John Kent (Randolph Scott), a former star football player at Harvard, goes to Paris with his friend Huck Haines (Fred Astaire) and the latter's dance band, the Wabash Indianians. Alexander Voyda (Luis Alberni) has booked the band, but refuses to let them play when he finds the musicians are not the Indians he expected, but merely from Indiana (Huck Haines and his Indianians Band). 　　John turns to the only person he knows in Paris for help, his Aunt Minnie (Helen Westley), who owns the fashionable "Roberta" gown shop. While there, he meets her chief assistant (and secretly the head designer), Stephanie (Irene Dunne). John is quickly smitten with her. 　　Meanwhile, Huck unexpectedly stumbles upon someone he knows very well. "Countess Scharwenka", a temperamental customer at Roberta's, turns out to be his hometown sweetheart Lizzie Gatz (Ginger Rogers). She gets Huck's band an engagement at the nightclub where she is a featured entertainer. 　　Two things trouble John. One is Ladislaw (Victor Varconi), the handsome Russian deposed prince and doorman who seems too interested in Stephanie. The other is the memory of Sophie (Claire Dodd), the snobbish, conceited girlfriend he left behind after a quarrel over his lack of sophistication and polish. 　　When Aunt Minnie dies unexpectedly without leaving a will, John inherits the shop. Knowing nothing about women's fashion and that his aunt intended for Stephanie to inherit the business, he persuades Stephanie to remain as his partner. Correspondents flock to hear what a football player has to say about feminine fashions. Huck gives the answers, making a lot of weird statements about the innovations John is planning to introduce. 　　Sophie arrives in Paris, attracted by John's good fortune. She enters the shop, looking for a dress, but is dissatisfied with everything Stephanie shows her. Huck persuades her to choose a gown that John had ordered discarded as too vulgar. When John sees her in it, they quarrel for the final time. 　　John reproaches Stephanie for selling Sophie the gown. Terribly hurt, Stephanie quits the shop. With Roberta's putting on a fashion show in a week, Huck takes over the design work, with predictably bad results. When Stephanie sees his awful creations, she is persuaded to return to save Roberta's reputation. 　　The show is a triumph, helped by the entertaining of Huck, Countess Scharwenka, and the band. (A pre-stardom Lucille Ball, with platinum blond hair, appears uncredited in her first RKO film[4] as a model wearing an elaborate feather cape, after the vocal by Dunne, in the fashion show.[5]) The closing sensation is a gown modeled by Stephanie herself. At the show, John overhears that she and Ladislaw are leaving Paris and mistakenly assumes that they have married. Later, he congratulates her for becoming a princess. When she informs him that Ladislaw is merely her cousin and that the title has been hers since birth, the lovers are reunited. Huck and Lizzie, who decide to get married, do a final tap dance sequel.

John Kent (Randolph Scott), a former star football player at Harvard, goes to Paris with his friend Huck Haines (Fred Astaire) and the latter's dance band, the Wabash Indianians. Alexander Voyda (Luis Alberni) has booked the band, but refuses to let them play when he finds the musicians are not the Indians he expected, but merely from Indiana (Huck Haines and his Indianians Band). 　　John turns to the only person he knows in Paris for help, his Aunt Minnie (Helen Westley), who owns the fashionable "Roberta" gown shop. While there, he meets her chief assistant (and secretly the head designer), Stephanie (Irene Dunne). John is quickly smitten with her. 　　Meanwhile, Huck unexpectedly stumbles upon someone he knows very well. "Countess Scharwenka", a temperamental customer at Roberta's, turns out to be his hometown sweetheart Lizzie Gatz (Ginger Rogers). She gets Huck's band an engagement at the nightclub where she is a featured entertainer. 　　Two things trouble John. One is Ladislaw (Victor Varconi), the handsome Russian deposed prince and doorman who seems too interested in Stephanie. The other is the memory of Sophie (Claire Dodd), the snobbish, conceited girlfriend he left behind after a quarrel over his lack of sophistication and polish. 　　When Aunt Minnie dies unexpectedly without leaving a will, John inherits the shop. Knowing nothing about women's fashion and that his aunt intended for Stephanie to inherit the business, he persuades Stephanie to remain as his partner. Correspondents flock to hear what a football player has to say about feminine fashions. Huck gives the answers, making a lot of weird statements about the innovations John is planning to introduce. 　　Sophie arrives in Paris, attracted by John's good fortune. She enters the shop, looking for a dress, but is dissatisfied with everything Stephanie shows her. Huck persuades her to choose a gown that John had ordered discarded as too vulgar. When John sees her in it, they quarrel for the final time. 　　John reproaches Stephanie for selling Sophie the gown. Terribly hurt, Stephanie quits the shop. With Roberta's putting on a fashion show in a week, Huck takes over the design work, with predictably bad results. When Stephanie sees his awful creations, she is persuaded to return to save Roberta's reputation. 　　The show is a triumph, helped by the entertaining of Huck, Countess Scharwenka, and the band. (A pre-stardom Lucille Ball, with platinum blond hair, appears uncredited in her first RKO film[4] as a model wearing an elaborate feather cape, after the vocal by Dunne, in the fashion show.[5]) The closing sensation is a gown modeled by Stephanie herself. At the show, John overhears that she and Ladislaw are leaving Paris and mistakenly assumes that they have married. Later, he congratulates her for becoming a princess. When she informs him that Ladislaw is merely her cousin and that the title has been hers since birth, the lovers are reunited. Huck and Lizzie, who decide to get married, do a final tap dance sequel.

