亚洲页The eccentric professor Collins lives completely secluded in his chaotic apartment. When the model Penny moves in next to him, he becomes fascinated of her. He drills holes in her walls and ceiling and peeps on her day and night. He loses himself in daydreams and delusions.
孙一娇
回复 :史蒂芬是平民出身、经过苦学奋斗，成为英国牛津大学的教授。史蒂芬离开家去和昔日的女友重温旧梦，回来时看到同事查理和名叫安娜的女生在自己家里筑起爱巢，翻云覆雨。史蒂芬对安娜垂涎久矣，她是奥国的公主，很大的贵族。一天晚上，史蒂芬发现安娜出车祸晕厥，未婚夫威廉在她身旁身亡。史蒂芬悄悄地把安娜接到家中休养，并趁机占有了她，终于如愿以偿。事后，安娜黯然独自返回奥国，史蒂芬继续与妻子过十年如一日的单调生活。一切照旧，像是什么都没发生过似的。史蒂芬认为，安娜同查理的苟且，对史蒂芬来说是平民受贵族歧视的一个证明。后来，史蒂芬自己有机会和安娜温存，他那种报复式的快感得到尽情抒发。
阿福
回复 :故事发生在苏联大改革时期，波波是一个热爱芭蕾的单亲男孩，他对芭蕾舞的狂热无人能比。跳跃、踮脚甚至是连续转圈，没有一项可以难得到他；但是瘦小的他却无法将女主角高高举起，每每因此丧失演出机会。深信老爸就是芭蕾天王“巴瑞辛尼可夫”的波波，坚信他身上流传着苏联芭蕾世家的血液，总有一天能够成为波修瓦剧院的首席舞者。某次公演前夕，首席男舞者受伤了，波波的大好机会来了吗？他能如愿以偿踏上波修瓦剧院的舞台吗？(来源：天马行空数位)
陆毅
回复 :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
