廖昌永
发表于9分钟前回复 :容颜憔悴的女作家路云(何超仪 饰)为了撰写最新的小说精疲力竭,她发现自己的记忆变差,许多时候依靠药物来稳定自己的精神状态。近一段时间,路云的情况似乎有所恶化,她经常被一个诡异梦境所困扰,为此几近崩溃。这日一早,噩梦醒来的路云打电话给在外地公干的老公张世权(谢承均 饰),丈夫给她以安慰,并告知当天搭乘飞机回家。而电话的另一头,张世权刚和另一位女子刘伶结束缠绵。在出版社和编辑洽谈时候,路云惊悉丈夫的飞机失事的噩耗。她匆匆赶往事故处理现场,结果偶遇刘伶的丈夫韩斌(夏凡 饰)。韩斌从妻子的遗物中发现陌生男人的手机,她千方百计试图弄清妻子生前的秘密。通过手机卡,韩斌和路云建立联系,他们也将携手揭开另一半可以隐藏的秘密……
玻璃箱子
发表于9分钟前回复 :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.