Eager to land a journalistic position, Adam White goes to work as an advice-giving newspaper columnist. His editor, Shrike, takes pleasure in browbeating his alcoholic wife Florence for her past adultery, and assigning his employees journalistic jobs for which they have little aptitude or interest. Shrike goads Adam into meeting one of his correspondents, Fay Doyle, a teary, self-pitying woman who makes a play for him. Adam is torn between his loyalty to the newspaper and his girl Justy.

该剧改编自刘汽水的小说《春心陷阱》，讲述了李言喻和周意在青春期不欢而散，多年之后以成年人的姿态重逢的故事。

该剧改编自刘汽水的小说《春心陷阱》，讲述了李言喻和周意在青春期不欢而散，多年之后以成年人的姿态重逢的故事。

37岁的拉菲（乌玛•瑟曼 饰）不久前离异了，伤心难过的她向心理医生丽莎（梅丽尔•斯特里普 饰）倾诉心事。一次偶遇，她认识了23岁的小伙子达夫（布莱恩•加连保格 饰），他迅速爱上了拉菲。由于年龄上的差异，使拉菲心存顾忌。此间，拉菲常常与心理医生丽莎提及男友的事，丽莎给了她很多鼓励与支持，才让拉菲决定与达夫开展新恋情。 　　丽莎也遇到了儿子给予的难题，儿子爱上了一个比自己年长的女人，更没想到的是她的儿子——达夫爱上的是自己的病人拉菲……

37岁的拉菲（乌玛•瑟曼 饰）不久前离异了，伤心难过的她向心理医生丽莎（梅丽尔•斯特里普 饰）倾诉心事。一次偶遇，她认识了23岁的小伙子达夫（布莱恩•加连保格 饰），他迅速爱上了拉菲。由于年龄上的差异，使拉菲心存顾忌。此间，拉菲常常与心理医生丽莎提及男友的事，丽莎给了她很多鼓励与支持，才让拉菲决定与达夫开展新恋情。 　　丽莎也遇到了儿子给予的难题，儿子爱上了一个比自己年长的女人，更没想到的是她的儿子——达夫爱上的是自己的病人拉菲……

《春心荡漾》 　　又名：裙装少女夏洛特 　　法国啄木鸟 　　**码剧情片有字幕

《春心荡漾》 　　又名：裙装少女夏洛特 　　法国啄木鸟 　　**码剧情片有字幕

路易斯·阿姆斯朗经典作品，由著名导演阿瑟·卢宾完成于1947年。片中两位主演理查德·哈格曼、桃乐西·帕特里克的表演恰到好处，将各自角色塑造得丰满鲜活，栩栩如生，让人印象深刻。此外，片中的大量音乐对这部影片来说更是锦上添花。 　　出身上流社会的史密斯小姐回到新奥尔良，夫人准备为女儿办一场音乐会展示女儿的才华。著名音乐指挥家福布先生担任音乐会指挥。爵士音乐当时是不能与高雅的古典音乐相提并论的，它是劳动歌曲，源自非洲黄全海岸，其优美的旋律深深吸引了她，风流潇洒的黑人爵土乐队支助者赌场老板金·尼克先生也让她着迷。史密斯夫人极力反对女儿爱金先生，并想方设法破坏尼克的生意，为了不影响史密斯小姐的事业，尼克去了芝加歌。他的爵士音乐在芝加歌大受欢迎，史密斯小姐的歌唱事业也取得了辉煌的成绩，她终于明白尼克离开新奥尔良是为了成就她的发展，随着爵士音乐在全美的广泛流行，他们将二者结合，高雅与通俗得到宗美统一……

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. 　　At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. 　　But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. 　　I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. 　　by D.R. [email protected]

导演 Cheryl（张艾嘉）要拍一部关于初恋的电影，找到编剧（苏永康）讨论剧本。故事的起于一九七七年，女主角小柔（梁咏琪）十七岁，在女校读中学。浩君（金城武）十九岁，大学沒考上，在家自修。但他更喜欢弹吉他。浩君第一次遇见小柔是在一家音乐行的玻璃櫥窗边，浩君心动，撒谎而第二次见面。第三次見面是在一群玩音乐的男孩子练歌时，小柔主动和他说话。之后，两人一发不可收拾。小柔的好朋友陈莉（莫文蔚）是小柔倾诉的对象。一个夜晚，浩君和小柔只想一起共渡，穿着整齐相拥而眠。这一夜成为二人分手的起因。导演 Cheryl告诉编剧，陈莉向小柔示爱，小柔打了陈莉。多年后，二十五岁的浩君成为导游和翻译，在日本巧遇小柔，依然心动。小柔已是香港一家时装公司的采购员。当二人再走在一起，沒有任何考虑就做了当年沒有做的事。有一天，浩君回到香港，拿着戒指向小柔求婚，感情找到归宿。导演 Cheryl也在讲述的最后，找到自己真实的往事。