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电影
幽情密使（The Go-Between）
1971 / 英国 / 爱情片 / 剧情片 / 剧情 / 爱情
朱莉·克里斯蒂 / 阿兰·贝茨 / 爱德华·福克斯 / 迈克尔·雷德格瑞夫 / 玛格丽特·莱顿 / 多米尼克·格尔德 / 迈克尔·高夫 / Richard Gibson / Simon Hume-Kendall
马库斯（Richard Gibson 饰）邀请自己的同学兼好友雷欧（多米尼克·格尔德Dominic Guard 饰）到自己家去玩，就这样，雷欧结识了马库斯的姐姐玛丽安（朱莉·克里斯蒂 Julie Christie 饰），美丽又善良的玛丽安给雷欧留下了非常深刻的印象。马库斯得了传染病，没办法陪雷欧玩了，雷欧就此结识了名为泰德（阿兰·贝茨 Alan Bates 饰）的农夫，泰德拜托雷欧帮他送信给玛丽安，雷欧答应了他。<br>之后，雷欧和退伍军人修斯（爱德华·福克斯 Edward Fox 饰）交上了朋友，并且震惊的得知，玛丽安的家人准备将她许配给修斯，不仅如此，雷欧还意外的发现，自己帮泰德和玛丽安送的那些信件，其实是他们的情书。
电影
仆人（The Servant）
1963 / 美国 / 剧情片 / 剧情
德克·博加德 / 詹姆斯·福克斯 / 莎拉·米尔斯 / 温蒂·克雷格 / 凯瑟琳·拉塞 / 理查德·弗农 / 安·弗班克 / Doris Nolan / 帕特里克·马基 / 吉尔·梅尔福德 / 阿伦·欧文 / 哈罗德·品特 / Derek Tansley / Brian Phelan
刚刚搬到伦敦的托尼（詹姆斯·福克斯 James Fox 饰）雇佣了名为巴雷特（德克·博加德 Dirk Bogarde 饰）的男子作为家中的仆人，将家里上下大大小小的一切事物交给他打理，聪明肯干的巴雷特没有让托尼失望，很快便获得了主人的信任。<br>托尼的女友苏珊（温蒂·克雷格 Wendy Craig 饰）并不喜欢巴雷特，因为她隐约察觉到，托尼和巴雷特的妹妹薇拉（莎拉·米尔斯 Sarah Miles 饰）之间有着说不清道不明的暧昧关系。之后，托尼震惊的发现原来薇拉系巴雷特的情人，深感受到欺骗的托尼解雇了巴雷特。一次偶然中，托尼和巴雷特在一间小酒馆重逢了，他们重新建立了主仆关系，但这表面平和的关系里实则充满了刀光剑影。
电影
伊娃
1962 / 法国,意大利 / 剧情
让娜·莫罗 / 斯坦利·贝克 / 维尔娜·丽丝 / 乔治·阿尔贝塔齐 / 詹姆斯·维利尔斯 / 里卡尔多·加罗内 / 丽莎·佳丝托妮 / 切柯·里索内 / 恩佐·菲耶尔蒙特
琼斯（斯坦利·贝克 Stanley Baker 饰）是一名年轻而又前途无量的作家，他的女友是名声大噪的女明星弗朗西斯卡（维尔娜·丽丝 Virna Lisi 饰），两人相爱多年，刚刚决定订婚携手步入婚姻的殿堂。某日，琼斯回到了自己远在托尔塞洛的房子里，在那里，他意外的发现了一位楚楚可怜的金发美人艾娃（让娜·莫罗 Jeanne Moreau 饰）。<br>艾娃的出现让琼斯的内心产生了极大的震撼，他感到自己压抑已久的情欲正在蠢蠢欲动，但与此同时，他对于弗朗西斯卡的忠诚带给了弗朗西斯卡心智非常严峻的考验，令他备受折磨。在艾娃不断的挑逗和诱惑之中，琼斯是否能够坚守住自己的底线呢？
电影
博命
1962 / 英国 / 爱情 / 爱情片 / 剧情 / 科幻
麦克唐纳·凯瑞 / 雪莉·安妮·菲尔德 / 韦薇卡·琳德佛斯 / 亚历山大·诺克斯 / 奥列佛·里德 / 沃尔特·戈塔尔 / 詹姆斯·维利尔斯 / 汤姆·肯平斯基 / 肯尼思·科普 / 布莱恩·奥尔顿 / 芭芭拉·埃弗里斯特 / 艾伦·麦克莱兰 / 詹姆斯·马克斯韦尔 / 尼古拉斯·克莱
