主演：京マチ子,叶順子,仲代達矢,中村鴈治郎,北林谷荣,菅井一郎,潮万太郎,山茶花究,大山健二,南部彰三
导演：市川昆
简介：古美术鉴定家剑持（中村鴈治郎 饰）终于迎来自己的老年时代，他的身体各项技能都开始退化，然而其又心存不甘。剑持的妻子郁子（京マチ子 饰）端庄贤淑，出身僧侣之家且受着传统教育的她即使在夫妻云雨之时也拒绝欲望的宣泄。深知妻子隐含的欲望，剑持一方面想引导郁子变成一个放荡的女人，一方面也希望通过嫉妒来让自己重新焕发活力。他经常将年轻英俊的医学院学生木村（仲代達矢 饰）邀至家中，企图从木村和郁子的暧昧中感受强烈的嫉妒。同时他将真实想法写在日记里，并设法让郁子看到。夫妻二人由此展开危险、致命的欲望游戏……本片根据日本官能作家谷崎润一郎的同名原作改编，并荣获1960年戛纳电影节评委会奖、1960年蓝丝带最佳导演奖、1960年美国金球奖最佳外语片奖、1960年电影旬报最佳剧本奖。
主演：船越英二,泷泽修,五十岚信次郎,潮万太郎,浜口喜博
导演：市川昆
简介：第二次世界大战末期，日军在各地的战场已显颓势，南亚比岛战线情况尤为严重。一等兵田村（船越英二 饰）感染肺炎被军曹命令接受治疗，虽然他极力想返回部队，但此时的日军资源紧缺，疲惫不堪，没有战斗力的田村已经成为军队的累赘。返回医院不久，医院也遭到炮击。田村和伤兵安田、永松（ミッキー・カーチス 饰）一路逃亡，缺水缺盐的情况下，安田等人用沿路采集烟叶换取物资，田村则杀害当地人抢夺食盐，永松甚至为了生存而上演人吃人的惨剧。战争背景下，人性彻底沦丧……本片根据大冈升平原著小说改编，并荣获1960年蓝丝带奖最佳摄影和最佳导演奖、1960年电影旬报最佳男主角（船越英二）和最佳剧本奖、1960年每日电影最佳男主角奖。
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：市川雷藏,胜新太郎
导演：森一生
简介：有名な高田の馬場の決闘、伯父の助太刀に向う中村安兵衛とすれ違った旗本丹下典膳は安兵衛の襷がほどけているのに気づき、注意しようと決闘の場に向う。しかし、相手が同門の知心流の武士であることを知り、その場を立ち去った。だが、後日同士を見捨てたことをとがめられた典膳は知心流を破門される。一方決闘で名を上げた安兵衛はあちこちから任官の誘いがあるが、安兵衛の想いは上杉家の娘千春にあった…「忠臣蔵」のサイドストーリーとして書かれた五味康祐の小説の映画化。有名な高田の馬場の決闘と四十七士の討ち入りのあいだの中村安兵衛を描くという面白い作品。同時に徹底的にメロドラマでもあり、時代劇の面白さをすべて詰め込んだという感じ。
主演：查尔顿·赫斯顿,杰克·霍金斯,哈雅·哈拉里特,史蒂芬·博伊德,休·格里夫斯,玛莎·斯考特,凯茜·奥唐内,山姆·谢斐,芬利·柯里,安德鲁·莫瑞尔
导演：威廉·惠勒
简介：故事发生在古罗马时期，护民官米撒拉(史蒂芬•博伊德 Stephen Boyd 饰)回到了故乡，重遇了儿时的好友宾虚(查尔登•海斯顿 Charlton Heston 饰)。宾虚家是犹太人的豪门，在犹太人中享有相当高的待遇，为了控制犹太人，使他们安份的臣服于古罗马帝国的统治之下，米撒拉希望宾虚帮忙。但宾虚不肯出卖自己的民族，于是两个好友决裂了。随后，米撒拉找了借口治了宾虚一家谋反罪，宾虚被卖到一艘军舰上当奴隶，而他也失去家人们的信息。一次偶然机会，宾虚立了战功，得到了古罗马的皇帝接见，他回到了故乡，也开始了他的复仇之旅!
