介绍：佩吉（莫伊拉·希勒 Moira Shearer 饰）是一名很有天赋的芭蕾舞演员，她对芭蕾舞的热爱让她觉得她生来便是为了舞蹈她参加了芭蕾舞剧《红菱艳》的演出，在剧中，她扮演那个穿上红鞋一直舞蹈到死的舞女，她的演出获得了业界的一致好评，她的演艺事业就此扶摇直上。之后，她结识了作曲家朱利安（马留斯·戈尔林 Marius Goring 饰）并且迅速坠入了爱河。为了所爱的人，佩吉放弃了自己的事业，但婚后平静的生活令她无法忍受，似乎总有一种魔力在召唤她穿上舞鞋翩然起舞。佩吉听从了内心的召唤，她离开了朱利安重新回到了舞台，但渐渐的，她想起了自己曾经扮演过的那个穿着红鞋的舞女，她觉得她们的身影正在慢慢重叠，不安的佩吉猛然醒悟，自己生命中最重要的并非舞蹈而是家庭，她冲出剧院想要重拾朱利安的爱情，但一辆火车从天而降，终结了她年轻的生命。　　影片荣获1949年奥斯卡最佳配乐及最佳艺术指导奖。

介绍：两个男人梦幻的一生在淡淡音乐和旁白中如清泉流淌：他们曾热恋甜蜜，也曾争吵任性；抚养家庭，并肩走过顺境逆境；直到老得走不动了，躺在一起溘然长逝......而当这样的梦境与不如人意的现实发生强烈冲撞，莎士比亚的名句“真爱之路从不曾是坦途”才愈加体现出说服力导演在短短15分钟里赋予了这部短片 《飞屋历险记》的神韵， 《枕边人》已在一百多个电影节上展映，并获得多个最佳短片奖，深深打动了观众的心。

介绍：哈利·弗路得婚礼快要进行了，结果发现未婚妻在和别人疯狂做爱无奈，哈利·弗路得的铁哥们博勒加德·彭伯顿宣布：婚礼取消。但已经定下来的海岛蜜月游无法取消，于是哈利·弗路得决定和博勒加德·彭伯顿一起去旅游。在海岛上，两人无意中介入到一起贩毒案件中，甚至差点被毒贩杀死。幸亏博勒加德·彭伯顿机智聪明，加上FBI在毒贩中安插的内线，终于顺利破案。

介绍：The film follows the story of three girls in contemporary Paris. One searches for her lost mother since she knows she's adopted. The other has come out of a coma and needs to have a love relationship aside from his mysterious father. The third one is a crook who redeems herself through love. The action is commented by songs and dance routines.

介绍：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