主演：尤敏 王引 张扬 王莱 蓝天虹
导演：唐煌
简介：李佩英（尤敏 饰）从小就和父亲李伯铭（王引 饰）过着相依为命的生活，一天，李佩英的姨母曾太太（蓝天虹 饰）突然从意大利回国，她莫名其妙的对李佩英父女两人大献殷情，还送了一台非常昂贵的钢琴给李佩英，让李佩英百思不得其解的是，父亲对于曾太太的态度非常的冷淡。 原来，曾太太其实正是李佩英的亲生母亲，早年间，在生下了女儿之后，曾太太决定和自己的情人私奔，丢下了嗷嗷待哺的女儿不管不顾，如今，曾太太良心发现，想要将李佩英从李伯铭的身边夺走。在李佩英生日当天，家中举行了盛大的误会，可就在这个节骨眼上，李伯铭遭遇了车祸，脚部受伤，生活无法自理。
主演：A. Alekseev 彼得·柳别什金 Oleg Mokshantsev
导演：亚历山大·戈登 安德烈·塔可夫斯基
简介：影片主要讲了一支地区自卫队挖到了许多枚导弹，这些导弹可能是二战时候德国兵留下的，现在虽然藏在地下，仍有不小的隐患，如果30吨炸药全部爆炸的话，足以摧毁整个城市。影片刻画了士兵们在对待转移导弹这项艰巨的任务上各自复杂的心理活动，有的自告奋勇一马当先敢于迎接挑战，有的借口推搪。影片既有对士兵在面临危险大义凛然的颂扬，也有对情人之间彼此信任关切的微妙刻画。虽然短短的四十多分钟不足于对这些东西展开详细地描绘，但已经展现出老塔把握镜头语言和节奏的能力，总能让人感觉到一股紧张的气氛笼罩全局，并且悬念环生扣人心弦。
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：哈里·贝拉方特 英格儿·斯蒂文斯 梅尔·费勒
导演：拉纳尔德·麦克杜格尔
简介：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.
主演：长门裕之 吉行和子 二谷英明 松尾嘉代 北林谷荣 小泽昭一 西村晃 殿山泰司 芦田伸介 浜村淳 穗积隆信 加原武门 贺原夏子 高木均 高原骏雄 高山千草 辻伊万里 山冈久乃 大泷秀治
导演：今村昌平
简介：昭和二十八年（1953），战后的日本山河凋敝，百业待兴。佐贺煤矿区的底层百姓生活困苦，安本家的顶梁柱父亲不幸去世，留下两对儿女喜一（长门裕之 饰）、良子（松尾嘉代 饰）、高一（冲村武 饰）、末子（前田晓子 饰）无人照看。20岁的喜一外出做工，但稀薄的工资不足以承担一家人的日常开销。为了生存，喜一将高一和末子托付给好心的边见叔叔（殿山泰司 饰）抚养，自己则和妹妹良子前往长崎打工。四兄妹就此分离，而煤矿上的生活也越来越艰难…… 本片根据10岁女童安本末子的日记改编，并荣获1960年蓝丝带最佳男演员和最佳男配角奖。
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：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：弗拉迪米尔·伊瓦绍夫 然娜·普罗霍连科 安东宁娜·马克西莫娃 尼古拉·克留奇科夫 叶甫盖尼·乌尔班斯基 艾尔莎·拉兹金 亚历山大·库兹涅佐夫 耶维热尼·泰特林 瓦伦蒂娜·马克瓦 玛丽娜·克雷尼尔娃 弗拉基米尔·伯克洛夫斯基 格奥尔吉·尤玛托夫 根纳季·尤赫金 瓦伦蒂娜·特莱吉纳 列夫·鲍里索夫 列昂尼德·丘巴罗夫 弗拉基米尔·卡什普尔 谢苗·斯瓦申科 尼娜·缅希科娃 瓦连京·布雷列耶夫 叶甫根尼·耶夫斯基格涅耶夫 尤里·杜布罗温
导演：格利高利·丘赫莱依