主演：达尼埃尔·达里约,贝尔纳·布里埃,罗贝尔·达尔邦,保罗·弗朗克尔,保罗·盖尔,保罗·默里斯,塞尔日·雷吉亚尼,利诺·文图拉
导演：朱利安·杜维威尔
简介：黑白密室偵探片，十個角色，一女九男，其中一個是兇手。「過去我沒聽說過這戲，為了拍《8美千嬌》，我看了一遍，令我獲益良多，對那年代的美國電影瞭解得更清楚。」（奧桑）《Marie-Octobre》很寫實，是齣沉重的電影，拍得一板一眼。奧桑往相反方向走－輕鬆、非寫實、七彩、諷刺（人物互相指控而來）。 同類克里斯蒂式偵探片，奧桑較喜歡佳咸美頓（Guy Hamilton：《破鏡奇案》(The Mirror Crack'd)，《午日奇屍》(Evil under the Sun)，還有Sydney Lumet的《東方快車》。《8美千嬌》參照此片最多的是佈景設計，像客廳、書房、睡房、飯廳等。
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：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Bolesław Prus的歷史小說《Pharaoh》，本片亦入圍了1967的奧斯卡最佳外語片。《夜車》敘述一對男女Jerzy和Marta意外地在前往波羅地海邊Hel的夜車上共處一室。一表人才的Jerzy狀似緊張，看來像是在逃避追趕，Marta剛開始也沉默不言，慢慢的兩人才成為朋友。在車上還有愛慕著Marta的男孩Staszek，以及擁有豔光四射的年輕太太的老律師。當火車停靠在一個小站裡，警方上車開始搜索畏罪潛逃的殺人犯時，流言開始四起，都將警方要緝捕的對象，指向這個車廂中的Jerzy和Marta…。不同於當時深受義大利新寫實主義影響的「Polish Film School運動」作品，《夜車》瀰漫著希區考克式的懸疑詭譎氣氛。全片的劇情推展在火車內進行，封閉的車廂成為卡瓦萊洛威茲最好的發展空間。火車上乘客間彼此的猜忌與不信任，可說是當時波蘭共產社會的最佳寫照，也是一部波蘭影史重要的傑作。
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：马歇尔·汤普森,Marla,Landi,Bill,Edwards,罗伯特·艾尔斯
导演：罗伯特·戴
简介：立志当人类历史上第一位宇航员的丹•米尔顿•普雷斯科特（比尔•艾德华斯 Bill Edwards 饰）驾驶代号Y-12的宇宙飞船前往太空，在进入外太空的一刹那，他因为过于兴奋而忽略了总部的命令，最终导致飞船失控。飞船坠入大气层，与总部失去联系。不久，国防部的人找到飞船残骸，而惹出祸端的丹却在女友处潇洒快活。丹的特立独行给国防部高层留下极深的印象，他们顶住各方压力，仍然决定派遣丹驾驶Y-13再次前往太空。当达到600’000尺的高度时，丹的老毛病再次复发。他不顾总部的命令，直线冲入外太空。结果飞船失控，受到宇宙粉尘袭击，最终爆炸。国防部找到飞船遗骸，却未见到丹的身影。随后不久，一个恐怖嗜血的生物开始在城市中出没……
主演：内详
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 keptVoice 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 pointBetter 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：若杉嘉津子,天知茂,北沢典子,江见俊太郎,池内淳子,大友纯,稻垣三郎,芝田新,花冈菊子
导演：中川信夫
简介：浪人民谷伊右卫门（天知茂 饰）贪污巨额公款，被丈人四谷左门（浅野进治郎 饰）得知，四谷不满其卑鄙品行，严命女儿阿岩（若杉嘉津子 饰）与之离婚。丈婿话不投机，刀剑相向，伊右终将四谷残忍杀害。这之后，他与好友直助（江见俊太郎 饰）串通，谎称丈人为仇家杀害，带着阿岩、阿岩的妹妹阿袖（北泽典子 饰）以及阿袖的未婚夫与茂七（中村龙三郎 饰）逃往江户。途中，二人又密谋将与茂七推下悬崖。暂时安定下来的伊右渐渐不满贫穷的生活和妻子的拖累，偶然机会他从流氓手中救出富商的孙女阿梅（池内淳子 饰），富商欣赏其英武，欲将其招为孙婿。得知此讯的直助再次前来，和伊右密谋杀害碍手碍脚的阿岩……
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：罗德·塞林,沃恩·泰勒,杰克·克卢格曼,布吉斯·梅迪斯,约翰·安德森,j·帕特·奥马利,巴尼·菲利普斯,西里尔·德勒凡蒂,乔恩·洛默尔
导演：罗德·塞林
简介： 罗德塞林 (Rod Serling) 开创性的选集系列聚焦普通人，他们突然发现自己处于非同寻常、通常是超自然的境地。这些故事通常会以讽刺的转折结尾，让有罪的人受到惩罚。
主演：林黛,,赵雷,,胡金铨,,杨志卿,,朱少泉,,金军,,葛萍,,金天柱,,王元龙,,顾无为,,蓝伟烈,,洪波,,唐若青,,郝履仁,,杜娟
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...
