田的治疗。　　然而，松永的黑社会大哥冈田（山本礼三郎饰）从监狱里出来，他逐渐取代松永在黑帮里的位置并拥有了一切，病入膏肓的松永只能孤注一掷……

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　　丹麦王子哈姆雷特（劳伦斯·奥利弗 Laurence Olivier 饰）的父王某日在花园中离奇死亡，国王的弟弟克劳迪亚斯登上了王位，并娶原王妃即哈姆雷特的母亲为妻。父亲的突然离世，加上母亲的改嫁，使哈姆雷特终日郁郁寡欢。                                                                    　　一天哈姆雷特的好友霍拉旭告诉他，每到子夜时分，城堡高台上会出现一个悲愤抑郁的鬼魂。哈姆雷特便在半夜里来到高台上，与父亲的幽魂相会，他从鬼魂口中得知父王为现任国王克劳迪亚斯所杀。鬼魂要求哈姆雷特向那个篡夺王位、霸占王妃的凶手复仇。背负了复仇任务的哈姆雷特决定用假装发疯的办法来掩饰自己，以窥探克劳迪亚斯的一举一动。然而优柔寡断的他迟迟没有动手杀死叔父，正当他犹豫不决时，一个戏班来到了宫廷。他就安排了一场戏，将国王被害一幕以戏剧形式表演出来。国王和王后的反应，让他证实了这场宫廷阴谋……

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佩吉（莫伊拉·希勒MoiraShearer饰）是一名很有天赋的芭蕾舞演员，她对芭蕾舞的热爱让她觉得她生来便是为了舞蹈。她参加了芭蕾舞剧《红菱艳》的演出，在剧中，她扮演那个穿上红鞋一直舞蹈到死的舞女，她的演出获得了业界的一致好评，她的演艺事业就此扶摇直上。之后，她结识了作曲家朱利安（马留斯·戈尔林MariusGoring饰）并且迅速坠入了爱河。为了所爱的人，佩吉放弃了自己的事业，但婚后平静的生活令她无法忍受，似乎总有一种魔力在召唤她穿上舞鞋翩然起舞。佩吉听从了内心的召唤，她离开了朱利安重新回到了舞台，但渐渐的，她想起了自己曾经扮演过的那个穿着红鞋的舞女，她觉得她们的身影正在慢慢重叠，不安的佩吉猛然醒悟，自己生命中最重要的并非舞蹈而是家庭，她冲出剧院想要重拾朱利安的爱情，但一辆火车从天而降，终结了她年轻的生命。\r影片荣获1949年奥斯卡最佳配乐及最佳艺术指导奖。

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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.

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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.

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　　抗日战争时期的张家镇，青年小林找在日军维持会工作的老同学张处长办几张通行证，张处长满口答应，没想到小林一回家，张处长就带着日本鬼子来抓走了他。张处长在吃饭被胡大嫂把小救走了。他们准备去重庆，在通过敌人的哨所时被敌人发现，小林被打伤后又被胡大嫂救了，到医院治伤时被张处长派人来抓小林，胡大嫂把鬼子打死。小林的同学范丽来到张处长家，假借订婚在酒中下病毒将日军毒死，胡大嫂趁机将张处长打死。

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丹尼·霍金斯的父亲因杀人而被判绞刑，他从而生活在心理阴影中。为了争夺女孩的好感而与人发生了争执，争斗中他意外杀死了对方，并且害怕通知警方。 他赢得了女孩的爱，但是当女孩试图影响他承认自己的罪恶时，他却逃走了。

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　　朱兰（周璇 饰）是夜总会里的头牌歌女，富家子弟叶春华（王豪 饰）和狐朋狗友们打赌，发誓一定要把朱兰给追到手，然而，朱兰心心念念的，却是一文不名的穷画家方志伟（顾也鲁 饰）。朱兰不忍心看着方志伟整天郁郁不得志的倒霉模样，于是谎称叶春华是自己的表兄，将方志伟介绍到了叶春华手底下的公司里上班。                                                                    　　然而，纸是包不住火的，当真相败露后，方志伟感到非常的愤怒和屈辱，他从公司里辞了职，同时也离开了朱兰。心碎的朱兰经不住叶春华的趁虚而入，两人很快就走到了一起，没过多久，朱兰的腹中就怀上了叶春华的骨肉。

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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.

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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.

