줄거리： A ship carrying a band of black-marketeers, including a beautiful woman, eludes police after a battle at sea and lands on a remote island where a marine meteorological observatory is stationed. They take over the observatory but tragedy ensues as a violent typhoon approaches the island.
출연：琼·芳登 路易斯·乔丹 麦迪·克里斯蒂安斯 马塞尔·乔内 阿特·史密斯 Carol Yorke 霍华德·弗里曼 约翰·古德 Leo B. Pessin 厄斯金·桑福德 奥特沃尔迪斯 Sonja Bryden
감독：马克斯·奥菲尔斯
줄거리：影片改编自著名作家兹威格的同名小说，由美国环球影片公司出品。
1885年，14的丽莎（琼·芳登 Joan Fontaine 饰）暗恋着住在隔壁的钢琴家斯蒂芬（路易斯·乔丹 Louis Jourdan 饰）。风流的斯蒂芬常把女人带进他的寓所，而年少的丽莎则对那个神秘世界羡慕不已。即便搬走后她仍对钢琴家难以忘怀。当她出落成了一个美丽的女郎，回来寻找钢琴家，并同他发生了关系。钢琴家很快将丽莎如其他女子般遗忘。丽莎生下了他的儿子后来嫁给了一个奥地利贵族。15年后，两人再次相逢，她离开丈夫最后一次献身于这个她惟一所爱的男人，钢琴家如往常一样逢场作戏，并将她很快忘记。最后儿子得伤寒而死，心力交瘁丽莎写了封长信给钢琴家，述说了15年来她从未停止的爱。丽莎死后，悲痛的丈夫要求同钢琴家决斗，在读到丽莎这封感人至深的信后，原本准备逃走的他登上了驶往决斗地的马车……
줄거리： 奥利弗（约翰·霍华德·戴维斯 John Howard Davies 饰）一出生就被抛弃，在孤儿院生活了九年之后，他被送到了棺材铺当学徒。无法忍受苦不堪言的生活，奥利弗从师傅的身边逃跑来到了巴黎，在那里，他结识了扒手法钦（亚利克·基尼斯 Alec Guinness 饰）。就这样，奥利弗被迫开始了自己的扒手生涯。 一次偶然中，奥利弗被警察逮捕，所幸得到了好心的老先生布莱罗（亨利·斯蒂芬森 Henry Stephenson 饰）收留，一辈子颠沛流离的奥利佛总算体会到了家的滋味。不幸的是，扒手团伙却不愿意放过奥利弗，他们绑架了他，其中，一个名叫南希（Kay Walsh 饰）的女孩对奥利弗心生恻隐，她决定不惜违抗老大的命令，尽自己所能帮助这个可怜的孩子。
줄거리： 让是一名性感美艳的女模特，某日，她被发现惨死在公寓里，凶手逃之夭夭。侦探唐（巴里·菲茨杰拉德 Barry Fitzgerald 饰）和助手吉米（唐·泰勒 Don Taylor 饰）负责调查此案，发现看似一目了然的案件，隐藏了种种的疑点。 随着调查的深入，越来越多的嫌疑人的身影浮出了水面，巧合的是，他们都曾经和一宗连环入室抢劫案有着千丝万缕的关联。当年抢劫案的真相成为了解开这次事件的关键的钥匙。又一宗入室抢劫案发生了，这次的罪魁祸首亦是被害人，唐和吉米终于逮住了隐藏在重重线索背后的关键人物——一个名叫薇利的男人，他的行踪目前仍然隐藏在迷雾之中。
줄거리：In winter of 1938, Paris is crowded with refugees from the Nazis, who live in the black shadows of night, trying to evade deportation. One such is Dr. Ravic, who practices medicine illegally and stalks his old Nazi enemy Haake with murder in mind. One rainy night, Ravic meets Joan Madou, a kept woman cast adrift by her lover's sudden death. Against Ravic's better judgement, they become involved in a doomed affair; matters come to a crisis on the day war is declared.
줄거리：Loosely based on Kathryn Forbes' book -Mama's Bank Account-, this film actually contains richer detail and more intricate character- izations. In turn-of-the-century San Francisco, young Katrina Hansen chronicles episodes of life with her extended family, who combine traditional Norwegian values with modern American ways. So successful that it became a popular radio show, and then a TV sitcom, both with Barbara BelGeddes and Irene Dunne from the film.
줄거리： Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
출연：亨弗莱·鲍嘉 沃尔特·休斯顿 提姆·霍尔特 布鲁斯·班尼特 巴顿·麦克莱恩 Alfonso Bedoya Arturo Soto Rangel Manuel Dondé 罗伯特·布莱克 Guillermo Calles Roberto Cañedo Spencer Chan 杰奎琳·达利娅 拉尔夫·邓恩 帕特·弗莱厄蒂 马丁·加拉拉加 杰克·霍尔特 约翰·休斯顿 Julian Rivero 杰伊·丝沃黑尔 Ray Spiker Harry J. Vejar Clifton Young
감독：约翰·休斯顿
줄거리： 弗雷德（亨弗莱·鲍嘉 Humphrey Bogart 饰）和鲍勃（提姆·霍尔特 Tim Holt 饰）是两名穷困潦倒的流浪汉，一日，在酒吧中，他们从精明智慧的霍华德（沃尔特·休斯顿 Walter Huston 饰）口中听闻了有关金矿的消息，走投无路的两人打起了淘金的主意，他们谎称是猎人，驻扎在了山上。经历了种种苦难的挫折，幸运的三人找到了金矿。然而，随着金砂数量的增加，原本相互信任的三人之间出现了裂痕。 在一次下山采购的过程中，名叫科迪（布鲁斯·班尼特 Bruce Bennett 饰）的年轻人发现了他们秘密，跟随而来的科迪表示想要从中分一杯羹，三人决定杀之而后快。就在这个节骨眼上，一群土匪开始向山上进发，他们想要的是这三个“猎人”狩猎得到的“兽皮”。在种种阴谋和贪婪本性的趋势下，本来有着美好前景的三人走向的破灭的结局。
줄거리： As told to a psychiatrist: Mr. Peabody, middle-aged Bostonian on vacation with his wife in the Caribbean, hears mysterious, wordless singing on an uninhabited rock in the bay. Fishing in the vicinity, he catches...a mermaid. He takes her home and, though she has no spoken language, falls in love with her. Of course, his wife won't believe that thing in the bathtub is anything but a large fish. Predictable complications follow in rather tame fashion.