简介：二战期间，19岁的通讯兵阿廖沙（弗拉迪米尔·伊瓦绍夫 Vladimir Ivashov饰）在卫国战争中用反坦克枪击毁了德军的两辆坦克而受到嘉奖。但阿廖沙请求将军不必为他授奖，只希望给他几天假回家探望一次母亲（安东尼娜·马克西莫娃 Antonina Maksimova饰）。于是阿廖沙踏上了为期只有六天的归家旅程。途中，阿廖沙邂逅了天真无邪的少女舒拉（让娜·普罗霍莲柯 Zhanna Prokhorenko饰），两人一见钟情。然而他们乘坐的火车被炸，他救死扶伤耽搁了不少时间。当阿廖沙终于回到家乡时，只来得及和母亲在田边说几句话就要返回前线。可这一去，阿廖沙就再没有回来。 由著名导演格利高利·丘赫莱依执导的苏联现实主义电影杰作《士兵之歌》，荣获1962年第34届奥斯卡金像奖最佳原创剧本提名，入围1960年第13届戛纳电影节金棕榈奖，并获得1962年第15届英国电影和电视艺术学院奖电影奖-最佳影片等多项大奖。
主演：谢芳 康泰 于洋 秦怡 于是之 秦文 葛存壮 赵联 张逸生 赵玉嵘 韩焱 乌晨曦 罗锦鳞 孙凤琴 张亮 曹增银 邵华 林东升 史弘 王人美 李雨农 黄菲 赵子岳 李建国 杜德夫
导演：崔嵬 陈怀皑
简介：黑暗的年代，世道离乱，人的尊严和生命比纸还贱。拥有悲苦人生的中学生林道静（谢芳 饰）一度试图蹈海自杀，关键时刻却被来自北大的余永泽（于是之 饰）救下，从此她的人生有了曙光和转机。因不满校方对学生运动的态度，林愤而辞职，辗转来至北平见到了余永泽。几经周折与磨难，两个有情人终于走到一起。无奈随着局势的风云变幻和长时间近距离的相处，林和余二人的思想分歧越来越大，在一次集会上，林邂逅共产党人卢嘉川（康泰 饰），她从对方手中得到许多进步书籍，共产主义的先进思想也让她恍如大梦初醒一般，渐渐明了存在于世的意义，以及人生奋斗的方向。从此，林道静走上了一条极不平凡且充满危险和考验的革命之路…… 本片根据杨沫的同名自传体长篇小说改编。
主演：松米特拉·查特吉 莎米拉·泰戈尔 Alok Chakravarty
导演：萨蒂亚吉特·雷伊
简介： 本片是阿普三部曲（大路之歌、不屈者、阿普的世界），第一部是与生长的地方的联系，第二部是与父母的联系(在第二部里，阿普的父母相继弃他而去)，第三部是与爱人和孩子的联系。全片最突出的地方，是以一位不满十岁的少年的视线界来观赏人类与大自然生活的共通性。 “阿普三部曲”奠定了萨雅吉雷在印度电影发展史上崇高艺术地位。 萨雅吉雷的电影是很难定位他的电影类别及风格。但可确定的是他的电影是印度传世经典之作，具有文学艺术价值，他具有普世价值的电影故事，永远深值人心。 日本名导演黑泽明(Akira Kurosawa)对.萨雅吉雷有极中肯的评价：如果我们泠静深沈的观察，了解人类对爱的演进，在萨雅吉雷的电影中你必有所感动和共呜，.萨雅吉雷电影是电影工业的指标。 印度电影大师萨蒂亚吉特·雷伊的《阿普三部曲》，曾荣获戛纳电影节最佳人文纪录片奖。三部电影每一部都自成佳作，它们以朴素、强烈的感情和视觉上的独特美感给人以心灵上的震撼，从而确立了Ray在世界顶尖导演中的地位。
主演：仲代达矢 新珠三千代 佐田启二 渡边文雄 安井昌二 桂小金治 多多良纯 南道郎 佐藤庆 田中邦卫 内田良平 柳谷宽 植村谦二郎 岩崎加根子 内藤武敏 伊藤亮尔 原泉 矢野宣 武内亨 江幡高志 川津祐介 藤田进 千秋实 浜村纯 小林昭二 大木正司 井川比佐志
导演：小林正树
