主演：格利高里·派克 哈里·古蒂诺 雷普·汤恩 乔治·佩帕德 卡尔·本顿·里德 詹姆斯·爱德华兹 鲍勃·斯蒂尔 伍迪·斯特罗德 乔治·柴田 诺曼·费尔 卢·加洛 罗伯特·布莱克 Cliff Ketchum 比夫·埃利奥特 查尔斯·艾德曼 巴里·阿特沃特 马丁·兰道 肯·林奇 保罗.康尼 Syl Lamont Abel Fernandez 凯文·哈根 查克·海沃德 John Alderman 加文·麦克劳德 伯特·莱姆森 罗伯特威廉姆斯 巴兹马丁 小威廉姆·维尔曼 Henry Amargo DeForest Co
导演：刘易斯·迈尔斯通
简介：朝鲜战争后期的1953年7月,当战争各方在进行和平停战谈判时,美军为了在谈判桌上增加筹码,命令克莱门斯中尉率领美军一个连进攻没有军事价值的255高地.他们知道板门店停战谈判可能随时会达成和平协议,所以一些士兵不太愿意做无谓牺牲.然而,克莱门斯中尉认为这是他们的爱国职责,在他的指挥下,美军在猪排山阵地上与中朝军队进行争夺战,甚至进行残酷的肉搏战.等到增援部队到达时,135人的连队打的就剩下25个人.
主演：Robert Taylor Nicole Maurey
导演：理查德·索普
简介：美国人约翰-诺德利John Nordley是阿罗哈号The Aloha的船长，这是一艘停泊在英国贝茅斯港的帆船，他在这艘船上生活并进行私人包租。他经常违反英国法律，把船开到他的清单上没有列出的其他国家。有一天，客户安塞姆先生Mr. Anselm找上门，要求在不列颠群岛的东边航行一周，但他一上船就要求航行到荷兰的Maasvlakte，并向诺德利保证不会有任何非法行为。但这个请求直接把他自己和诺德利带入深渊，以至于引来几路人马要获得诺德利与安塞姆的秘密，大家都在刻意接近诺德利，他必须决定谁可以信任，谁不能信任。
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： 二对母女，罗拉（拉娜·特纳饰）与女儿苏西（胡安妮塔·摩儿饰）之间因母亲专注于事业，而与女儿缺乏沟通，导致两母女同时爱一个男人的悲剧；她们在海边遇到的另一对黑人母女，黑人母亲安妮（丹·奥赫里奇饰），因为混血女儿始终不肯承认自己是黑人的事实，而悲伤矛盾，但是安妮这个善良的女人始终等待其女儿的回头，只是子欲养而亲不待。 本片讲述两个具有现代意识的悲剧。本片是一部社会性的写实片，突出了黑人与白人之间的种族歧视与子女教育问题，可以说是一部套路偏中国文戏的文艺片。尽管有煽情的成分，但比一般的家庭片更深刻。1934年曾拍过一次。
主演：未知
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：莱斯·崔梅恩 福雷斯特·刘易斯 约翰·哈蒙
导演：Irvin Berwick
简介：The monster, which looks like a nastier version of The Creature from the Black Lagoon, invades a sleepy lighthouse town. The superstitious lighthouse keeper is worried for the safety of his beautiful teenage daughter, so he leaves food for the monster, who dwells in a nearby cave. When bodies wash up ashore, the locals take notice.
