电影 · 1958 · 美国 · 剧情
富有的密西西比种植园主人“大老爹”(伯尔·艾弗斯 Burl Ives 饰)正准备庆祝他的六十五岁生日,他的两个儿子库珀(杰克·卡森 Jack Carson 饰)和布雷克(保罗·纽曼 Paul Newman 饰)各自带着媳妇前往参加生日聚会。然而“大老爹”并不知道的是,自己身患癌症将不久于人世。大儿子库珀身为律师并管理着大笔产业,他与妻子梅(马德琳·谢伍德 Madeleine Sherwood 饰)已经生了几个孩子,急切地希望继承父亲的百万财产。相较于哥哥生活的完美幸福,曾为足球明星的布雷克却是整日沉溺在酒精中无法自拔。自从一年前他的老友自杀,他便拒绝与贤妻玛姬(伊丽莎白·泰勒 Elizabeth Taylor 饰)同房,原因就是他怀疑玛姬与老友有染。对一切失去信心的布雷克开始质疑生活的意义。 本片改编自由田纳西·威廉斯创作的同名戏剧,荣获1959年包括奥斯卡金像奖、美国电影金球奖及英国电影和电视艺术学院奖在内的11项提名。
电影 · 1958 · 其它 · 喜剧
于洛先生(雅克·塔蒂 Jacques Tati 饰)从乡下来,到了巴黎的姐姐(阿德里安娜·色万提 Adrienne Servantie 饰)家里小住,对姐姐家中各种现代化设备极其不适应,经常被搞得手忙脚乱。还好小侄子杰拉德喜欢这个舅舅,和他到处去玩,杰拉德同样不喜欢家里的现代化设备,因此于洛还带他去郊区老屋玩耍。于洛的姐夫阿尔贝勒先生(让·皮埃尔·佐拉 Jean-Pierre Zola 饰)帮于洛在自己工厂找了一份工作,可是于洛同样不适应现代化的操作机器,搞砸了许多事情,闹了许多笑话,姐夫对他忍无可忍,决定介绍另一份工作打发他离开,而于洛开心地同小侄子话别,只当结束了一个不同寻常的假期…… 本片是雅克·塔蒂“于洛先生三部曲”的第二部。
电影 · 1958 · 日本 · 剧情
某个婚礼上,与新娘父亲同期的三上周吉(笠智众 饰)独独缺席,原来他的女儿文子(久我美子 饰)坚持离家出走,和所爱的男人住到一起,令周吉颇为烦恼。周吉拜托公司常务,同时也是他的好友平山涉(佐分利信 饰)去文子工作地点探望。有道是别人家的事总归无关痛痒,平山虽然看似开明表示理解文子的做法,可是放到自身态度就立马180度大转弯。他的大女儿节子与公司员工谷口正彦(佐田啓二 饰)自由恋爱,打乱了平山对女儿婚事的安排。父亲和女儿不仅仅是两代人的关系,更好像天生依存而又互相折磨的冤家,一代又一代,宿命地轮回下去…… 本片根据里見弴的原作改编。
电影 · 1958 · 法国 · 剧情
Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic"s only dream is to own a luxury car, and with Bob"s help, she manages to find the money to but it. Mic"s friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy... Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time. Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958. Whilst Les Tricheurs is not as flawless as Carné"s earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean"s films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné"s treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading. Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo"s breakthrough had to wait until the following year when he starred in Jean-Luc Godard"s revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.
电影 · 1958 · 其它 · 喜剧
这是《男人的争斗》(Rififi)的搞笑版。两个小偷带领一群小混混进行一个宏伟的偷盗计划。他们打算从一处公寓挖一个地道,进入附近一家商店,结果地道挖进了公寓的另一个房间,这只是一个小差错。反正这群笨贼该犯的错全犯了,而那个要偷的保险箱似乎唾手可得,但他们就是没本事得手。 影片有一流的表演,每人都有闪光的机会。1987年推出续集。该片在一定程度上开创了“笨贼漫天飞”的喜剧类型,很多国家的此类影片均受到本片的影响,美国曾推出两部正式重拍版。
电影 · 1958 · 美国 · 剧情
缉毒官员Newlyweds Miguel "Mike" Vargas(查尔登·海斯顿 Charlton Heston 饰)和他的妻子Susie(珍妮特·利 Janet Leigh 饰)来到了美国和墨西哥的边界。马路上发生了一起汽车爆炸事件,Vargas认为这起案件跟毒贩子有关,遂和当地的警察们一起展开了调查。Hank Quinlan(奥逊·威尔斯 Orson Welles 饰)是警察队长,在当地名声甚响。当地警方把嫌疑集中在一个叫Sanchez的人身上,Vargas却在Sanchez的家中发现了证明他不是犯人的证据。然而Quinlan执意认为Sanchez就是犯人。Vargas研究了以前Quinlan办过的案件,对这个赫赫有名的警察队长产生了不少疑问。而Vargas的妻子Susie在旅馆里却被一帮人所绑架并陷害,Vargas怀疑这一切的背后都是Quinlan在操纵。Vargas在和Quinlan的对抗中会有怎样的结局? 本片由执导了《公民凯恩》的奥逊·威尔斯自编自导自演,共有三个版本:1958年发行的版本,1976年的加长版,1998年发现的可能更符合威尔斯想法的版本。
电影 · 1958 · 韩国 · 剧情
Choi So-young (Choi Eun-hee), a poor female law student is in trouble because her grandmother, who had been sending her tuition money, passes away. With the help of her friend Hee-suk, (Kim Suk-il) who dreams of becoming a writer, So-young fools Choi Rim (Kim Seung-ho), a lawmaker, into believing she is his daughter and moves in his house. She studies hard and becomes a lawyer. At her first trial, she defends a female inmate (Hwang Jeong-sun). Coincidentally, the story of the inmate is very much similar to hers. So-young defends her, saying how difficult it is for a woman to survive in a cold capitalism, arguing for her rights in tears. After she wins the case, she goes home and confesses her crime to Choi Rim"s wife (Yu Gye-seon).