简介：时值隆冬，梶被派到北满洲守备队。连日强行训练已经筋疲力尽，还得忍受老兵的作弄。但是无论从体力还是射击技巧上都是数一数二的，立刻成了队里的重要士兵，他还站在袒护小士兵的立场上。梶保护的朋友们又因哥哥是左翼思想犯，自己也被当作赤色分子的新城一等兵。又因妻子来信骂他 是家庭的愚痴而动摇被老兵痛斥的小原二等兵。还有40岁被征来的老兵。梶帮助新城逃往苏联，小原在厕所中自杀。梶的妻子不远万里来部队见梶。两人得到特别许可在工具仓库过了一夜。后来因苏联参战，梶的部队被苏联坦克部队全部歼灭。只有梶等少数几个人活下来。
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：中村雁治郎 京町子 若尾文子 川口浩 杉村春子 野添瞳 笠智众
导演：小津安二郎
简介：歌舞伎艺人岚驹十郎（中村雁治郎 饰）率领他的剧团来到志摩半岛的小镇，早年间他曾来此演出，并和当地的女子阿芳（杉村春子 饰）结合生下一子。多年来，他无论身在何处都不忘接济阿芳母子，虽然欣喜儿子阿清（川口浩 饰）的成长，却不愿让他知道这层父子关系，只以叔叔的身份陪伴在他的左右。 剧团长时间驻留小镇，生意也从最初的火爆变得萧条。纵然人心惶惶，驹十郎却仍不愿带团离开。驹十郎在剧团的情人寿美子（京町子 饰）某天终于得知隐情，且恨且妒的她怂恿年轻女演员加代（若尾文子 饰）去勾引阿清，谁知两人却一见钟情……
主演：奥黛丽·赫本 彼得·芬奇 伊迪斯·伊万斯 佩吉·阿什克罗福特 迪恩·贾格尔 米尔德丽德·丹诺克 比阿特丽斯·斯特雷特 帕特里夏·科林奇 罗莎莉·克拉切利 鲁斯·怀特 芭芭拉·欧内尔 Margaret Phillips 帕特丽希娅·博斯沃思 科琳·杜赫斯特 斯蒂芬·默里 莱昂内尔·杰弗里斯 尼尔·麦吉尼斯 埃娃·科特豪斯 Molly Urquhart 多萝西·艾莉森
导演：弗雷德·金尼曼
简介：《修女传》由四度夺得奥斯卡金像奖的导演弗雷德·金尼曼执导，是奥黛莉·赫本的代表作之一，曾荣膺奥斯卡最佳影片等八项提名。 女主角嘉比雅（奥黛丽·赫本 Audrey Hepburn 饰）投身修道院，学习教会的戒律变成璐克修女。其后被送到医学院学习当护士，毕业后派到非洲的比属刚果服务。在那儿她认识了无神论的医生福图纳提，引起了她对宗教信仰的质疑。不久璐克生病，病后被送回比利时，当时正值二次世界大战爆发，医院旁炮声隆隆，修女们却不顾个人安危继续工作。比利时沦陷后，璐克参加了敌后工作，爱心使她无法保持修道者的沉默和自制。当她听到父亲被杀害的消息时，撤去了她修女的誓愿，请求还俗退出了修道院。
主演：關德興 曹達華 石坚 林蛟
导演：胡鵬
简介：天宮仙獸園的猩猩王偷去二郎神的寶牌，化身人形潛下凡間，到處奸淫擄掠，傷及清官張忠介的子女。介向天求救，驚動眾仙，卻都苦無良計對付猩，終由觀音將猩收服，並一一處罰犯錯的眾仙。
主演：新马师曾 余丽珍 欧阳俭 苏少棠 凤凰女
导演：珠玑 龙图
简介：电影剧情： 神鸟大鹏下凡，偶遇庸仁福，施法术助福夺得美人韩明珠，鹏却被迫娶明丑姊珍珠。明不甘嫁福，新婚夜欲借酒移花接木，意图改嫁大鹏，却惊见鹏现出原形，后更遭鹏挟持，幸得十八罗汉将鹏收服。 The Roc's long flight 出品时间：1959年 出品公司： 立达影业公司 制片地区：中国香港 上映时间： 对白语言：粤语 色彩：黑白 类型：奇幻，戏曲，粤剧 职员表： 监制：许立斋 导演：珠玑；龙图 编剧：卢雨岐；李愿闻 制片：严牛 撰曲：李愿闻；潘焯 演员表： 角色 演员 备注 神鸟大鹏 新马师曾 ---- 韩珍珠 余丽珍 ...
