Torbert
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罗克珊·道森
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PBS十多年前曾播过自己拍摄的剧集，但后来只播英国进口剧集，如今又打算播自己拍摄的剧集。作为PBS杀回「原创」领域的首部作品，该剧沿袭了PBS热门进口剧集《唐顿庄园》的历史风格。故事发生在美国内战时期，主人公是两名护士志愿者——来自新英格兰地区并支持废奴主义的MaryPhinney（MaryElizabethWinstead）和支持南方联盟国的南方佳丽EmmaGreen（HannahJames）。Green家族在弗吉尼亚州的亚历山大市经营豪华酒店生意，北方联邦军1862年占领这座城市后，他们的酒店被改造成专门治疗战争伤员的「大厦之屋医院」（MansionHouseHospital）。MaryPhinney（MaryElizabethWinstead）是个寡妇，最近刚刚来到「大厦之屋医院」工作。JoshRadnor（没错，就是《老爸老妈的浪漫史》中的「老爸」）扮演医院雇佣的外科医生JedediahFoster，他从小生长在一个南方权贵家庭中，父亲是马里兰州的大地主，家中有许多黑奴。GaryCole扮演Green家族的掌门人JamesGreen,Sr.，他很难在一座「敌人占领」的城市里维持家族生意。HannahJames扮演EmmaGreen，是「大厦之屋医院」的一名护士志愿者。PeterGerety扮演AlfredSummers医生，「大厦之屋医院」的外科主任。他爬上这个职位完全因为他的年纪忽悠了所有人，并非因为他有真材实料。NorbertLeoButz扮演守旧的军医ByronHale，一切都循规蹈矩。他一方面密切监视护士们的一举一动，另一方面却与AnneReading护士保持着密切的关系。McKinleyBelcherIII扮演黑人工人SamuelDiggs，他隐藏了一个秘密：他从一个年轻的男仆那里学会了医术。ShalitaGrant扮演美丽的AureliaJohnson，是医院里的洗衣女工，她试图忘掉自己的过去。CherryJones扮演令人生畏的北方联邦军护士长DorotheaDix。JackFalahee扮演FrankStringfellow。AnnaSophiaRobb扮演AliceGreen。CameronMonaghan扮演TomFairfax。DonnaMurphy扮演JaneGreen。TaraSummers扮演AnneHastings。L.ScottCaldwell扮演Belinda。SuzanneBertish扮演MatronBrannan。WadeWilliams扮演SilasBullen。LukeMacfarlane扮演ChaplainHopkins。BradKoed扮演JamesGreen,Jr.。本剧的素材大部分来源于这座医院医生和护士的回忆录及往来信件，具有一定的真实性。亚历山大市是美国内战时期南方联盟国占领时间最长的一座城市，后被北方联邦军收复。——转自“天涯小筑”
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威廉·惠勒
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故事产生在布满了异域风情的马来西亚,莱斯利（贝蒂·戴维斯 Bette Davis 饰）在那边跟老公罗伯特（赫伯特·马歇尔 Herbert Marshall 饰）一同运营着一间橡胶莳植园,日子过得非常安适。某天,罗伯特外出公干,留下莱斯利一人看家,哪晓得很快,便传来了凶讯,莱斯利开枪将一个名叫大卫的男子给打逝世了,而莱斯利坚称大卫想要打击她,她开枪杀人纯属自卫。 罗伯特信任了莱斯利所言,找到了状师霍华德（詹姆斯·斯蒂芬森 James Stephenson 饰）为老婆辩解,但是,让他们不想到的是,大卫的老婆哈蒙德太太（盖尔·桑德加德 Gale Sondergaard 饰）手上握有莱斯利跟大卫偷情的证据。
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彼得·斯崔克兰德
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卡塔林（希尔妲·佩特HildaPéter饰）有着一段不堪回首的过往，她选择将糟糕的往事深深的埋藏在心底。成年之后，卡塔林遇见了现在的丈夫（拉茨洛·马特雷LászlóMátray饰），两人组成了家庭，生下了两个活泼可爱的儿子。某一日，丈夫在无意之中发现了卡塔林的秘密，并且得知两个孩子之一的奥班（NorbertTankó饰）并非自己亲生。愤怒之中，丈夫将卡塔林和孩子赶出了家门。带着孩子，流落街头无处可去的卡塔林决定踏上寻找奥班亲生父亲的旅途，她要直面曾经的恐惧和屈辱，向所有伤害过她的人施展报复。然而随着时间的推移，残酷的现实不断的打击着卡塔林的决心。
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恩斯特·刘别谦
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玛丽埃特（凯·弗朗西斯 Kay Francis 饰）是个腰缠万贯作风轻浮的漂亮寡妇，经营着一间公司。一次偶然中，她和一个名叫里瓦尔（赫伯特·马歇尔 Herbert Marshall 饰）的男人相识了。里瓦尔英俊潇洒风流倜傥，玛丽埃特很快就被他的魅力所征服，雇佣他成为了自 己的私人秘书，这正是里瓦尔所梦寐以求的。 原来，里瓦尔系化名，这个风度翩翩的男人的真实身份是一名国际大盗，他和曾经的情人莉莉（米利亚姆·霍普金斯 Miriam Hopkins 饰）联手，企图将玛丽埃特的财产据为己有。公司董事长阿道夫（C·奥布雷·史密斯 C. Aubrey Smith 饰）察觉了里瓦尔的阴谋并告诉了玛丽埃特，可玛丽埃特并不相信他的忠告，里瓦尔的阴谋眼看就要得逞。
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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
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Belgiandirector/screenwriterBertScholiersjumpsallovertheplaceinhisimaginativefeaturedebut.OnemomentweareinanAntwerppub,thenextwearewalkingacrossanexpanseofsnow,theninacosmicblackholeorchasingaflyingpineapple.ThisishowbestfriendsCharlieandHannah’sdrink-fuellednightpansoutafterswallowingamagicalsweetthatchangestheworldsurrealistically–alsoforeveryonearoundthem.Thelaconictwenty-somethingsrespondtotheseeventswithamusedamazement(whethertheywindupinapre-warbrothelorareblowntosmithereensbyanatombomb),allthewhilesaunteringalonganddiscussingthereallyimportantstuff:dealingwithexesandrelationships.LikeatrippingWoodyAllenorNoahBaumbach,Scholiersplayswithform,usinginventivevisualhumour,colourandblack-and-white,switchingaspectratiosandreferringtosilentmoviesandItaliangiallohorror.
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劳埃德·培根
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Scion of the once-rich Mitchell family, Herbert Wynn is found shot to death. Nurse Adams, bored by hospital routine, is recruited by the police to ferret out clues as she tends to Wynn's elderly aunt Julia. Jokingly given the 'rank' of Miss Pinkerson, after the famous detective agency, Adams probes into the mystery, but not before a second death.
