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电影
卿何遵命
1940 / 美国 / 爱情片 / 剧情 / 爱情
贝蒂·戴维斯 / 查尔斯·博耶 / 杰弗瑞·林恩 / 芭芭拉·欧内尔 / 沃尔特·汉普顿 / 亨利·丹尼尔 / 哈里·达文波特 / 乔治·库鲁里斯 / 蒙塔古·洛夫 / 琼·洛克哈特 / 安·E·托德 / Richard Nichols / 弗里兹·雷伯 / 伊恩·基思
在1850年，女孩亨丽泰改名换姓在美国的一所神学院当上了法语教师，开始了自己的新生活。然而她被揭发出于1846年在法国的普林斯汀家族担任家庭教师时，帮助公爵谋杀了他的妻子。
电影
海蒂
1937 / 美国 / 家庭 / 剧情 / 剧情片 / 小说改
秀兰·邓波儿 / 让·赫肖尔特 / 阿瑟·特雷彻 / Helen Westley / 托马斯·贝克 / 玛丽·纳什 / 西德尼·布莱克默 / 宝琳·摩尔 / 麦迪·克里斯蒂安斯 / 玛西娅·琼斯 / 德尔马·沃森 / 埃贡·布雷赫尔 / Christian Rub / George Humbert
孤儿海蒂（Shirley Temple 秀兰•邓波饰）和黛特阿姨（Mady Christians 饰）生活在一起，然而黛特不愿继续在照顾外甥女，于是千里迢迢将海蒂送到偏远的善终——海蒂爷爷（Jean Hersholt 饰）的隐居之处。因失去儿子而沉浸悲伤之中爷爷阿道夫起初无视这个从未见过面的孙女，但随着时间推移，祖孙俩的感情日益加深。<br>但是贪婪的黛特再次返回，骗走海蒂欲将其卖给他人作女佣。天使般的海蒂和主人家的病弱女儿安娜（Helen Westley 饰）培养出亲密的友情；另一方面，阿道夫也踏上寻找孙女的旅程……
电影
涟漪
1936 / 美国 / 家庭 / 歌舞
秀兰·邓波儿 / 弗兰克·摩根 / 罗伯特·肯特 / Helen Westley / 斯特平·费奇特 / 爱丝垂德·奥温 / Brook Byron / Hall Johnson Choir / 伯顿·丘吉尔 / Paul Stanton / Julius Tannen / 约翰·卡拉丁 / Billy McClain / Jack Rube Clifford
秀兰·邓波儿在这幕令人发笑的音乐喜剧片中饰演一个卷发的小女孩，她喜欢唱歌跳舞，从穷家女一跃而至明星的地位。向来开朗活泼的小秀兰靠唱歌赚钱，她的小偷祖父在被秀兰歌声吸引的人群中做扒手。当秀兰被一名女士收养后，她的歌唱才能被发掘出来，被邀请参演“汤姆叔叔的小屋”。在这出戏里秀兰即将带给你美妙的歌声和愉快的时光。
电影
偷渡者
1936 / 美国 / 家庭 / 冒险 / 歌舞 / Dream / 偷渡
秀兰·邓波儿 / 罗伯特·杨 / 艾丽丝·费伊 / 尤金·佩里特 / Helen Westley / 阿瑟·特雷彻 / Allan Lane / J·爱德华·布朗伯格 / 爱丝垂德·奥温 / Robert Greig / Jayne Regan / Julius Tannen / 冯威利 / 安必立
当青青的警卫被中国的黑帮杀死后，在上海流离失所的她必须学会自我保护。一天，她在一辆车的行李箱中躲雨避难时睡着了，醒后却发现自己已在驶往美国的一艘船上。车主渐渐喜欢上了这个可爱的迷途小孩，为了能给她一个温暖的家而和另一名乘客小姐暂时结婚组成三口之家。当他俩发生争吵而要离婚时，青青让他们意识到彼此其实深爱着对方。by:yakubd.cc
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)
电影
亚历山大的爵士乐队
1938 / 美国 / 剧情 / 爱情 / 歌舞
泰隆·鲍华 / 艾丽丝·费伊 / 唐·阿米契 / 埃塞尔·默尔曼 / 杰克·黑利 / 让·赫肖尔特 / Helen Westley / 约翰·卡拉丁 / 保罗·赫斯特 / Wally Vernon / Ruth Terry / 达格拉斯·福雷
Roger Grant, a classical violinist, disappoints his family and teacher when he organizes a jazz band, but he and the band become successful. Roger falls in love with his singer Stella, but his reluctance to lose her leads him to thwart her efforts to become a solo star. When the World War separates them in 1917, Stella marries Roger's best friend Charlie. Roger comes home after the war and an important concert at Carnegie Hall brings the corners of the romantic triangle together.