主演：市川雷藏 胜新太郎
导演：森一生
简介： 有名な高田の馬場の決闘、伯父の助太刀に向う中村安兵衛とすれ違った旗本丹下典膳は安兵衛の襷がほどけているのに気づき、注意しようと決闘の場に向う。しかし、相手が同門の知心流の武士であることを知り、その場を立ち去った。だが、後日同士を見捨てたことをとがめられた典膳は知心流を破門される。一方決闘で名を上げた安兵衛はあちこちから任官の誘いがあるが、安兵衛の想いは上杉家の娘千春にあった… 「忠臣蔵」のサイドストーリーとして書かれた五味康祐の小説の映画化。有名な高田の馬場の決闘と四十七士の討ち入りのあいだの中村安兵衛を描くという面白い作品。同時に徹底的にメロドラマでもあり、時代劇の面白さをすべて詰め込んだという感じ。
主演：卢茜娜·温尼斯卡 莱昂·涅姆奇克 Teresa Szmigielówna
导演：耶尔齐·卡瓦莱罗维奇
简介：去年過世的波蘭導演耶吉?卡瓦萊洛威茲，是「Polish Film School運動」中的代表人物之一。其作品擅長以影像呈現細膩的細節，累積給予觀者強烈的震撼力。議題圍繞個人在社會備受政治或戰爭壓迫下，人性的掙扎與道德的選擇。這些深具豐富意涵的創作文本，也讓他的作品深受影壇重視。1951年拍攝首部劇情長片《The Village Mill》，隨後完成《Shadow》(1956) ，以及本片《夜車》，這些影片都被視為相當具時代代表性的波蘭電影。卡瓦萊洛威茲亦曾主掌知名的KADR 製作部門，安德烈華依達、塔都茲考威克(Tadeusz Konwicki) 和尤利斯馬休斯基(Juliusz Machulski)都曾在其製作部門工作。他最為人所熟知的影片莫過於1961年的《修女約安娜》，以及1966年改編自Boles?aw Prus的歷史小說《Pharaoh》，...
主演：李亚林 梁音 金迪 杨洸 刘增庆
导演：苏里
简介：高占武（李亚林 饰）和曹茂林（梁音 饰）不忍看见家乡饱受缺水之苦，提议劈山引水，消息一经传开，就遭到了个性保守的老社长的反对，思想开放的乡党委赵书记明白这是义举，决定使出全力支持。在工作中，曹茂林遇见了回乡女青年孔淑贞（金迪 饰），坠入了情网，他请能言善辩的高占武替自己想孔淑贞表白，没想到遭到了后者无情的拒绝。实际上，高占武也默默的爱慕着孔淑贞，只是他选择将这份感情深深的埋藏在心底。 一场意外中，孔淑贞身陷险境，所幸得到了高占武的帮助才捡回了一条命，就此之后，高占武在孔淑贞的眼中变得不一般起来。虽然开山行动中遭遇了诸多不顺和意外，但最终，汩汩的山泉还是滋润了村庄里干涸的土地。
主演：白英宽 任颐 张桂兰 吴必克 王春英 马陋夫
导演：王炎
简介： 在1958年的大跃进中，超英社粮食获得大丰收，产量翻了几番，在深翻土地和积肥工作中都获得了全县第一，受到了县委袁书记的表扬。与超英社毗邻的前进社由于思想没有解放，远远地落后了，受到了批评。在这种情况下，前进社的赵书记为了赶先进，计划大搞水利和深翻土地。但是由于地多人少，劳力不足，他向超英社的程书记提出建议，由两社共同合建水库。超英社人多地少，在农业生产上已经连续放了几颗卫星，程书记思想上产生了骄傲自满情绪，没有接受赵书记提出的建议。赵书记就动员前进社的一部分妇女劳动力参加劳动。超英社的团支部书记小英向程书记建议两社联合生产协作，也遭到拒绝。这时，县委袁书记带来了关于建立人民公社的文件。经过酝酿，最终决定两社合并成立“五一”人民公社。人民公社的建立，壮大了集体的力量，原来的两个农业社可以统一地安排和调配劳动力，水库、电站提前建成了。
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：里坡 贾六 胡朋 刘季云
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：王苏娅 庞学勤 林农 马世达 张辉 任伟民 孙笑非 张巨光
导演：王炎
简介： 解放战争时期，华北某地。我军某分队与敌激战一昼夜，伤亡惨重，弹药也将告罄。增援部队赶到后，救出女扮男装的战士高山（王苏娅 饰）。排长雷振林（庞学勤 饰）对新调来当副排长的高山很不以为然，他好战心切，常常刚愎自用，听不得别人规劝。高山不想在战友面前暴露自已女性身份，在战斗和生活中她和男兵一样，摸爬滚打、英勇顽强，深得战友的拥戴。在一次阻击战中，雷振林为自己的鲁莽付出了代价，关健时刻，高山挺身而出，冒着炮火救了他，自已则负伤住进医院。血的教训令雷振林异常懊悔，当他到医院看望受伤的高山时，眼前的一幕让他惊呆了......