凯特瑞娜·巴尔夫、朱迪·丹奇、杰米·多南、塞伦·希德和新人裘德·希尔主演，讲述1960年代末动荡时期，一个在贝尔法斯特长大的男孩的故事。多南和巴…

凯特瑞娜·巴尔夫、朱迪·丹奇、杰米·多南、塞伦·希德和新人裘德·希尔主演，讲述1969年北爱尔兰动荡时期，一个在贝尔法斯特长大的男孩的故事。多南和巴尔夫饰演一对富有魅力的工薪阶层夫妇，他们陷入了贝尔法斯特新教和天主教对抗的混乱局势中，丹奇和希德饰演诙谐活泼的祖父母。

一名妇女在柏林的一家夜总会因服药过量而死亡。在柏林夜生活中玩乐的阿贝尔的孩子们也被凶手抓获。

Description: 'Un metteur en ordre: Robert Bresson' is from a 1966 French television broadcast of 'Pour le Plaisir', a cultural television program. The phrase 'Un metteur en ordre' translates loosely to 'An Imposer of Order'. When you watch the program, you'll see that its title comes from the filmmaker's response to the interviewer's question: 'What's Robert Bresson's profession?' 　　This episode concentrates on 'Au Hasard Balthazar' and includes interviews with Robert Bresson, Jean-Luc Godard, Louis Malle, and members of the film's cast. Bresson explains the origin of the film's title, while his contemporaries describe their reactions to the film. Several extensive clips from the film are presented, after which Bresson and his cast members offer their opinions of the meaning or consequences of those scenes. 　　The heart of the program is an interview with Bresson, during which he talks specifically about this film. He also gives his ideas on filmmaking in general. For example, here's how he wants his performers to learn their dialogue: 'I ask them to learn their lines ignoring their meaning, as if they didn't have a meaning, as if the words were just syllables. As if sentences weren't made of words but of syllables.'

Description: Filmed mostly in his country home in 1965, ROBERT BRESSON - WITHOUT A TRACE is a revealing discussion with Bresson. Bresson at this time had completed six of his most well known films and was in the process of shooting Au Hasard Balthazar. 　　Usually a man of few words, having never before granted an interview on camera, Bresson agreed to answer the questions of a then-unknown writer François Weyergans, for the Cineaste de Notre Temps series. 　　Ranging over topics from the inspiration behind his films, to his ideas on the use of sound, actors, editing and music, and the state of (the then) contemporary cinema (from James Bond to the New Wave), Bresson describes his singular approach to filmmaking. 　　Incorporating clips from several of his films, and with a new introduction by Weyergans today, ROBERT BRESSON - WITHOUT A TRACE is a unique historical record that provides unparalleled insight into the work and ideas of Robert Bresson. 　　"Recommended. Robert Bresson is the most under-rated of the major French film directors. [WITHOUT A TRACE] is the only filmed interview granted by this elusive director. Bresson's comments on varied subjects (Matisse, Cezanne, Pascal, Dostoevsky, cinema vs. theatre, actors vs. protagonists, cinema music, etc.) are pithy, rapid fire, and always entertaining and interesting. This is an important documentary for the study of French films... A valuable addition to comprehensive college film collections."-Educational Media Reviews Online 　　"In a face-to-face interview with Bresson, the viewer gets an insight on the director's style of filmmaking, his philosophy and other pleasantries such as his living conditions in Paris. A number of excellent film clips from "Pickpocket" and "The Trial of Joan of Arc" round out this important film in the CINEMA, OF OUR TIME series."-Historical Media Review