줄거리： Synopsis "Falsely accused as the murderer of my own husband... Oh, the cruel machinations of fate!" A female teacher (Lee Yong-ae) gives shelter to an escaped convict, but her husband, misconstruing her intentions, reacts violently and accidentally stabs himself to death in the process. The teacher is charged with her husband's murder, but fortunately the prosecutor on the case is a former student of hers, of whom she had taken painstaking care when she was working at an elementary school. Remembering her kindness to him, the prosecutor uncovers her innocence in court, and she is acquitted of the crime. Notes "A silent movie that allows us to examine the narrator-accompanied method of 16mm films" (Chung Jong-wha) A Public Prosecutor and a Teacher is familiar to us for the performance of Shin Chool, Korea's last silent movie narrator (known as "byeonsa"in Korean). Numerous critics have recommended the film, praising it as "a silent movie that allows us to examine the narrator-accompanied method of 16mm films" (Chung Jong-wha), "the work of Korea's last silent movie narrator" (Kim Hong-joon), a movie that "reflects the public's consciousness and has great historical value" (Lee Seung-hun), and "the archetypal new-school film" (Chung Sung-il). As evidenced by such commentary, A Public Prosecutor and a Teacherenjoys greater recognition for its historical value as the only surviving silent movie in Korea than for its artistic or technical aspects. What is ironic is the fact that this recognition derivesfrom a production and screening method that fell behind the times, as sound films (or "talkies") had already become the norm when the movie was first made. Its inclusion in the list is therefore based on its historical, social context rather than on the film itself. Afterword: - Narrated by Shin Chool, who is known as Korea's last silent film narrator, A Public Prosecutor and a Teacherhas been screened at several film festivals since the latter half of the 1990s.
줄거리：Novelist Joseph Shearing specialized in using real cases which took place in Victorian England, altering them for fictional purposes. MOSS ROSE in 1947 was the first film to be made from his novels, then in 1948 two of his works were adapted for the screen, this film and THE MARK OF CAIN. The movie stars Todd as a recently widowed missionary returning to her home in England from Jamaica. During the voyage, she meets Milland, a charming though dangerous rascal who is wanted by police in connection with some unsavory dealings. Milland contracts malaria while onboard the ship and Todd nurses him back to health. In London, Todd settles into her home, taking in boarders to make ends meet. Milland arrives, moves in, and proclaims his love for her. Todd is thrilled, but it seems rather obvious that Milland is only toying with her. Milland finds some letters written to her by her friend, Fitzgerald, in which Fitzgerald reveals some of her sexual indiscretions. Since Fitzgerald is now married to the wealthy Huntley, Milland believes he can use the letters to blackmail Fitzgerald. Todd's love for Milland is so great that she goes along with the plan. Huntley, however, learns of the scheme and also uncovers details of Milland's shady past. Fearing for her lover's safety, Todd poisons Huntley, then remains silent when Fitzgerald is arrested for the murder. Milland has by now genuinely fallen in love with Todd and the two make plans to leave England. Before they can depart, one of Milland's former lovers shows up and Todd, in a jealous rage, kills Milland, then turns herself into the police. This is an intriguing film, although a little on the talky side. The performances are excellent throughout, with Milland shining as the cad, the type of role in which he excelled. Though he spent most of his time making films in the US, he occasionally returned to his native England for a production and this was his first British film since FRENCH WITHOUT TEARS in 1939. Director Allen was also an Englishman who chose to work in the US, this being his first directorial effort in his homeland. This was the fourth and last time Milland and Allen would work together, their pairing having begun in 1944 with the wonderfully eerie THE UNINVITED.
줄거리： 哈里（罗伯特·杨 Robert Young 饰）同妻子与三个孩子居住在风景宜人的郊区，繁忙的工作让他无暇照顾孩子们，面对三个整天调皮捣蛋的臭小子，哈里的妻子亦感到力不从心，请一位能够帮忙又不会添麻烦的保姆似乎成为了哈里唯一的选择，就这样，一个名叫贝尔维德尔（玛琳·奥哈拉 Maureen O'Hara 饰）的女人成为了保姆的最终人选。 直到贝尔维德尔入驻哈里的家中之后，哈里才发现，这个表面看来温柔贤惠的女人其实是一个怪人，但是，神奇的是，她用不知道是哪门子的怪招，竟然将哈里的三个儿子给管教得服服帖帖，这让哈里不得不服。随着时间的推移，外界开始有了一些关于贝尔维德尔的不堪传言，这些传言究竟是不是真的呢？