情归陶然亭

　　胤嬉（金智秀 饰）嫁入豪门，有一个控制欲和独占欲极强的丈夫，生活在富丽堂皇的别墅之中，胤嬉的内心却像玻璃一样冰冷。看不到逃离的希望，痛不欲生的胤嬉决定结束自己的生命，然而，就在此时，她遇见了名为亨俊（曹在显 饰）的刑警。
　　亨俊有过一段不堪回首的婚姻，因此对于爱情和生命了无希望，直到他遇见了胤嬉，胤嬉绝望的样子仿佛让他看见了自己，从那一刻起，他就深深的爱上了这个伤痕累累的女人，无法自拔。胤嬉知道她和亨俊之间的感情不可能开花结果，两人都选择了回避，然而，命运让他们再度相遇，激情的火焰燃起一发不可收拾。当胤嬉的丈夫察觉到了妻子的不忠，愤怒的他向亨俊展开了疯狂的报复。

　　风头正劲的影帝郑直（信 饰）受邀出演电影《小城往事》的男主演，与急速走红的女星苏妮娜（钟欣桐 饰）上演一段小龙套追求白富美的爱情故事。在参演过程中，早已过惯大明星生活的郑直，对穷小子生活的把握和表现始终得不到好莱坞新晋女导演曼迪·吴（李小冉 饰）的满意。更为糟糕的是，他的表演竟屡被导演批评为不如群演。而一个叫作川子（余少群 饰）的群演，来剧组是为了找回他青梅竹马的恋人三妮。凭借着一张童年照与珍贵的记忆，川子认定当红女星苏妮娜就是他的三妮，小心呵护之余，他用自己的方式向已经有了高富帅男朋友Peter（袁成杰 饰）的苏妮娜表达着爱意。于是，四个不同背景的人在片场发生了一连串的争吵、矛盾，更有不少欢乐与热闹。
　　原来，郑直与导演吴迪曾是恋人，《小城往事》正是那段爱情的纪念。在经历了各种争吵和误会后，两人终于解开心结。在吴迪的点醒下，郑直下决心体验穷小子的生活，与川子等群演混在一起。随着电影拍摄临近结尾，郑直和吴迪，川子和苏妮娜两对恋人都迎来了他们爱情的新开始……

　　高纬度人类秋时叶为了寻找人生的真谛，通过时空隧道来到当代社会。在某地开了一家专门收购人寿命与回忆的店铺。每一个前来交易的客户，秋时叶都会去深究他们为什么会来交易。从而在这些来出售寿命与记忆的人中找到了人活着的真谛。

　　天雫家的独子健太郎（星野源 饰）在市政府工作，现年35岁的他却全然没交过女朋友。他性格内向，平时连中午饭都回家吃，晚上则一个人闷头打电动。看着儿子的样子，可真愁坏了他的父母寿男（平泉成 饰）和富美（森山良子 饰）。为此，天雫拿着儿子的资料参加相亲大会，期间结识了同样为女儿相亲的今井夫妇（大杉涟 & 黑木瞳 饰）。不过，身为社长且爱女笃深的今井似乎完全没将资质平平的健太郎列入考虑对象。不过缘分还真是参不透，在一个落雨的日子里，健太郎和今井夫妇双目失明的女儿奈穗子（夏帆 饰）意外邂逅，而他完全发自本心的举动赢得了奈穗子的母亲玲子的好感。
　　一个是固守家中的小宅男，一个是不幸陷入黑暗世界的小公主，他们之间将会发生什么故事呢？

　　富家女沈木兮父母去世，只得在酒吧驻唱补贴家用。富豪季遇白对她一见钟情，被沈木兮拒绝。沈木兮的弟弟被索要巨额赔偿，沈木兮无力偿还，向季遇白求助。季遇白同意帮助沈木兮，但是要沈木兮和他在一起一年，沈木兮忍辱负重答应了要求。季遇白对沈木兮百般照顾，沈木兮渐渐对季遇白产生了好感。麦思明追求沈木兮被拒，不断骚扰沈木兮，季遇白在现场向沈木兮表白，澄清麦思明的诬陷。事后，季遇白却告诉沈木兮他并没有爱上她，他们之间只有契约关系。原来季遇白青梅竹马的女友意外过世让他深受打击，他想在沈木兮身上偿还对前女友的亏欠，而不想承认他对沈木兮产生的感情。经历曲折，季遇白走出了过去的阴霾，两人终于走到了一起

　　柯达（欧豪 饰）收到了来自于20年前一个包裹。唤起了他无限回忆，从而令他踏上了重回故乡之路。
　　沿着记忆的路线，柯达一路辗转回到高中时期的母校。尘封的往事、埋藏在心底的岁月、天使般的少女夏叶（张慧雯 饰）……那些关于青春与初恋的回忆涌上心头。
　　那时的他们一同上学，一起去冒险， 共同约定要前往世界的中心，单纯的爱让他们倍感幸福。然而残酷的现实无法逃避……但相知相爱的两颗心却也更加坚定。
　　这趟回忆之旅让徘徊在往事迷宫中的柯达敞开了封闭已久的心，他重新看见过去，也发现未来。柯达想起他和夏叶的约定，继续找寻夏叶生前最掛念的世界中心。

