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演員:林黛 趙雷 胡金銓 楊志卿
導演:李翰祥
劇情:年輕的正德皇帝,在御書房聽太傅梁儲講學,窗外傳來宮女妙曼歌聲,詞意稱頌江南景色美麗,人物俊秀,不禁悠然神往。適值殿前侍衛將軍周勇乞假返回江南故鄉,正德心生一計,命周勇護駕陪行,微服私遊江南。 君臣策馬同行,遊覽江南景色。正德向來寂處深宮,難得逍遙自在,心懷為之大快。一天來到梅龍鎮,鎮上正在舉行酬神盛會,人山人海,鼓樂喧天。正德與周勇擠在人叢中觀看,遊行景藝巧妙新奇,目不暇給。突然朵朵鮮花從天而降,正德伸手搶接,惹得扮演「天女散花」的少女嫣然一笑。正德神搖魄蕩,一縷深情繫在少女身上。 回到客店,少女的笑容深印在正德腦中,輾轉反側,無法入寐。翌晨起來,獨自漫步。叢林中酒旗高挑,正德信步入內,卻和昨天所見少女相遇。原來她是酒家店主李龍的妹妹李鳳,不禁喜出望外。酒保大牛上前攔阻,聲言今天店主有事外出,暫停沽酒。李鳳見正德年少俊雅,芳心窺慕,藉故遣開大牛,殷勤...
演員:王心剛 張勇手 王毅 黃煥光 井立民 張連伏 王心鑑 孟慶芳 李輝健 裡坡 李曉青 邢吉田 王曉棠 朱啟 李藝青 劉江 張璋 翟春華 阿布杜 龐萬靈
導演:嚴寄洲
劇情: 1950年代,我人民解放軍海軍某魚雷快艇中隊長張敏(王心剛 飾)及戰友李雄(張勇手 飾)帶領“九九”號快艇全體戰鬥員到遠離大陸的島礁“鬼嶼”設伏。因為此前國民黨艦隊依仗自己噸位大、火力猛,經常騷擾我東南沿海。敵李艦長(劉江 飾)常以此為傲。但我海軍上校(裡坡 飾)和沿海軍民決心以弱勝強,教訓狂妄的敵海軍。幾天後,敵艦又來滋擾生事,我快艇中隊出奇不意出現在“鬼嶼”地帶,敵人猝不及防趕緊撤退。但在後續的海戰中,“九九”號不幸被敵炮火擊中,戰士們含淚與快艇告別。張敏和劉濤(王毅 飾)受傷,大家忍著傷痛和飢餓,終於飄流到一個小礁上,與同時逃到小礁上的敵軍潰兵展開了激烈的戰鬥,最終全殲了敵人。戰士們劃著繳獲的小舢板,向祖國的方向駛去......
演員:蒙哥馬利·克利夫特 羅伯特·瑞安 瑪娜·洛伊 多洛蕾絲·哈特 瑪倫·斯塔普萊頓
導演:Vincent J. Donehue
劇情:Eager to land a journalistic position, Adam White goes to work as an advice-giving newspaper columnist. His editor, Shrike, takes pleasure in browbeating his alcoholic wife Florence for her past adultery, and assigning his employees journalistic jobs for which they have little aptitude or interest. Shrike goads Adam into meeting one of his correspondents, Fay Doyle, a teary, se...
演員:蘭道夫·斯科特 詹姆斯·柯本 珀內爾·羅伯茨
導演:巴德·伯蒂徹
劇情:A wanted murderer, Billy John, is captured by Ben Brigade, a bounty hunter, who intends to take him to Santa Cruz to be hanged. Brigade stops at a staging post, where he saves the manager's wife from an Indian attack, and enlists the help of two outlaws to continue his journey more safely. However, the Indian attacks persist, the outlaws plan to take Billy for themselves, tempt...
