暂无剧情

　　外表妖艳迷人、珠光宝气的年轻女子爱尔丝（Betty Amann 贝蒂•阿曼 饰）实则是一个珠宝小偷，她凭借自己的外表迷惑珠宝店老板的注意力，然后伺机行窃。但在某次行动时，她被珠宝店老板捉住，正值刚毅的巡警埃尔伯特（Gustav Fröhlich 饰）对爱尔丝进行认真的调查。　　爱尔丝使出浑身解数勾引面前的这名警察，最终埃尔伯特拜倒在她的石榴裙下，与之陷入爱恋之中。这也成为他们爱情悲剧的开始……　　本片荣获1931年日本电影旬报最佳外语片奖。在柏林，一位名叫埃尔斯的年轻女子是一位美丽的骗子。她的高级时装和完美的妆容让她值得在钻石盒上凝视，同时向珠宝商眨着眼睛。她撒谎被发现，并声称这是她第一次需要钱。即使她遇到了阿尔伯特。她坚称她的豪华公寓和财物不是她的。她坚持着自己的故事，直到她扑进他的怀里，向他表白：“我喜欢你。”艾尔丝想起了阿尔伯特，当她在公寓里发现阿尔伯特的护照照片时，她第一次微笑。凝视着照片，她微笑着将他与她旁边照片中的犯罪、年长、丑陋的男友进行比较。当她被迫归还他的护照并送给他雪茄礼物时，她在夜总会里再次凝视着他的照片并微笑，这一场景导致艾尔斯和艾伯特双双告白。艾伯特随后跪在艾尔丝脚下，恳求她成为他的妻子，因为她再也无法忍受他们之间的分歧。他抬头看着穿着白色优雅连衣裙的她，她就跑开了。她挣脱了束缚，并揭露了她过去犯罪经历中的所有赃物。当他思考自己的命运时，她的犯罪男友出现了，一场争吵随之发生。男友意外身亡，阿尔伯特在犹豫自己的决定后离开了现场。在向父母认罪时，艾伯特的父亲认为法律就是法律，他必须自首。当艾尔斯发现他这样做时，她知道自己必须做什么。否则自愿向警察自首。当阿尔伯特跟着她并声称他会等她时，艾尔西再次微笑。阿尔伯特透过铁栅栏的门口看着艾尔丝进监狱。

Mary, a poor farm girl, meets Tim just as word comes that war has been declared. Tim enlists in the army and goes to the battlefields of Europe, where he is wounded and loses the use of his legs. Home again, Tim is visited by Mary, and they are powerfully attracted to each other; but his physical handicap prevents him from declaring his love for her. Deeper complications set in when Martin, Tim's former sergeant and a bully, takes a shine to Mary.

汉克（贝茜·洛芙 Bessie Love 饰）和奎妮（安妮塔·佩姬 Anita Page 饰）是情同手足的好姐妹，两人相约来到车水马龙的繁华大都市纽约，在汉克的老相好艾迪（查尔斯·金 Charles King 饰）的帮助之下，两人进入了歌舞团成为了歌舞女郎，很快就声名鹊起。　　虽然汉克和艾迪已经相恋多年，但艾迪发现自己竟然情不自禁的被奎妮深深的吸引，与此同时，娇俏可人的奎妮赢得了大富豪贾科（肯尼思·汤姆森 Kenneth Thomson 饰）的青睐，后者对她展开了非常热烈的攻势。汉克看出贾科是一个心术不正的纨绔子弟，屡屡劝说奎妮离他远一点，但奎妮早已经陷入了贾科为她编织的美梦之中。

Buster Keaton's final silent feature, as well as the final film in which MGM allowed him any creative control.

A flapper charms a diplomat to procure her fiancé a career opportunity, while the fiancé starts a relationship with her best friend...

一位制片人决定重新开放一家剧院，该剧院五年前因一名演员在演出中被谋杀而关闭，并与原演员的其余成员一起上演同一出戏。在百老汇制作的一部名为《圈套》的戏剧中，其中一位演员约翰·伍德福德在舞台表演中莫名其妙地死亡，他的尸体也消失了。除了发现了几滴类似氯仿的液体外，几乎没有任何线索表明他的死亡原因。有关伍德福德和两名演员之间 三角恋的谣言流传开来，这可能是他死亡的动机。剧院关闭五年后，制片人阿瑟·麦克休决定与剩下的演员再次上演该剧并重现伍德福德的谋杀案，以解开这个谜团。在废弃剧院排练期间，演员们遇到了奇怪的事情，包括不祥的噪音、坠落的场景和无法解释的火灾。女主角多丽丝的钱包被看不见的袭击者从更衣室偷走了；据报道，舞台经理迈克·布罗迪收到一封由约翰·伍德福德签署的电报，警告他退出该剧，而剧院的新老板阿瑟·麦克休也收到了伍德福德鬼魂的拜访。制作仍在继续，在最后一次排练期间，哈维·卡尔顿在停电期间莫名其妙地从舞台上消失了。多丽丝在剧院包厢里发现了一个神秘的蒙面人物以及一个类似约翰·伍德福德的男子，但两人都消失了。在舞台上悬挂的一幅画后面，发现了一个可以打开活板门的杠杆，演员们发现哈维语无伦次。亚瑟和另一位演员理查德·奎尔冒险进去，发现了一条通往多丽丝更衣室的隧道。亚瑟在剧院任命了警察，以确保第二天晚上的演出开幕。表演期间，人们发现一根带电 400 伏的电线连接到舞台上的烛台上，亚瑟在最后一幕中向理查德扑去，阻止他触碰电线。这名看不见的蒙面袭击者被发现藏在舞台上的一座大钟内，但他在射杀一名警察后就从地板上的活板门掉了下来。袭击者爬上剧院，并将一个类似约翰·伍德福德的假人扔到舞台上。然后他开始在绳子上荡来荡去，但被舞台工作人员剪断绳子拉了回来。蒙面袭击者被发现是布罗迪，他通过电击导致伍德福德死亡，并且是“闹鬼”事件的幕后黑手，以防止剧院被使用。

Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's Staroye I Novoye.　　It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls.　　And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, Staroye I Novoye, is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ).　　Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with Staroye I Novoye. The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel ARTE, natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests.　　And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.

Claudie, a young French woman, inherits her uncle's property in Algeria, much to the disappointment of her scheming cousins Diane and Manuel. On the ferry she meets and falls for Pierre, an idle young man who has squandered his inheritance and is on his way to beg from Christian, his rich but rough-and-ready uncle, who owns a neighbouring farm to Claudie's. Made to work on the farm by Christian as a loan condition, Pierre is soon a changed man, and proposes to Claudie. But when his Arab friend Zoubir invites the Europeans on a hunting party, Diane and Manuel see their chance to move against their cousin.

路易斯·布鲁克斯饰演的年轻女子总是接连遭遇不幸……父亲是个喜新厌旧的主，他的药剂师徒弟也自然沾花惹草，泰米莲在导演的安排下就成了一个精灵，忽而堕落，忽而高尚，她因为未婚先孕而被家族送入少女教养院管束，他们家族的朋友，一个纨绔子弟将她救出却无力承担她的生活，于是，下等酒吧的命运就必然无法避免，直到父亲死去她赢回了父亲的遗产，然她却将这些送给了曾经恶意于她，已经两个孩子的后母，自己也成为了一个戴着道德光环的楷模。