主演：王心刚 张勇手 王毅 黄焕光 井立民 张连伏 王心鉴 孟庆芳 李辉健 里坡 李晓青 邢吉田 王晓棠 朱启 李艺青 刘江 张璋 翟春华 阿布杜 庞万灵
导演：严寄洲
简介：1950年代，我人民解放军海军某鱼雷快艇中队长张敏（王心刚 饰）及战友李雄（张勇手 饰）带领“九九”号快艇全体战斗员到远离大陆的岛礁“鬼屿”设伏。因为此前国民党舰队依仗自己吨位大、火力猛，经常骚扰我东南沿海。敌李舰长（刘江 饰）常以此为傲。但我海军上校（里坡 饰）和沿海军民决心以弱胜强，教训狂妄的敌海军。几天后，敌舰又来滋扰生事，我快艇中队出奇不意出现在“鬼屿”地带，敌人猝不及防赶紧撤退。但在后续的海战中，“九九”号不幸被敌炮火击中，战士们含泪与快艇告别。张敏和刘涛（王毅 饰）受伤，大家忍着伤痛和饥饿，终于飘流到一个小礁上，与同时逃到小礁上的敌军溃兵展开了激烈的战斗，最终全歼了敌人。战士们划着缴获的小舢板，向祖国的方向驶去......
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：西蒙·西涅莱 劳伦斯·哈维
导演：杰克·克莱顿
简介： 乔（劳伦斯·哈维 Laurence Harvey 饰）出身卑微，为此，他一直感到十分自卑。可是，这样的乔却偏偏爱上了大企业家的女儿苏珊（海瑟·西尔斯 Heather Sears 饰），身份的巨大悬殊令这段感情注定得不到祝福。为了阻止这段感情，苏珊的父亲为苏珊安排了同她门当户对的结婚对象，乔为此感到万分屈辱。 美艳的女演员爱丽丝（西蒙·西涅莱 Simone Signoret 饰）出现在了乔的身边，两人的关系逐渐亲密，可这任然无法填补乔内心的空虚。乔深知身份和地位的重要，为此，他重新回到了苏珊的身边，希望能够借此挤入上流社会，最终，苏珊的父亲拗不过女儿的执着，答应了这门婚事。惨遭抛弃的爱丽丝失去了全部的希望，与一场意外中不幸身亡。
主演：京マチ子 叶順子 仲代達矢 中村鴈治郎 北林谷荣 菅井一郎 潮万太郎 山茶花究 大山健二 南部彰三
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：马歇尔·汤普森 Marla Landi Bill Edwards 罗伯特·艾尔斯
导演：罗伯特·戴
简介：立志当人类历史上第一位宇航员的丹•米尔顿•普雷斯科特（比尔•艾德华斯 Bill Edwards 饰）驾驶代号Y-12的宇宙飞船前往太空，在进入外太空的一刹那，他因为过于兴奋而忽略了总部的命令，最终导致飞船失控。飞船坠入大气层，与总部失去联系。不久，国防部的人找到飞船残骸，而惹出祸端的丹却在女友处潇洒快活。 丹的特立独行给国防部高层留下极深的印象，他们顶住各方压力，仍然决定派遣丹驾驶Y-13再次前往太空。当达到600’000尺的高度时，丹的老毛病再次复发。他不顾总部的命令，直线冲入外太空。结果飞船失控，受到宇宙粉尘袭击，最终爆炸。国防部找到飞船遗骸，却未见到丹的身影。随后不久，一个恐怖嗜血的生物开始在城市中出没……
主演：约翰·韦恩 迪恩·马丁 瑞奇·尼尔森 安吉·迪金森
导演：霍华德·霍克斯