演員:林黛 趙雷 胡金銓 楊志卿
導演:李翰祥
劇情:年輕的正德皇帝,在御書房聽太傅梁儲講學,窗外傳來宮女妙曼歌聲,詞意稱頌江南景色美麗,人物俊秀,不禁悠然神往。適值殿前侍衛將軍周勇乞假返回江南故鄉,正德心生一計,命周勇護駕陪行,微服私遊江南。 君臣策馬同行,遊覽江南景色。正德向來寂處深宮,難得逍遙自在,心懷為之大快。一天來到梅龍鎮,鎮上正在舉行酬神盛會,人山人海,鼓樂喧天。正德與周勇擠在人叢中觀看,遊行景藝巧妙新奇,目不暇給。突然朵朵鮮花從天而降,正德伸手搶接,惹得扮演「天女散花」的少女嫣然一笑。正德神搖魄蕩,一縷深情繫在少女身上。 回到客店,少女的笑容深印在正德腦中,輾轉反側,無法入寐。翌晨起來,獨自漫步。叢林中酒旗高挑,正德信步入內,卻和昨天所見少女相遇。原來她是酒家店主李龍的妹妹李鳳,不禁喜出望外。酒保大牛上前攔阻,聲言今天店主有事外出,暫停沽酒。李鳳見正德年少俊雅,芳心窺慕,藉故遣開大牛,殷勤...
演員:Robert Taylor Nicole Maurey
導演:理查德·索普
劇情:美國人約翰-諾德利John Nordley是阿羅哈號The Aloha的船長,這是一艘停泊在英國貝茅斯港的帆船,他在這艘船上生活並進行私人包租。他經常違反英國法律,把船開到他的清單上沒有列出的其他國家。有一天,客戶安塞姆先生Mr. Anselm找上門,要求在不列顛群島的東邊航行一週,但他一上船就要求航行到荷蘭的Maasvlakte,並向諾德利保證不會有任何非法行為。但這個請求直接把他自己和諾德利帶入深淵,以至於引來幾路人馬要獲得諾德利與安塞姆的秘密,大家都在刻意接近諾德利,他必須決定誰可以信任,誰不能信任。
演員:哈里·貝拉方特 英格兒·斯蒂文斯 梅爾·費勒
導演:拉納爾德·麥克杜格爾
劇情: Ralph Burton is a miner who is trapped for several days as a result of a cave-in. When he finally manages to dig himself out, he realizes that all of mankind seems to have been destroyed in a nuclear holocaust. He travels to New York City only to find it deserted. Making a life for himself there, he is flabbergasted to eventually find Sarah Crandall, who also managed to survive. Together, they form a close friendship until the arrival of Benson Thacker who has managed to pilot his small boat into the city's harbor. At this point the tensions rise between the three, particularly between Thacker, who is white and Burton, who is black.
演員:長門裕之 吉行和子 二谷英明 松尾嘉代 北林谷榮 小澤昭一 西村晃 殿山泰司 蘆田伸介 浜村淳 穗積隆信 加原武門 賀原夏子 高木均 高原駿雄 高山千草 辻伊萬裡 山岡久乃 大瀧秀治
導演:今村昌平
劇情: 昭和二十八年(1953),戰後的日本山河凋敝,百業待興。佐賀煤礦區的底層百姓生活困苦,安本家的頂樑柱父親不幸去世,留下兩對兒女喜一(長門裕之 飾)、良子(松尾嘉代 飾)、高一(衝村武 飾)、末子(前田曉子 飾)無人照看。20歲的喜一外出做工,但稀薄的工資不足以承擔一家人的日常開銷。為了生存,喜一將高一和末子託付給好心的邊見叔叔(殿山泰司 飾)撫養,自己則和妹妹良子前往長崎打工。四兄妹就此分離,而煤礦上的生活也越來越艱難……                                                                     本片根據10歲女童安本末子的日記改編,並榮獲1960年藍絲帶最佳男演員和最佳男配角獎。
演員:A. Alekseev 彼得·柳別什金 Oleg Mokshantsev
導演:亞歷山大·戈登 安德烈·塔可夫斯基
劇情:影片主要講了一支地區自衛隊挖到了許多枚導彈,這些導彈可能是二戰時候德國兵留下的,現在雖然藏在地下,仍有不小的隱患,如果30噸炸藥全部爆炸的話,足以摧毀整個城市。影片刻畫了士兵們在對待轉移導彈這項艱鉅的任務上各自複雜的心理活動,有的自告奮勇一馬當先敢於迎接挑戰,有的藉口推搪。影片既有對士兵在面臨危險大義凜然的頌揚,也有對情人之間彼此信任關切的微妙刻畫。雖然短短的四十多分鐘不足於對這些東西展開詳細地描繪,但已經展現出老塔把握鏡頭語言和節奏的能力,總能讓人感覺到一股緊張的氣氛籠罩全局,並且懸念環生扣人心絃。
演員:未知
導演:居伊·德波
劇情: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.
