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荣耀六十年1938
英国英语1938
  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

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追杀横路靖六
大陆国语2008
  故事发生在1944年,冀中平原。  正是抗日战争相持阶段,在华日本侵略军垂死挣扎。  冀中有个文家庄,庄上有位文善仁,家境殷实,为人乐善好施。沦陷之后,胆小怕事的文善仁忍辱偷生,本想当个顺民了此一生。不料祸从天降,从此改变了他的命运。  此时,驻守文家庄的日军大佐横路靖六收到情报:有一个穿着黑衣服,骑着黑马的人在文家庄出没。奉命保护日军秘密军火库的横路靖六大为紧张,以为此人是八路军派来偷袭军火库,他连夜率军扑向文家庄追查黑衣人。  就这样,原本平静的文家庄被突然到来寻找八路军的日本军队闹得鸡飞狗走,不得安宁。县城的街道一片萧条,无辜百姓遭受祸害,首当其冲的是庄上首户文善仁。眼看自己儿媳被日军当作“花姑娘”掳去,祖坟被刨,老父饮恨归西……善良胆小的文善仁也被鬼子的暴行激红了眼,忍无可忍。他联同被压迫的乡亲们,自发组成抗日“文家军”。大家闻风而来,纷纷加入队伍,其中包括了一...(阅读全文)心为女儿报仇的崔屠户、还有那个神秘的黑衣人贺梅。  这时,文氏祖坟的山地里,治安队长刘文彪、李德贵正受命督建日军新军火库。伪军翻译官胡三为讨好日军,私下打听到“文家军”的行踪,不惜出卖给横路靖六。残暴的横路靖六意欲派军杀灭“文家军”,此时他的助手,狡猾的土瘦原献上一计——抓活口。  报仇心切的崔屠户被日兵施计抓捕,“文家军”也被迫逃散。为了营救崔屠户,聪明的文管家也想了一招应对。就在崔屠户被押送刑场的路上,文善仁一干人化装成算卦的盲人、卖菜的老乡、扛活的壮工和四处叫卖烟卷的村姑……殊不知正在此时,日本特工“三文鱼”正神不知,鬼不觉地潜入了“文家军”……眼看“文家军”快要全军覆没。  这时,驻守文家庄的八路军石政委得知消息,立马调动八路军的主力部队赶来增援“文家军”。李德贵不堪乡亲唾骂,渐渐良知发现,他也主动向文善人交出日军秘密军火库图址。在石政委的紧密布署下,“文家军”与八路军团结一致,英勇奋战,终于抓获了战犯横路靖六和土瘦原,歼灭了驻冀日军。文家庄恢复了往日的平静。  与此同时,远方传来了令人振奋的消息:华北平原战场上,八路军在与日军的正面战斗中大获全胜!

红尘影院

有情感的机器人
英国英语1985
  一名叫达尔的走失男孩被小镇人们发现,由于没人认领,他被带到福利院。经过检查,医生发现他身体各项机能正常,而且智商很高,只是失去了一部分的记忆。  达尔被安排暂时居住在安迪家。安迪和妻子乔依斯一直希望能够领养一个孩子,达尔的到来令他们异常兴奋。在相处的过程中,达尔和邻居家的小男孩特塔成为了非常要好的朋友,他们一起上学、一起玩耍、一起为安迪的棒球队赢得了胜利,大家都觉得达尔是个非常聪明而且惹人喜爱的男孩。  忽然有一天,两个自称是达尔父母的人来接走了达尔,这令安迪全家和特塔非常伤心。达尔也对他们产生了深厚的感情,恋恋不舍地离开了安迪家。  事实上达尔是一个在大脑中被植入芯片的机器人,但他现在具备了一个正常孩子的一切生理机能。来接他的也并非他的父母,而是制造他的博士。博士被达尔和安迪他们的深厚情感所感动,他希望达尔能像正常孩子一样生活,但国家的高级官员却要求摧毁达尔。博士在同事的配合下,将达尔带出试验基地,遭到警察的追击,途中博士为了掩护达尔中弹身亡。  达尔潜入空军基地,开着战斗机向安迪家的方向飞去。空军基地地面遥控飞机在飞行过程中自动摧毁,达尔弹出飞机,降落在安迪家旁边的湖中。达尔终于回到了属于他的“家”中。

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