简介：德克萨斯的一个镇上，警长JohnTChance和副警长酒鬼Dude将作恶多端的JoeBurdette绳之以法，并将其关在监狱里，和另一个警员瘸腿的Stumpy一起看守，等待几天后审讯官的到来。此时，Chance的老友PatWheeler正好路经此地，并介绍Chance认识了一个叫ColoradoRyan的男孩。而Chance也在一个酒店里认识了一个叫Feather的女人。Joe的哥哥Nathan带着人要来劫狱，先是派人杀死了Pat，又多次想要以Dude来威胁Chance放人。Chance等人与其斗智斗勇，在这个过程中，Chance发现了Colorado的勇敢并将其招入警队；而酒鬼Dude又要如何与自己的酗酒对抗，以争回自己的尊严，Chance能否带着一个酒鬼、一个瘸子和一个男孩来战胜Nathan的一次次进逼？
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：吉娜·劳洛勃丽吉达 尤·伯连纳
导演：金·维多
简介： 所罗门王与雪芭女王之间的故事，是圣经电影经常拍摄的题材。大导演金．维多执导的这个版本只是中规中矩，因男主角泰隆．鲍华在演出中途去世，乃由尤．伯连纳取代重拍，细心的观众或许可以看到所罗门王在近景和远景之中会出现不同的体型。剧情描述以色列王子所罗门王与弟弟阿多奈贾正准备进攻埃及时，雪芭女王前来离间，一方面用美色勾引所罗门，另一方面让阿多奈贾意图谋夺大卫王病逝后遗下的皇位。两兄弟为此反目，上帝亦以神力毁坏所罗门的神庙来表示他的愤怒。
主演：史蒂夫·柯臣 玛米·范多伦
导演：Charles F. Haas
简介：斯坦·赫斯（Ray Danton）平日伪装成垮掉派成员，实际却是个连环强奸犯，他对女人恨之入骨，通过强奸的方法来报复女性，每次作案后他都会留下一小盒阿司匹林，因此被称为阿司匹林小子。戴维·卡洛兰警司（Steve Cochran）负责调查阿司匹林小子一案，然而他也有厌女倾向，他认为很多强奸案的受害者并非是真正的受害者，而是主动勾引对方的荡妇，同时因为曾被第一任妻子出过轨，他总是对自己的现任妻子疑神疑鬼，动不动就像审讯犯人一样盘问她。令他出乎意料的是，他的妻子弗兰丝（Fay Spain）居然也成了阿司匹林小子的受害者，并且不幸怀了孕，他和妻子的关系因此而僵到极点，同时他下定决心要抓到阿司匹林小子。阿蒂·贾斯特（James Mitchum）是斯坦·赫斯的帮凶，斯坦为了创造出两个阿司匹林小子来迷惑警察，派贾斯特去强奸乔治亚·阿尔特拉（Mamie Van Doren），然而中途却横生枝节，同时也让警方找到了可以破案的线索。
主演：若尾文子 川口浩 船越英二 宫口精二 东山千荣子 Atsuko Kindaichi Yoshirô Kitahara 小林胜彦 泷花久子 丹阿弥谷津子
导演：增村保造
简介：富丽堂皇的大酒店，正在进行一场盛大的婚礼。三原商事的次子二郎（北原義郎 饰）迎娶野野宫家的二女儿梨子（近藤美恵子 饰）。早在三年前，两家已有过一次联姻。当年三原一郎（船越英二 饰）爱慕在本公司担任秘书的野野宫桃子（丹阿弥谷津子 饰），二人最终结为夫妇。如今两家再次联姻，无疑谱写了一段佳话。适值此时，三原家的小儿子三郎（川口浩 饰）正在另一家公司独自打拼，哥哥们有意召回弟弟，强势的桃子也希望彰显自己的实力，她因此极力撮合妹妹杏子（若尾文子 饰）和三郎走到一起。得知兄长和姐姐的心意，三郎和杏子结成同盟，发誓永不结婚…… 本片根据源氏鶏太的同名小说改编。
耶～～复制成功