演員:路易斯·喬丹 瓊·克勞馥 霍普·蘭格 史蒂芬·博伊德 蘇齊·帕克 瑪莎·海爾 黛安·貝克 布賴恩·艾亨 羅伯特·埃文斯 佈雷特·哈爾西 唐納德·哈倫
導演:讓·尼古拉斯科
劇情: 卡洛琳·班德(Hope Lange)是一個剛畢業不久、在紐約打拼的女大學生,她進入費邊出版公司擔任秘書職位,並在那裡認識了同樣身為秘書的格雷格·亞當斯(Suzy Parker)和阿普里爾·莫里森(Diane Baker),格雷格和阿普里爾都很喜歡卡洛琳,於是邀請卡洛琳搬進她們的公寓,三個女孩就這樣生活在了一起。卡洛琳的上司阿曼達·法羅(Joan Crawford)因為懷疑卡洛琳企圖取代她的位置,所以一直百般刁難卡洛琳,然而卡洛琳自己卻計劃男友艾迪·哈里斯(Brett Halsey)一從歐洲回來便與其成婚,然後從公司辭職徹底投入家庭主婦的生活,但天不遂人願的是艾迪在歐洲與其他女人成婚,傷心不已的卡洛琳只好全心投入工作之中,她和編輯邁克·萊斯(Stephen Boyd)的感情也因此變得越發複雜。阿普里爾是個天真單純的女孩,剛一入公司就遭到了上司沙利馬爾先生(Brian Aherne)的性騷擾,但卻反而與其成為朋友,後來偶然間她認識了富二代德克斯特·基(Robert Evans)並與其交往,她幻想著與之成家立業卻未料到自己所託非人。格雷格一直努力想要成為一個女演員,她偶然認識了導演戴維·塞維奇(Louis Jourdan)並與之談起戀愛,有了塞維奇的幫助她以為自己已經可以全心追求演藝事業便放棄了秘書的工作,卻未想到厄運已經就此埋下禍根。
演員:陳文明 嚴鳳英 田玉蓮 王魯明 黃福影
導演:劉瓊
劇情:黃梅戲電影。\r馮素珍(嚴鳳英)與李兆廷(陳文明)自幼同窗共讀,及長訂下鴛盟,但李家被奸臣陷害一貧如洗後,這門親事遭素珍嫌貧愛富的後母王氏(黃福影)阻撓。素珍心意不變,將兆廷相約於後花園送銀百兩,又贈玉麒麟一支。王氏聞風趕到,以偷盜名義將兆廷送官查辦,又把素珍許配富貴人家。誓死不從的素珍逃出家門,女扮男裝來到京城找尋被王氏趕出家門的哥哥少英(熊少雲)。\r素珍遍尋不著少英,卻見招考皇榜,靈機一動冒兆廷之名應試,打算得到功名時將兆廷搭救,不想竟高中狀元,被愛她才貌的皇上招為駙馬。不知如何是好時,前科狀元、八府巡按張紹民前來將她拜會,一番寒暄,她認出紹民正是哥哥,兄妹兩人開始共謀脫身之計。但聖旨召素珍即刻進宮與公主(潘璟琍)完婚。洞房花燭夜,再三推辭的素珍令公主起疑,被迫吐露真相。公主震驚之餘,感動於她的情義,但皇上得知後勃然大怒。
演員:查爾頓·赫斯頓 傑克·霍金斯 哈雅·哈拉里特 史蒂芬·博伊德 休·格里夫斯 瑪莎·斯考特 凱茜·奧唐內 山姆·謝斐 芬利·柯里 安德魯·莫瑞爾
導演:威廉·惠勒
劇情:故事發生在古羅馬時期,護民官米撒拉(史蒂芬?博伊德 Stephen Boyd 飾)回到了故鄉,重遇了兒時的好友賓虛(查爾登?海斯頓 Charlton Heston 飾)。賓虛家是猶太人的豪門,在猶太人中享有相當高的待遇,為了控制猶太人,使他們安份的臣服於古羅馬帝國的統治之下,米撒拉希望賓虛幫忙。但賓虛不肯出賣自己的民族,於是兩個好友決裂了。隨後,米撒拉找了藉口治了賓虛一家謀反罪,賓虛被賣到一艘軍艦上當奴隸,而他也失去家人們的信息。一次偶然機會,賓虛立了戰功,得到了古羅馬的皇帝接見,他回到了故鄉,也開始了他的復仇之旅!