主演：吴君丽 罗剑郎 半日安 阮兆辉 陈宝珠
导演：陈焯生
简介：电影剧情： 张金荣与赵家璧没有经母亲之命结合，并育有一子带来。金荣继母及同父异母弟弟为夺亡父留下的藏宝图，多年来对金荣一家百般欺凌。后家璧诞下另一儿子宝官，刚巧二嫂难产，婴儿夭折，家仆福伯害怕奶奶及二叔加害宝官，故把宝官新生儿交给二嫂养育，认作二嫂所出。 金荣父亲的藏宝图规定，一定要等到十六年后才能找出宝藏，而宝图则由金荣保管。经福伯解释，宝官与母亲家璧相认。二叔及继母急不可待要迫令金荣交出藏宝图，甚至把金荣打伤。及发现宝藏空空如也，愤而生葬家璧。金荣两子孝感动天，得神鹰赐斧、棍，劈棺救母。福伯努力营救，金荣大难不死，亦回来拯救妻子，一家团圆。 出品时间：1959年 出品公司：大联影业公司 摄制公司：国家片场 制片地区：中国香港 类 型：剧情 片 长：107分钟 上映时间：1959年11月19日 对白语言：粤语 色 彩：黑白 职员表...
主演：关仁 大声婆 陈立品 任剑辉 周小来 白雪仙 梁醒波
导演：俞亮
简介：杨春香和江谢祖情投意合，虽分隔两地，却无碍感情。兄耀祖为弟着想，修好木桥，定名为二郎以作纪念。因战乱失散，兄弟投靠姨丈。十年后，香为养母于街头卖艺，引起恶霸贾二爷垂涎，香拒被侵犯，贾感不甘。香被母迫嫁耀，始与谢重逢。谢虽重遇爱人，唯其早已是大嫂身份，只好忘却前事。香将真相告予耀祖，得其谅解。耀得知往事，离家从戎，以成全香、谢。十里亭上，香多番表明爱意，谢却碍于礼教，惟有辜负佳人。香失意之余，险遭贾强奸，复因自卫杀人被判死刑。谢遭贾的师爷所害变至失明，重回二郎桥，唏嘘万分。其时香被押至，谢深感悔意。行刑之际，幸得耀荣归来救，香与谢终再续前缘。
主演：芳艳芬 任剑辉 谭倩红 少新权 萧仲坤 马笑英
导演：陆邦
简介：影片简介： 香港粤剧电影《含笑饮砒霜》由龙门影业公司于1959年出品。该片由陆邦执导，芳艳芬、任剑辉、谭倩红、刘克宣、萧仲坤、马笑英等领衔主演。该片是龙门影业公司创业作，改编自名伶薛觉先同名粤剧。主要剧情是：尹桃红被养母逼嫁黄百坛，尹桃红与爱人程一往欲服毒殉情，黄百坛却误饮毒酒身亡，尹桃红为救程一往承认杀黄百坛。程一往偶然救助巡按女儿，巡按感恩许以女儿，并提拔程一往任知县。程一往为尹桃红翻案，被巡按误会假公济私。后巡按知悉原委，赐假毒酒试探二人，尹桃红、程一往含笑饮砒霜，终感动巡按释放尹桃红。 剧情简介： 尹桃紅青樓賣唱, 與文武雙全窮書生程一往相戀。紅被養母迫嫁富豪黃百壇, 為不須壇替己贖身, 紅與往欲服毒殉情。剛巧壇到訪, 卻誤飲毒酒身亡。 往為見紅故意惹事生非, 被判牢一天。該日有強盜劫獄, 往把強盜擊退, 又與捕頭搗破匪巢, 偶然求助巡按女兒...
主演：林黛 赵雷 胡金铨 杨志卿
导演：李翰祥
简介：年轻的正德皇帝，在御书房听太傅梁储讲学，窗外传来宫女妙曼歌声，词意称颂江南景色美丽，人物俊秀，不禁悠然神往。适值殿前侍卫将军周勇乞假返回江南故乡，正德心生一计，命周勇护驾陪行，微服私游江南。 君臣策马同行，游览江南景色。正德向来寂处深宫，难得逍遥自在，心怀为之大快。一天来到梅龙镇，镇上正在举行酬神盛会，人山人海，鼓乐喧天。正德与周勇挤在人丛中观看，游行景艺巧妙新奇，目不暇给。突然朵朵鲜花从天而降，正德伸手抢接，惹得扮演「天女散花」的少女嫣然一笑。正德神摇魄荡，一缕深情系在少女身上。 回到客店，少女的笑容深印在正德脑中，辗转反侧，无法入寐。翌晨起来，独自漫步。丛林中酒旗高挑，正德信步入内，却和昨天所见少女相遇。原来她是酒家店主李龙的妹妹李凤，不禁喜出望外。酒保大牛上前拦阻，声言今天店主有事外出，暂停沽酒。李凤见正德年少俊雅，芳心窥慕，借故遣开大牛，殷勤...
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