.

　　Shortly after the United States enters World War I in 1917, a Broadway actress agrees to let a naive soldier court her in order to impress his friends, but a real romance soon begins.

　　杰瑞（帕特·奥布莱恩 Pat O'Brien 饰）和洛克（詹姆斯·贾克内 James Cagney 饰）是青梅竹马的好友，从小玩到大的两人之间感情十分要好，遗憾的是，成年之后，个性迥异的两人走上了完全不同的道路。　　杰瑞成为了一名虔诚的神甫而洛克则加入了黑帮，之后，逐渐话不投机的两人渐行渐远。在复杂凶险的帮派争斗之中，小有名气的洛克成为了同伙陷害的对象，为了保护信赖的朋友，意气用事的洛克犯下了杀人之罪被捉拿归案，等待着他的，将是死刑的判决。在监狱中，洛克和杰瑞重逢了，回顾过往展望未来，两人不胜唏嘘。与此同时，杰瑞向洛克提出了一个请求，杰瑞知道，善良的洛克一定会答应他的请求。

　　Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor

　　Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor

　　货车司机雅克（让·迦本 Jean Gabin 饰）出生在一个有着酗酒历史的家族之中，他一直十分的自卑，觉得自己继承了家族劣质的基因。某日，在火车上发生了一起谋杀案，雅克是唯一的目击者，他在现场看到了同事的妻子萨维丽娜（西蒙妮·西蒙 Simone Simon 饰），但是出于私心，雅克并没有将这件事情告诉警察。　　这件事情让雅克和萨维丽娜一家人成为了好朋友，随着交往的深入，雅克渐渐爱上了萨维丽娜。为了能够和心爱的女人在一起，雅克怂恿萨维丽娜杀死她的丈夫，然而在最后时刻，萨维丽娜收手了。萨维丽娜的丈夫虽然震惊于妻子的所作所为，却依然无法摆脱对她的感情。

　　亚当（克劳德·雷恩斯 Claude Rains 饰）有四个娇俏可人的女儿，她们分别是安（普瑞丝西拉·兰恩 Priscilla Lane 饰）、凯（罗斯玛丽·莱恩 Rosemary Lane 饰）、西恩（劳拉·莱恩 Lola Lane 饰）和艾玛（盖尔·佩吉 Gale Page 饰）。　　四个姑娘虽然身上流淌着相同的血液，但是对待爱情却有着她们各自的看法。西恩是一个金钱至上主义者，所以最终和富有的克罗利订了婚。艾玛的爱情观和姐姐恰恰相反，她相信真爱，并且坚信只要耐心等待，爱情总有一天会降临在她的身上。一天，一个名叫菲利克斯（杰弗瑞·林恩 Jeffrey Lynn 饰）的男人带着他的朋友米奇（约翰·加菲尔德 John Garfield 饰）出现在了四姐妹的生活中。

　　三十年代巨星埃洛弗林最佳代表作，标志着当年冒险动作娱乐片的最高水准。故事描述十二世纪英国狮心王李察统治期间，罗宾汉受到迫害，落草为寇，专门劫富济贫，成为广受尊崇的侠盗。小约翰为首的一群绿林好汉亦被他收服。另一方面，邪恶的王子对罗宾汉步步进逼，为了美女马丽安的安危，两人展开了生死斗。导演米高寇蒂斯和威廉莱年利善用好莱坞的制作支持，将全片拍出了雄伟气势，动作场面的设计亦十分可观。主要演员包括奥丽薇哈佛兰、阿伦海尔等均有精彩演出。

在博物馆工作的古生物学家David暂无内容Huxley（加里·格兰特暂无内容Cary暂无内容Grant暂无内容饰）最近春风得意：即将和女友结婚，又千辛万苦得到了一块恐龙骨头，博物馆即将得到一位Random夫人的捐资。然而他的好运似乎在遇见Susan暂无内容Vance（凯瑟琳·赫本暂无内容Katharine暂无内容Hepburn暂无内容饰）的那一刻“结束”了。Susan是一个富家女，她的弟弟刚刚从南美洲给她寄回了一头叫“Bbay”的豹子，并让她把豹子带给她的姑妈。Susan坚持认为David是一名动物学家，让他一起把Baby一起送去远在康涅狄格州的姑妈家。一路上两人闹了不少笑话，而到了姑妈家，David发现Susan的姑妈就是Random夫人（May暂无内容Robson暂无内容饰），而Random夫人似乎对David印象不佳，捐资之事岌岌可危；更糟糕的是，那块恐龙骨头似乎和Baby一起失踪了。一方面，爱上了Da... 暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容 暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容(展开全部) 暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容 暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容 暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容暂无内容　　在博物馆工作的古生物学家David暂无内容Huxley（加里·格兰特暂无内容Cary暂无内容Grant暂无内容饰）最近春风得意：即将和女友结婚，又千辛万苦得到了一块恐龙骨头，博物馆即将得到一位Random夫人的捐资。然而他的好运似乎在遇见Susan暂无内容Vance（凯瑟琳·赫本暂无内容Katharine暂无内容Hepburn暂无内容饰）的那一刻“结束”了。Susan是一个富家女，她的弟弟刚刚从南美洲给她寄回了一头叫“Bbay”的豹子，并让她把豹子带给她的姑妈。Susan坚持认为David是一名动物学家，让他一起把Baby一起送去远在康涅狄格州的姑妈家。一路上两人闹了不少笑话，而到了姑妈家，David发现Susan的姑妈就是Random夫人（May暂无内容Robson暂无内容饰），而Random夫人似乎对David印象不佳，捐资之事岌岌可危；更糟糕的是，那块恐龙骨头似乎和Baby一起失踪了。一方面，爱上了David的Susan正在用尽一切方法阻止David回去和女友结婚，另一方面，David又迫切地想要赶回去，事情正在变得越来越复杂而有趣......

影片表现了13世纪俄国亚历山大·内夫斯基王子率领军民击溃掠夺成性的德国立窝尼亚条顿骑士的业绩。爱森斯坦借鉴民间叙事诗的技巧，使这一爱国史诗具有明显的壮丽歌剧的风格。条顿骑士入侵俄国后，无恶不作。他们洗劫普斯科夫，吊死爱国者。内夫斯基带领人民群众，以伊格纳特等积极分子为骨干力量，保卫了重镇诺夫哥罗德，消灭了叛徒托瓦尔其洛。最后，在楚德湖的冰面上大败条顿骑士。