有着“小云雀”之称的法国国宝级歌手艾迪特·皮雅芙（玛丽昂·歌迪亚饰），日韩她有着传奇的一生。皮雅芙的童年颠沛流离，日韩先是被母亲抛弃，然后被父亲送到妓院由祖母抚养，随后在父亲从军队退役后，又被强行带走随马戏团演出生活。再之后皮雅芙跟随父亲卖艺为生，街头初啼并到成为一名酒吧卖唱的 少女。正式登台的皮雅芙顺利成为一名歌喉迷人的明星，演唱了许多脍炙人口的歌曲。然而她的情感却一再受挫，尤其是和拳击手马塞尔（让-皮埃尔·马丁斯饰）的情感经历。她的晚年每况愈下，最后死于肝癌。
李之勤
回复 :平京市索家坟路口发生了一件离奇的交通案件，一名男子受伤后死亡，根据目击证人的供词，刑警队长唐国栋被锁定为肇事嫌疑人，交警队事故科在刘博科长带领下展开了调查，经过进一步走访目击证人以及对事故现场进行了模拟试验，发现唐国栋系遭人诬陷，真正的肇事者是唐国栋正在侦破的案件嫌疑人。刑警队和交通队相互配合，不但找出了真正的肇事司机，还侦破了一起重大的经济犯罪案并将犯罪嫌疑人绳之以法。
温岚
回复 :这天，达伦（尚格•云顿 Jean-Claude Van Damme 饰）和他的女儿高高兴兴前往体育馆观看冰上曲棍球比赛。因这是一场十分关键的比赛，所以体育馆内人山人海，很多达官贵人也前来观战助威。不料人多拥挤，达伦和女儿走散了。四出寻找女儿的达伦，女儿没找到，反而发现了一个惊天大秘密！达伦发现了这里的保安和警察都有点不对劲，仔细观察下，他得知了这些警察和保安竟然都是恐怖分子假扮的，更可怕的是，这些恐怖分子已经控制住了贵宾厢内包括副总理在内的一众贵宾。达伦如何才能在这一团遭的局面杀出生天？
安琪史东
回复 :Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.Roger Philip Mellor
