简介：改编自埃德加·爱伦·坡的短篇小说《贝蕾妮丝》（Berenice,1835），由侯麦本人出演男主角。

简介：Father Brown tries to transport a historically important cross to Rome engaging in battles of wits and faith with a thief and pursuing policeman. The thief, named Flambeau (Finch), is a master of disguise and is elusive, as Father Brown pursues him and tries to convince him to abandon his criminal career.　　During the making of the film, Alec Guinness was mistaken by a small boy for an actual priest. This episode appears to have played a part in Guinness's later conversion to Roman Catholicism.

简介：由南奈利．约翰逊导演的一部故事构想相当巧妙的间谍斗智片。　　描述一位派驻西柏林的美军下士，被俄国间谍劫持往东柏林作人质，目的是要跟美国交换一位德国将领。负责此事件的美军上校，以其人之道还治其人之身，将被俘下士救了回来。节奏紧凑，特别是片中的几个悬疑镜头让人回味无穷，娱乐性也颇为浓厚。

简介：A woman's sanity comes into question, after she claims to have witnessed a murder from her apartment window.

简介：土地改革的时候，河南西部的一个村子里的贫农张拴分得了一块好地，谁知他不好好劳动，结果不但亏了本还欠了一身债。为了还债，他咬牙要卖掉这块有“一杆旗”之称的好地。替地主干了一辈子活的宋老定听说张拴要卖这块“一杆旗”，心里暗暗高兴。他想抓住机会买这块好地。宋老定的儿子东山是个共产党员，他想劝侈借钱帮助张拴渡过难关，帮助他以后好好劳动。可父子俩谈了半天，根本谈不到一块去，父子俩闹僵了。

简介：

　　本片拍摄于1953年，根据马克·吐温的小说《一张百万英镑的钞票》改编。
　　富豪之家的两兄弟，从银行取出面额为一百万英镑的钞票，想以此验证一个穷人拿到这张巨额钞票的结局。哥哥认为这张钞票对一个穷人毫无价值，最终他还是会穷困潦倒；而弟弟则认为他会因为这张钞票摆脱困境过上富足的生活。为了证明各自的理论的正确的，兄弟两人为此打起了赌。他们将这张钞票留给穷困潦倒的美国小伙子亨利·亚当斯（格利高里·派克 Gregory Peck 饰）后出国旅行了，留下对未来一片迷茫的亨利。
　　人们对这位突然暴富的罕见富翁，竟拼命地拉拢他，从免费吃饭，买衣服，到免费住宿，一个个像乞丐一样讨好他，并不断提高他的社会地位。不仅如此，这位幸运的小伙子还取到了一位好妻子和三万英镑的银行利息，从此以后过着非常幸福的生活。

简介：Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.