介绍：Shehzada Khurram 在美娜市集第一次与 Arjuman Banoo 相遇，也由此一见钟情. 当 Noor Jehan 皇后, 也就是 Shahenshah Jehangir 的妻子之一, 发现此事后, 勃然大怒, 因为她想让 Khurram 娶她的女儿, Ladli Banu, 尽管 Arjuman 是她侄女. 她阴谋将 Arjuman 囚禁在自己的宫殿, 未能如愿; 又企图将 Khurram 送去战场 - 再次未能如愿, 当 Khurram 凯旋而归后, 被称为 'Shah Jehan'. 皇后又让她的继子, Saifuddin, 安排杀害 Khurram - 依然未能成功. Khurram 虽受了伤, 但在 Arjuman 的帮助下很快康复并回到家中, 但出于为父亲健康的担心而没有告诉他. 当 Jehangir 得知 Arjuman 所做的, 非常高兴地为他们安排婚事, 而另一方面 Saifuddin 则娶了 Ladli. 此后 Khurram 被派去另一个王国, Jehangir 病倒后, Noor Jehan 掌握了大权, 并宣布 Khurram 为入侵者, 派兵将其和他的两个儿子带回...

介绍：罗马尼亚音乐传记片

介绍：This utterly gorgeous Gothic melodrama would be widely hailed as a masterpiece, had it not been made in Italy during the Mussolini regime. A gross injustice, as Malombra - unlike Piccolo Mondo Antico, Mario Soldati's earlier film of an Antonio Fogazzaro novel - contains not one moment of triumphalist flag-waving or Fascist family values. Oddly akin to Rebecca in its atmosphere of death-haunted romance and voluptuous doom, it reaches a peak of visual refinement of which Hitchcock could only dream.　　Its star is Isa Miranda (famous, and not without reason, as Italy's answer to Garbo and Dietrich) playing a headstrong but unstable young noblewoman, confined by her uncle to a gloomy villa on the shores of Lake Como. A yellowed and crumbling letter, found in an old spinet, convinces her that she is the reincarnation of her uncle's first wife - another troubled beauty who died a virtual prisoner after being caught in a forbidden love affair. When a handsome young writer (Andrea Checchi) comes to stay, Miranda decides that HE is the reincarnation of the dead woman's lover. Gradually, she lures him into her web of sex and revenge...　　What more to say without spoiling the fun Miranda gives a performance to rival any of the great divas of Hollywood. Only Davis and Stanwyck, perhaps, could play a bad girl so boldly without losing all sympathy. The evocation of 19th century aristocracy, in its full decadent splendour, is visually and dramatically flawless - a model for such later Italian gems as Visconti's Senso and The Innocent.　　It helped, perhaps, that Soldati himself was a leading novelist. Blessed with an absolute respect for the classics he adapted, but in no way inhibited by them. He was also the guiding spirit of the now-forgotten 'calligraphic' movement, which brought the Italian cinema to such wondrous aesthetic heights during World War Two, only to collapse before the horror of Neo-Realism. Can we blame Soldati for giving up film-making in disgust and going back to writing novels　　So if you've ever felt (as I do) that Rossellini's much-touted Rome - Open City is the work of an amateur...well, Malombra is the film you have to see!

介绍：Paris, 1315. The Tour de Nesle, a guard tower on the banks of the Seine, has become a symbol of mystery and fear. Each morning, at its base, the bodies of handsome young aristocrats are found floating in the river, all butchered by sword or arrow. One evening, two noblemen, Buridan and Philippe d'Aulnay, find themselves in the infamous tower, lured there on the expectation of a night of unbridled passion. Little do they realise that they are to be the next victims of a woman who is determined to take revenge against all men - Margaret of Burgundy, the present Queen of France. Although Philippe is killed, Buridan escapes, and intends to blackmail the Queen. Unless she makes him her prime minister, he will expose her crimes to Philippe's brother and her husband, King Louis X. When she moves to eliminate Burdan, Margaret makes a terrible discovery...　　In the twilight years of his long and pretty uneven career, the great avant-garde film director Abel Gance made a number of films which, whilst not as grand and artistically inspired as his early silent masterpieces (La Roue (1923), Napoléon (1927)), still compared very favourably with the work of his contemporaries.　　Of these, La Tour de Nesle is a film that still stands up remarkably well today - an ambitious historical drama based on the famous 1832 play by Alexandre Dumas. It makes a nice companion piece to Gance's subsequent historical romp, Cyrano et d'Artagnan (1964).　　　　Needless to say, the film isn't to be commended on its historical accuracy. As any historian will tell you, the Alexandre Dumas version of French history is wildly fanciful, to say the least. However, this doesn't prevent La Tour de Nesle from being an entertaining and, at times, highly poignant, piece of cinema.　　Whilst the characterisation and dialogue leave much to be desired, the plot (a murky tale of cruel revenge and political intrigue) is gripping, and the film's artistic design is exceptional for a film of this period. Gance brings a strangely expressionistic touch to his use of colour and shade, something which adds to the darkly sinister nature of the plot, whilst imbuing the film with a striking sense of historical realism. A propos, Gance's assistant director Nelly Kaplan makes her screen début in a small role, shortly before she herself embarked on a successful film making career.