　　越战时期，美国位于华盛顿特区的石花园，葬着为数众多在越战上殉职的美国军人。《教父》《战栗游戏》詹姆斯肯恩饰演哈塞德军官，深信越战是一场打不赢的战事，相反的，士兵威洛一生最大的职志就是代表国家上战场，好好打一场胜战荣返家园。哈塞德没办法劝阻威洛把自己送到最前线，他唯一能为这个朋友做的，就是──拖延，同时鼓励他好好找回他和瑞秋（《他们的故事》《油炸绿蕃茄》《玫瑰花床》玛丽史都麦特森饰）的感情……

　　杰瑞•莫里恩（金•凯利 Gene Kelly 饰）是住在巴黎一位穷困潦倒的美国画家，通过朋友钢琴手亚当（奥斯卡•莱文特 Oscar Levant 饰），杰瑞结识了一位当红法国歌手亨利（乔治•盖塔瑞 George Guétary 饰）。不久杰瑞被一位富有的夫人麦络（妮娜•福煦 Nina Foch 饰）赏识并资助作画，但他却爱上了百货店的年轻售货员丽丝（莱斯利•卡伦 Leslie Caron 饰）。然而出乎意料的是，丽丝竟然是亨利的女友，不知情的亨利还劝杰瑞要勇于争取爱情。所有的矛盾在一次盛大的黑白舞会中聚集激化，杰瑞得知丽丝将要嫁给亨利的消息后最后一次幻想二人在浪漫巴黎歌舞翩翩。然而真挚的爱情就这样永远逝去么？
　　本片获1951年奥斯卡最佳影片，最佳艺术效果，最佳摄影，最佳服装设计，最佳配乐，最佳剧本六项大奖。

　　汤姆（布鲁斯•邓恩 Bruce Dern 饰）和黛西（米亚•法罗 Mia Farrow 饰）的婚姻并不幸福，因为汤姆是一个花花公子，经常出去鬼混。汤姆还经常和与他们相邻的黛西的舅舅尼克一起出席舞会，寻欢作乐。尼克的邻居盖茨比是个神秘的有钱人，他经常邀请尼克参加宴会，两人很快相熟。相熟后，盖茨比（罗伯特•雷德福 Robert Redford 饰）邀请尼克带着他的侄女黛西来他家作客。此时，黛西认出了盖茨比。原来盖茨比是黛西5年前的恋人，只因当年盖茨比只是一个穷小子，为了改变命运而出国拼搏，黛西正是在这个时候与汤姆结了婚。两人很快旧情复燃。
　　一次宴会，黛西又和汤姆吵翻了，借酒消愁的她酒后和盖茨比一起开车回家时不幸撞死了汤姆的情妇。为了昔日的情人，盖茨比决定挺身而出。

　　斯奈利和达利从小就是性情迥异的死对头，即使是长大后达利变成威风的骑警，斯奈利仍为无恶不赦的大坏蛋，在一次抢劫活动，斯奈利占据了小镇，一切都在乱无法纪的状况下进行，达利要如何解决这混乱的场面让小镇恢复平静？

　　苏莹（王丽坤 饰）和程峰回（郑元畅 饰）是即将步入婚姻殿堂的恋人，就在苏莹沉浸在幸福之中时，一个神秘人的出现将她的生活搅得一团糟。根据神秘人提供的种种线索，苏莹震惊的发现，原来程峰回的真实身份是苏莹曾经的同学林强，而可怕的是，在苏莹的记忆里，林强早已在一场大火中丧生。
　　曾经的青葱岁月中，苏莹和名叫江重云（金泛 饰）的男孩之间有过一段甜蜜青涩的感情。江重云总是在背后默默保护着苏莹，而他本人却不愿意承认，这让苏莹十分感动，两人计划考上同一所大学，携手步入美好的未来。化学实验室里一场突如其来的大火将苏莹和江重云的所有幻想都焚烧殆尽，火灾中的遇难者正是林强。

　　Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson
　　If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play "La Morte in Vacanza" by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained.
　　[Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration.
　　To see what’s behind all the conversation about love, the suave but naïve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming.
　　More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching.
　　(Howard Schumann, talkingpix.co.uk)
　　In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it.
　　(Dennis Schwartz, homepages.sover.net)
　　I've heard DRACULA was advertised with the tag line "The Weirdest Love Story ever told!" (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts.
　　(Dave Sindelar, scifilm.org)
　　See also the remake: Death Takes A Holiday (1971)