主演：玛丽·科斯塔,比尔·雪利,艾莉诺·阿德里,薇娜·费尔顿,芭芭拉·卢迪,芭芭拉·乔·艾伦
导演：克莱德·杰洛尼米
简介：奥罗拉公主的出生让国王和皇后乐坏了。宴会上他们邀请来十二位仙女，为公主献上祝词。一个没有机会前来宴会的坏心肠仙女，一气之下落下诅咒：她今天受的屈辱都会报应在公主身上，公主会在18岁那年死于纺锤之下。
主演：夏梦,石磊,白荻
导演：朱石麟,陈静波
简介：刘伟立与宛芬夫妻恩爱. 芬贪慕虚荣, 得知立快升任副理, 便粉饰家居, 分期付款购买电器及家具. 为了升职一事, 夫妇俩不惜大拍董事长一家马屁. 结果, 副理由董事长儿子担任, 立、芬只好眼巴巴看家里一切给债主搬走.
主演：玛丽·科斯塔,比尔·雪利,艾莉诺·阿德里,薇娜·费尔顿,芭芭拉·卢迪,芭芭拉·乔·艾伦
导演：克莱德·杰洛尼米
简介：奥罗拉公主的出生让国王和皇后乐坏了。宴会上他们邀请来十二位仙女，为公主献上祝词。一个没有机会前来宴会的坏心肠仙女，一气之下落下诅咒：她今天受的屈辱都会报应在公主身上，公主会在18岁那年死于纺锤之下。
主演：加里·格兰特,托尼·柯蒂斯,琼·欧布伦,迪娜·梅瑞尔,吉恩·埃文斯,Dick,Sargent,维吉尼亚·格雷格,罗伯特·F·西蒙,罗伯特·吉斯特,加文·麦克劳德,乔治·邓恩,迪克·克罗基特,马德琳·鲁,马里昂·罗斯,Clarence,Lung,弗兰基·达罗,罗伯特·F.霍伊,Nicky,Blair,John,W.,Morley,阿瑟·奥康纳,哈尔·贝勒,威廉·布莱特,Dick,Callinan,Malcolm,Cassell,戴尔·卡明斯,弗朗西斯·德塞尔斯,Vince,Deadrick,Sr.,Alan
导演：布莱克·爱德华兹
简介：美国海军海之虎号潜艇即将退役，海军少将雪曼早早地来到潜艇上，翻看航海日志。看着自己当年的记录，昔日情景仍历历在目。将军思绪万千，浮想联翩……. 太平洋战争初期，美国海军在东南亚步步退守。海之虎号潜艇在港口几乎被日军飞机炸沉，雪曼艇长（卡里·格兰特饰）的任务是在两周之内完成平时需要两个月才能做完的事——把完全失去航行和战斗能力的海之虎号修好并撤退，但时局艰难，海之虎号连最起码的补给都很难弄到。海军上尉霍顿前来报到，此人无论穿着打扮或言谈举止，都象个十足的纨绔子弟，而且有关潜艇专业的知识他一概不懂，雪曼艇长觉得自己又多了一重麻烦。 霍顿上尉主动请缨之下，当上了海之虎号的军需官。谁知这正是最能发挥他长才的职位。他妥为运筹，使海之虎号的军需补给呈现一派欣欣向荣的景象，很快就拔锚起航了，而基地指挥官则忙着追查搬空基地仓库及他本人办公室的窃贼。 霍顿...