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少女阿翠(🥤)家境(📄)清贫，跟(gēn )作(zuò )画(🐑)(huà )的(📉)(de )江涛(🤒)为邻，感情要好。江涛绘下(xià )阿(ā(💢) )翠画(📳)(huà )像(xiàng )，并小心珍(💜)藏。江(💥)涛有旧同学丁(dī(😋)ng )其(qí(🌠) )昌，对(duì )阿翠一见(😬)钟情(⛽)。其昌实出于富裕(yù(🍏) )之(zhī )家，妻(qī )子早(🚑)年病(🚳)逝，遗下一女小凤(📛)(fèng )。其(💗)(qí )昌(chāng )极力追求(🏤)，阿翠(🔪)迫于(👭)生活，答应下(🎎)(xià )嫁(🙊)。无(wú )奈阿翠出身清(🐓)贫，婚后饱受恃财(⭕)(cái )骄(❌)(jiāo )横(héng )的(de )丁(dīng )父(🌇)白眼(🕚)。丁父更迫使其昌(🍋)携同(😹)小(xiǎ(🐙)o )凤(fèng )回(huí )北(běi )平(píng )老家，离开阿(🎋)翠.阿(🕢)翠独居多年，待(dà(🎲)i )她再(🆑)(zài )访(fǎng )寻江涛时(🔁)，只见(💓)画像仍在画室架(🌨)(jià )上(👺)(shàng )，可是(shì )江涛已淡(♓)忘昔日之情。及至(🌪)丁父(🔙)(fù )去(qù )世，其(qí )昌(✖)与小(🎿)凤回到家中，其昌(🍍)不独(🍥)不(bú(💝) )解(jiě )别离之(👻)痛，更怀疑阿翠与商人王(🥙)少(shǎo )伯有(yǒu )染(rǎ(🌫)n )，对妻(🐅)子日渐冷淡。此时(🐖)小凤(😭)跟(gēn )其(qí )昌助(zhù(🖋) )手(shǒ(🌔)u )陆超恋上，可是旋又移情少伯，并(bìng )打(🐃)(dǎ )算(🍷)(suàn )随(suí )他私奔美(🤫)国。为(🥡)保女儿声誉，阿(ā(🎿) )翠(cuì(🎚) )刻意(yì )替(tì )小凤(🏬)隐瞒(🗡)事实。岂料此举却令(⏺)其(qí )昌(chāng )误会更(📼)(gèng )深(🦕)，以为妻子不忠，最(😫)后更(🎉)与小(xiǎo )凤(fèng )，陆超(🚸)(chāo )返(🕴)回北(🐞)平，剩下阿翠(🎀)孤独终老。
根(gēn )据雷蒙·(🔔)钱德勒侦探小说(🍾)《湖底(🙀)女(nǚ )人》改(gǎi )编
克(🐍)丽奥(📵)佩拉，一个躲在狮(🍼)身人(😻)(rén )面(miàn )像阴(yīn )影(yǐng )下的受惊的少女(🐩)，遇到(🏧)了从罗马(mǎ )来(lá(🕴)i )的(de )凯(🎭)(kǎi )撒(sā )，宣告了埃(😇)及的(💕)新纪元的到来，也(🦗)(yě )预(🔺)(yù )示(shì )了(le )埃及女王(🔹)的诞生。这时的克(🔴)丽奥(👢)(ào )佩(pèi )拉还是(shì(🖇) )个天(😀)真可爱少女，美貌(👈)诱人(🤭)却有(👌)(yǒu )着(zhe )易怒多(🗣)(duō )变的性格，梦想着有强(🎒)壮臂膀的(de )英(yīng )俊(❓)男人(✊)保护，登上女王的(🏻)宝座(🔻)；萧(xiāo )伯纳(nà )从(🔺)(cóng )另(🚄)一个非常不同的角度出发，使(shǐ )笔(bǐ(🌅) )下的(🗽)(de )凯(kǎi )撒不再是传(🚎)说中(🙅)的强势凶暴的好(💹)(hǎo )战(🤵)(zhàn )者(🎰)(zhě )，而(ér )是贤(📬)明、(🍩)仁慈、诙谐、慷慨(🔸)的君(jun1 )主(zhǔ )，厌(yàn )倦(😂)(juàn )了(🏭)血腥和背叛，渴望(🧚)欢快(💪)的人生(shēng )。
芳齡十(🤱)(shí )八(🔎)的妮(💘)莉，原本長年(🈲)與養母同住(zhù )瑞(ruì )典鄉(🏎)間(jiān )，平靜的生活(👐)就從(🍨)某天生母忽然(rá(🎡)n )來(lá(🔃)i )訪開始變奏。她隨(🍀)著生(🚡)母來到斯德(dé )哥爾(ěr )摩(mó )一探究竟(🥓)，大城(🔋)市為她帶來從未(😘)經(jī(🦑)ng )歷過(guò )的(de )體驗，也(🎾)啟迪(🤬)了她(🆑)的愛情視野(🚗)。但(dà(🍣)n )偏(piān )偏(piān )她(tā )的愛(⚾)慕對象卻是生母(💘)的情(👘)人，母(mǔ )女(nǚ )關(guā(🍩)n )係(xì(🥏) )猶(yóu )如緊繃之弦(🔜)，悲劇(👔)是否(🦀)註定發生(shēng )？影片當(dāng )時雖然票房(💌)不佳，卻是柏格曼(🆕)初(chū(🛷) )執(zhí )導演筒(tǒng )的(🏸)處女(🉑)作。
Judy Peabody saves an old man from drowning. He turns out to be Jerry Bates, "J.B." to his lawyer Curtis, "Pop" to Judy, who mistakenly believes the wealthy old-timer to be poor.
在大学中杜克(🐉)和切(🍽)斯(sī )特(tè )，二杂在阿拉斯加街头耍表(😴)演，一(🙎)(yī )次偶(ǒu )然(rán )的(🔦)机会(♓)两人发现了秘密(🚹)的金(👐)矿，二(🐆)(èr )人化(huà )妆(🏣)(zhuāng )潜(⚓)伏进去，故事由此展(🔒)开。
A homely maid and a scarred ex-GI meet at the cottage where she works and where he was to spend his honeymoon prior to his accident. The two develop a bond and agree to marry, more out of loneliness than love. The romantic spirit of the cottage, however, overtakes them.
