孤女(❕)(nǚ )沈云兰(🛩)得富翁(wēng )顾(🕜)颂梅收留(👉)(liú )，与颂子少(🚔)梅青梅竹(zhú )马。少(🔬)梅赴(fù )沪升(🤯)学，颂妹觊(🙅)觎长(zhǎng )兄家(✳)财，假(jiǎ )装遭夫抛(🔙)弃入(🌬)住顾家(💨)(jiā )，并欲撮(🌛)合(hé )女儿陆(🌝)慧珍与少梅。
导演(yǎn )：(💖)杨工(gōng )良
不得志(✍)的日(rì )本画(👸)家(jiā )岛村(😏)(cū(🍒)n )（池部(bù(🆔) )良 饰）在全国(guó(🎾) )各地(🕟)游(yóu )历(📟)，途中经(jī(⛴)ng )过一个名为(⏰)雪(xuě )国的地方。在当地(🕐)(dì )的温(📻)泉旅馆，他(🧖)邂逅了19岁(suì(👬) )的三味(wè(😽)i )线女艺人驹(🐴)子(zǐ )（岸惠子 饰(🙅)(shì )）。驹子美(😮)丽清纯，俏(🕛)皮可爱。岛村(😷)感于这个女孩的(🎓)(de )纯洁(🔖)，虽心(xī(📤)n )有爱慕，却(💚)始终不愿(yuà(🔋)n )玷污这块美(měi )玉。在离(🦔)开雪国返回(huí )东(🧗)京(jīng )的前夕(🔶)(xī )，这两个(⛰)互相(xiàng )欣赏(🍾)却(què )身份(fèn )悬殊(🌡)的(de )人(🔫)终于摆(👓)脱束(shù )缚(🛶)，结(jié )合在(zà(❣)i )一起。次年，思念驹(jū )子(🕢)的岛村(📡)回(huí )到雪(🗣)国(guó )，此时的(🔉)驹子(zǐ )为(🥒)了报答三(sā(🐍)n )味线老(lǎo )师的养(🎠)育之恩(ēn )，而(🌞)甘愿成(ché(💮)ng )为艺妓赚钱(🚉)为老师的(de )儿子行(🐄)男治(🙍)(zhì )病。一(🔵)同照顾行(🌁)男的(de )少女叶(🔉)子（八千草薰 饰）爱(🥎)慕行(háng )男，她嫉恨(🧕)(hèn )驹子在未(🗾)婚夫行男(🎾)和(hé )恩客(kè(🎲) )岛村之(zhī )间的摇(🔪)摆不(🌳)定(dìng )。当(⭐)然(rán )，这(zhè(🚰) )也令岛(dǎo )村(💷)心中骤起波(bō )澜。两(liǎ(🎍)ng )人第(dì(💨) )二次的(de )相(☕)会便在尴尬(🏒)(gà )的气氛中结(jié )束，他(😏)(tā )们的爱情终将(🏅)(jiāng )何去何从(🛅)……
影片(👘)(piàn )描述一群(📼)探险(xiǎn )队员到喜(🛫)马(mǎ(🤔) )拉雅山(🤦)去探险，却(⛲)意(yì )外地遇(😊)上了(le )一头雪怪，并且逐(🙄)一(yī )被雪怪及自(🐕)(zì )己的恐怖(🍮)所杀害。
One day, Ronald Grimes receives a letter from a Mr. Christianai who says he can predict the future. The letter correctly predicts the outcome of an upcoming election. More letters follow and through gambling, Grimes acquires a large amount of money. A final letter from Christianai asks for a contribution. Grimes gives it quite willingly. Later Grimes finds out that Christiani was a fraud. He was really a con man who sent out thousands of letters half of them predicting one kind of outcome, and the other half predicting another. Grimes was luck: he got the right predictions time after time.
In North Africa Dr. Walter (W) is a very skilled surgeon but lives at a distance from the hospital. In the evening a husband (H) and his sick wife come to his private home from far away. He tells them to go to the hospital. The wife dies during the operation. The other doctors think that W might have saved her. Shortly afterward a man asks W to come to a village to treat a very sick man. W goes thither in his car. The local habitants do not allow him to apply Western medical techniques, all tyres of his car are stolen, and he sees H in this village. W tells him that his wife would not have died if he had timely taken her to a doctor. W buys a lot of coca-cola and starts walking home on his feet. He refuses H's offer to show him a shortcut. But thrice he finds H sitting at the road much ahead of him. Then he accepts H's guidance = misguidance! When they have been without water for many days and W wishes he was dead, he wounds H with a knife. H is sure to die within 24 hours without medical treatment. Then H says that inhabited areas are found in a quite different direction. W starts in this direction, not followed by H. The camera rises and reveals that before W there is nothing but stone and sand.
In the 1950s Neo-realism style was given a boost, in part by what was happening in Italy. The films of Rossellini, Antonioni and De Sica made a powerful impression on Brazil's nascent film community. A series of pivotal pictures were made in the 1950s that responded to the wake-up call of the new Italian masters. Needle in a Haystack (1953) by Alex Viany, The Road (1957) by Oswaldo Sampaio and The Great Moment (1958) by Roberto Santos are a few of the better titles. The energy of these films was felt far north of Rio in the state of Bahia, where several pictures were made. (History of Brazilian Cinema)
1810年(✳)(nián )，拿破仑挥(⏬)(huī )军进攻西班牙(🤦)，城镇(zhèn )陆被(🥦)(bèi )占领，西(🎏)班牙束手无(🛴)(wú )策，连(lián )连战(zhà(😍)n )败，于(🧜)(yú )撤退(🔥)时，将一(yī(🖼) )门巨炮(pào )偷(📚)偷(tōu )丢下山(shān )谷，而此(🛃)巨炮(pào )正是英、(👴)法(fǎ )两国急(🍜)(jí )欲获得(🎗)的东西(xī )。 (🈲) 英国(guó )派海军(👜)(jun1 )上校(🔪)安东尼(🌓)到(dào )西班(🕎)牙接洽(qià )转(🔫)让巨炮事宜，然而(ér )部(🐐)队早已撤(chè )走，遇(🌜)到反抗法军(🌲)的(de )游击队(🚑)，反(fǎn )抗军领(🍔)袖米凯尔与安(ā(🔃)n )东尼议，由(yó(🌫)u )安东尼修(🌝)复巨炮并教(🤢)(jiāo )导反抗军使(shǐ(🗃) )用直(🛩)到攻下(🏸)艾维拉城(🍃)(chéng )再转(zhuǎn )让(🏳)英国(guó )，安东尼同意(yì(🖌) )：果然(rán )艾维(wé(📣)i )拉一役(yì )，巨(📐)炮发挥强(🔶)(qiáng )大火力轰(😂)垮(kuǎ )城墙，反抗军(👾)攻下(💮)艾(ài )维(🆖)拉，安东(dō(🍣)ng )尼完成(chéng )任(👦)务，将巨炮(pào )运回英国(🤜)！
Douglas Sirk takes the gloves off in this searing view of family life of 50's America. Unlike his famous melodramas, "There's Always Tomorrow" is completely devoid of any beguiling glitz and glamour to sweeten the pill. For its time it’s a bold and unusual work focusing on the husband as the deeply unhappy victim of what outwardly appears to be an ideal family.