演員:拉娜·特納 約翰·加文 桑德拉·狄 蘇珊·柯娜 羅伯特·阿爾達 丹·奧赫裡奇 胡安妮塔·摩爾 卡琳·迪克爾 Terry Burnham John Vivyan Lee Goodman 安·魯濱遜 特洛伊·多納胡 桑德拉·古爾德 David Tomack 喬爾·弗呂萊恩 傑克韋斯頓 比利·豪斯 Maida Severn Than Wyenn Mahalia Jackson 弗蘭克·貝克 George Barrows Paul Bradley Chet Brandenburg Teddy Buckner Ge
導演:道格拉斯·塞克
劇情: 羅拉(拉娜·特納 Lana Turner 飾)和蘇西(桑德拉·狄 Sandra Dee 飾)是一對相依為命的母女。在工作中,羅拉是一位女強人,總是將她的大部分時間都投入到繁忙的職務中,生活裡自然而然少了很多對於女兒的關注,久而久之,母女之間的隔閡越來越深。這感情的裂痕在她們都愛上了同一個男人之後,最終導致了悲劇。 安妮(朱安妮塔·摩爾 Juanita Moore 飾)是一名黑人女子,而她的女兒莎拉(蘇珊·柯娜 Susan Kohner 飾)則是混血,莎拉一直以母親的膚色為恥,這不斷的傷害著安妮的感情。然而,母性的本能驅使著安妮一次又一次的原諒的莎拉,並且依然如故的愛著她。
演員:若尾文子 川口浩 船越英二 宮口精二 東山千榮子 Atsuko Kindaichi Yoshirô Kitahara 小林勝彥 瀧花久子 丹阿彌谷津子
導演:增村保造
劇情:富麗堂皇的大酒店,正在進行一場盛大的婚禮。三原商事的次子二郎(北原義郎 飾)迎娶野野宮家的二女兒梨子(近藤美恵子 飾)。早在三年前,兩家已有過一次聯姻。當年三原一郎(船越英二 飾)愛慕在本公司擔任秘書的野野宮桃子(丹阿彌谷津子 飾),二人最終結為夫婦。如今兩家再次聯姻,無疑譜寫了一段佳話。適值此時,三原家的小兒子三郎(川口浩 飾)正在另一家公司獨自打拼,哥哥們有意召回弟弟,強勢的桃子也希望彰顯自己的實力,她因此極力撮合妹妹杏子(若尾文子 飾)和三郎走到一起。得知兄長和姐姐的心意,三郎和杏子結成同盟,發誓永不結婚……                                                                      本片根據源氏鶏太的同名小說改編。
演員:瑪麗蓮·夢露 傑克·萊蒙 託尼·柯蒂斯 喬治·拉夫特 喬·E·布朗 帕特·奧布萊恩
導演:比利·懷爾德
劇情:1930年代,動盪的芝加哥時常被強盜集團騷擾。喬(託尼•柯蒂斯)和傑利(傑克•萊蒙)本是樂團成員,兩人因偶然目睹盜匪史巴克的手下在車庫內射殺告密者而被窮追不捨。走投無路之下,他們男扮女裝加入一女性樂團,並隨該團來到邁阿密。 該團中有位名叫秀珈(瑪麗蓮•夢露)的異常美麗性感女郎,喬曉得她一心想釣有錢人時,便化身石油王的公子企圖得到她的芳心;另一面,傑利也對秀珈情有獨鍾,可是他卻得到一位不知他是男兒身的富翁的不斷糾纏,笑話迭生。不久,喬和傑利又遇史巴克一夥,只得再次逃亡,場面更加逗笑。