Pretty Molly Lucian enlists the reluctant aid of psychologist Felix Milne in treating her potentially homicidal husband Adam, who refuses to see a "real" psychiatrist. Traumatized in a Japanese prison camp, Adam proves to be on the verge of severe schizophrenia. In his risky struggle to help Adam, Felix finds his none-too-functional home life deteriorating, and is unable to help himself as he helps others. The situation rushes headlong to a suspenseful climax...
"Jacques Tourneur at work in color on Western landscapes is something to behold. The credits roll over a matte of a damp day in Portland (slanting rooftops, a ship’s half-seen mast, boards over a muddy street) that’s practically a Grafström, the Oregon Trail that follows is finely-drawn watercolor. The nascent commune of Jacksonville would be Fordian, except that Dana Andrews’ negation of piety ("A man can choose his own gods") and Andy Devine’s acknowledgement of Indian rights ("We’(🤳)re on their land. They ain’t likely to forget that") challenge Manifest Destiny. Overlapping triangles -- Andrews-Susan Hayward-Patricia Roc, Andrews-Hayward-Brian Donlevy, Andrews-Roc-Victor Cutler, Hayward-Donlevy-Rose Hobart. Hoagy Carmichael with mandolin amid the ramblers and settlers is wastrel, commentator, mediator, and voyeur ("...a little store and lots of time"). The cabin-rising sequence tips its hat to Hathaway’(🤱)s Trail of the Lonesome Pine, and was studied by Weir. The wedding bash celebrates wholeness but these are forces in tenuous balance, Donlevy voices Tourneur’s ambivalence ("The illusion of peace is upon it") moments before the Indians materialize via a single reverse shot that seems to introduce a parallel world. Another space-expanding reverse shot, this time embodying tensions from within rather than from without, takes place right before Andrews’ brawl with Ward Bond, cutting from a medium-shot of the two at the saloon counter to another revealing the townspeople in the wings, waiting for the spectacle. (The fight, remarkably bloody and ugly, hinges on the haunted image of the disoriented Bond smashing his fist into a wooden pole. Hayward sits with the cheering crowd.) A film of "thin margins": The saloon doubles as a hanging courtroom, the garden becomes an inferno. The view of a dazed Roc wandering in the woods after the slaughter is from I Walked with a Zombie, and finds its way into Demme’s Beloved; Stars in My Crown revisits the territory with hope for harmony, but Wichita and Great Day in the Morning know better."