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电影
歌声俪影
1935 / 美国 / 喜剧 / 音乐 / 歌舞
格劳乔·马克斯 / 奇科·马克斯 / 哈勃·马克斯 / 基蒂·卡莱尔 / 艾伦·琼斯 / Walter Woolf King / 西戈·鲁曼 / 玛格丽特·杜蒙 / 爱德华·基恩 / 罗伯特·埃米特·奥康纳 / Enrique Acosta / Harry Allen / Sam Appel / 金·巴格特
剧情描述三兄弟之中的老大想尽办法欺骗一名贵妇投资他的歌剧公司，不料两名调皮捣蛋的弟弟却在歌剧首演之夜在台前幕后大出洋相，但如此以来却让两名真正有天份的年轻歌唱家得到出头机会。<br>本片是喜剧组合马克斯兄弟享誉最高的一部名作。虽然有些人会觉得马克斯兄弟的笑闹手法夸张得几近无厘头，但导演萨姆·伍德把气氛拍得十分热闹有趣，在薄弱的情节和愚蠢的爱情故事之下仍制造出很高的娱乐性……
电影
悬念
1913 / 美国 / 剧情 / 爱情 / 黑色电影 / 惊悚 / 短片
洛伊斯·韦伯 / Val Paul / Douglas Gerrard
An isolated house in deserted area is too remote for a servant, who leaves a note, quietly exits the back door, and puts the key under the mat. Alone in the house is a mother and her infant. A tramp watches the servant leave, then begins to skulk. The woman sees him outside as he discovers the latchkey. She phones her husband, who's working in town, and he jumps into a car idling in front of his office. He races toward home while the car's owner (and the police) are in pursuit. The tramp grabs a knife and heads up the stairs toward the defenseless woman. Can the husband elude the police long enough to rescue her or will the tramp have his way?
电影
日出
1927 / 美国 / 爱情 / 剧情 / 爱情片 / 剧情片
乔治·奥布莱恩 / 珍妮·盖诺 / 玛格丽特·利文斯顿 / 波蒂尔·罗辛 / J·法瑞尔·麦克唐纳 / Ralph Sipperly / 简·维顿 / 阿瑟·豪斯曼 / Eddie Boland / 赫尔曼·宾 / 西德尼·布雷西 / 基诺·科拉多 / Vondell Darr / 萨利·艾勒斯
宁静的农场里生活着一对幸福的年轻夫妇，但一个前来度假的城市女人打破了他们的状态。城市女人不仅引诱了男人，还唆使他将他的妻子淹死。鬼迷心窍的男人为将妻子除掉，便带她到城里游玩。途中他试图下手，但最后一刻他及时醒悟过来。妻子发现丈夫的诡计后跳上一辆进城的电车，为安慰她，男人紧紧跟随着妻子。在城里，一对年轻人的婚礼使他们深受感动，受到良心谴责的丈夫恳求妻子的宽恕。他们恢复了往昔的甜蜜，在城里度过了美好的一天。回家的路上，暴风雨将船掀翻，男人以为妻子被淹死，就在他悲痛欲绝时，城市女人出现了，他扑上去想将她掐死，但幸免于难的妻子于此时归来，夫妻紧紧相拥在一起。城市女人在忠贞的爱情前遭到了失败，只得黯然返回城市。
电影
死神假期
1934 / 美国 / 爱情 / 奇幻
弗雷德里克·马奇 / 伊夫琳·维纳布尔 / 盖伊·斯坦丁 / 凯瑟琳·亚历山大 / 吉尔·帕特里克 / 凯瑟琳·霍华德 / 肯特·泰勒 / 亨利·崔佛斯 / G·P·亨特利 / 莫洛尼·奥尔森 / 赫克托·萨尔诺 / 菲利普斯·斯莫利 / Helen Westley / Anna De Linsky
Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play "La Morte in Vacanza" by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained. [Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration. To see what’s behind all the conversation about love, the suave but naïve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming. More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching. (Howard Schumann, talkingpix.co.uk) In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it. (Dennis Schwartz, homepages.sover.net) I've heard DRACULA was advertised with the tag line "The Weirdest Love Story ever told!" (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts. (Dave Sindelar, scifilm.org) See also the remake: Death Takes A Holiday (1971)