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艾本（约瑟夫·科顿 Joseph Cotten 饰）是一名画家，靠着自己的勤奋和努力生存，然而，那个时代实在是太萧条了，所以艾本始终活在濒临破产的边缘。某日，画家偶然中遇见了一位名为珍妮（珍妮弗·琼斯 Jennifer Jones 饰）的女孩，艾本为珍妮画了一张速写，让他没有想到的是，这张速写被画廊老板相中，并交代他再画一些这样的画。　　之后，艾本和珍妮断断续续的见着面，画家以她为模特创作出了一幅又一幅作品，随着时间的推移，艾本和珍妮之间渐渐产生了一种奇妙的羁绊。珍妮长大了，艾本所画的一副珍妮的肖像油画被博物馆收藏了，他的生活亦渐渐得到了改善。可是，与此同时，珍妮却消失了。

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在外人看来，拉塞尔一家是完美的模范家庭，家境富裕，夫妻和睦，儿女出色，几乎毫无任何缺点，然而身为女家长的西尔维娅·拉塞尔（Sonia Dresdel）实际是一个冷酷无情、渴望权力、控制欲爆棚的女人，她想尽各种办法将自己的丈夫亚瑟（Walter Fitzgerald）、儿子特里（Emrys Jones）以及女儿费内拉（Barbara White）玩弄于鼓掌之中。她因为不满意丈夫的平庸无能，使尽各种手段不着痕迹地羞辱丈夫，并且摧毁丈夫所有的心爱之物。由于不满女儿不经她的许可就嫁给瓦伦廷·克里斯蒂医生（Scott Forbes），她怂恿自己家的年轻女仆艾菲（Celia Lipton）去勾引女婿，以达到破坏女儿婚姻的目的。特里是全家唯一一个察觉到母亲的蹊跷之处的人，他虽想要保护自己的妹妹和父亲，却未料到母亲的狠毒程度远超他的想象。

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故事取材自当时的一则新闻报道，人民解放军一位刚参军的小兵擦枪时不慎走火，将一个老农民的小儿子打死。为严肃军纪，部队领导决定让小兵偿命，并在群众大会上宣布了这一决定。老农民却冲到台上，请求领导不要执行。原来老农民经过一夜的思考，感到解放军是自己的救星，小兵也是穷苦人家的孩子。为此他请求部队领导：不要枪毙小兵，让他去打蒋介石。群众们听了他的话，也一致要求留下小兵性命。部队领导最后同意了大家的意见，老农民亦认小兵为义子。

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Novelist Joseph Shearing specialized in using real cases which took place in Victorian England, altering them for fictional purposes. MOSS ROSE in 1947 was the first film to be made from his novels, then in 1948 two of his works were adapted for the screen, this film and THE MARK OF CAIN. The movie stars Todd as a recently widowed missionary returning to her home in England from Jamaica. During the voyage, she meets Milland, a charming though dangerous rascal who is wanted by police in connection with some unsavory dealings. Milland contracts malaria while onboard the ship and Todd nurses him back to health. In London, Todd settles into her home, taking in boarders to make ends meet. Milland arrives, moves in, and proclaims his love for her. Todd is thrilled, but it seems rather obvious that Milland is only toying with her. Milland finds some letters written to her by her friend, Fitzgerald, in which Fitzgerald reveals some of her sexual indiscretions. Since Fitzgerald is now married to the wealthy Huntley, Milland believes he can use the letters to blackmail Fitzgerald. Todd's love for Milland is so great that she goes along with the plan. Huntley, however, learns of the scheme and also uncovers details of Milland's shady past. Fearing for her lover's safety, Todd poisons Huntley, then remains silent when Fitzgerald is arrested for the murder. Milland has by now genuinely fallen in love with Todd and the two make plans to leave England. Before they can depart, one of Milland's former lovers shows up and Todd, in a jealous rage, kills Milland, then turns herself into the police.　　This is an intriguing film, although a little on the talky side. The performances are excellent throughout, with Milland shining as the cad, the type of role in which he excelled. Though he spent most of his time making films in the US, he occasionally returned to his native England for a production and this was his first British film since FRENCH WITHOUT TEARS in 1939. Director Allen was also an Englishman who chose to work in the US, this being his first directorial effort in his homeland. This was the fourth and last time Milland and Allen would work together, their pairing having begun in 1944 with the wonderfully eerie THE UNINVITED.

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Bill Saunders, disturbed ex-soldier, kills a man in a postwar London pub brawl. Fleeing, he hides out in the apartment of lonely nurse Jane Wharton. Later, despite misgivings about his violent nature, Jane becomes involved with Bill, who resolves to reform. She gets him a job driving a medical supplies truck. But racketeer Harry Carter, who witnessed the killing, wants to use Bill's talents for crime.

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人见孝子（原节子饰）的父亲去世，孝子在坟前哀悼时，偶遇前来吊唁的父亲门生、有妇之夫矢岛隆吉（佐分利信饰）。两人早已相识，同行返回东京。路上孝子哭诉父亲去世后自己生活豪无着落，隆吉便邀请她到自己家做佣人。经隆吉反复劝说，孝子应允。隆吉之妻（杉村春子饰）身患重病，只能住在疗养院，家中各种杂务，全由孝子操劳。隆吉的子女喜欢这位新来的阿姨，而孝子和隆吉彼此的爱恋也日渐深厚......

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