剧情简介
此為導演李翰祥在臺灣組建國聯公司後拍的第二部影片，血染仍是古裝黃梅調片，血染但成績好過《七仙女》。故事主要描寫明朝一位尚書千金，下嫁才貌雙全的公子，遭人陷害，在洞房前放置假情書和碧玉簪，引起新郎懷疑。但因當時婚姻由父母作主，未敢追究真相。而新娘無辜受盡委屈，也只能隱忍不言。導演著力渲染視聽之娛，景色設計和歌唱音樂極為動聽，演員角色也算稱職，可惜仍不能跳出舞臺劇的情節。
血染的摇篮
此為導演李翰祥在臺灣組建國聯公司後拍的第二部影片，血染仍是古裝黃梅調片，血染但成績好過《七仙女》。故事主要描寫明朝一位尚書千金，下嫁才貌雙全的公子，遭人陷害，在洞房前放置假情書和碧玉簪，引起新郎懷疑。但因當時婚姻由父母作主，未敢追究真相。而新娘無辜受盡委屈，也只能隱忍不言。導演著力渲染視聽之娛，景色設計和歌唱音樂極為動聽，演員角色也算稱職，可惜仍不能跳出舞臺劇的情節。
回复 :CID彭定安与吴发刚调查两宗手法一样的凶杀案，唯一的线索是在案发现场找到一樽TEQUELA酒和有唇膏印的酒杯，两名死者都是已婚男士。安与发相信两宗案件都和单身名仕会所有关，展开调查后结识了单身名仕会所负责人江敏和梁倩雯，调查无头绪下，第三宗同类命案又再发生，同时安与雯、发与敏发展成为情侣，可惜人算不如天算。
北京天使合唱团
回复 : 山姆，一个聪明的孩子，离开山里的家后被告诉，家庭的暑假旅行已经取消，从而阻止他做的藻类实验，他已经计划在那个夏天这部电影记述了他独立的斗争，并与大自然的力量。
周丽淇
回复 :The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography.The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic.Gila Almagor in Tofano's "siege" is one of the first characters of the "modern" war widows to appear on Israeli cinema screens.The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film.It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief."Siege" was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas.Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film.This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.