Legal and illegal criminality. An American tourist with a boat is robbed by a gang of teenager boys, assisted by the leader's sister. But soon afterward she jumps to the victim's boat to escape her brother's incestuous jealousy. The couple fly together and is hunted by the entire gang. Both happen to enter high-classified military territory. There might be a third and atomic world war, after which no ordinary man could survive. But now and then children are born who are "naturally" radio-active and have cold blood. They might survive in the post-war world and carry on mankind. They are fetched and brought to an underground construction where they are educated by TV. They are told that they are on a space ship moving toward the earth, which they should eventually colonize. This military project seems to be a failure because of a high mortality among the children. - The military soon finds the gang...
电影
景中人
1970 / 英国 / 惊悚
罗伯特·肖 / 马尔科姆·麦克道威尔 / 克里斯托弗·马尔科姆 / 安迪·布拉德福德 / 罗格·洛伊德-派克 / 罗伯特·伊斯特 / Tariq Yunus / 帕梅拉·布朗
Two escaped convicts are on the run in an unnamed Latin American country. But everywhere they go, they are followed and hounded by a menacing black helicopter.
电影
克兰先生
1976 / 法国,意大利 / 剧情 / 悬疑 / 战争
阿兰·德龙 / 让娜·莫罗 / 弗朗辛·贝尔热 / 朱丽叶·贝尔托 / 让·布伊兹 / 苏珊娜·弗罗恩 / 马西莫·吉洛蒂 / 迈克尔·朗斯代尔 / 米歇尔·奥蒙 / 罗兰·伯汀 / 让·尚皮恩 / 伊什尼·齐科特 / 玛加莉·克莱芒 / 热拉尔·朱尼奥
故事发生在第二次世界大战期间，德军占领了巴黎，克莱恩（阿兰·德龙 Alain Delon 饰）被误认为是和他同名同姓的犹太人，他必须依靠自己的力量来证明血统，否则就将面临悲惨的命运。经过千辛万苦，克莱恩总算调查到了犹太人克莱恩的家庭住址，让他没有想到的是，这住址竟然直指他自己的家。<br>一切的线索表明，克莱恩似乎陷入了一个预谋已久的圈套之中，每一条他以为能够借此获得真相的线索，都如同蜘蛛丝一样的最终消散在了风中。虽然律师皮埃尔（迈克尔·朗斯代尔 Michael Lonsdale 饰）积极的帮助着克莱恩，但最终他还是没能够解开自己身世和这个名字之间的秘密。
电影
狱中囚徒
1960 / 英国 / 剧情 / 惊悚 / 犯罪
斯坦利·贝克 / 萨姆·沃纳梅克 / 格雷瓜尔·阿斯兰 / 玛吉特·萨阿德 / 吉尔·班尼特 / 鲁珀特·戴维斯 / 劳伦斯·奈史密斯 / 约翰·范艾森 / 诺埃尔·威尔曼 / Derek Francis / 雷德蒙德·菲利普斯 / Kenneth J. Warren / 帕特里克·马基 / Robert Adams
约瑟夫·罗西导演的带有黑色电影风格的犯罪片，曾号称是英国电影史上最粗暴（toughest）的电影，尽管以当代的标准来看本片尺度并说不上大，但对60年代英国监狱的详细描绘、出色的摄影、斯坦利·贝克优秀的表演以及动听的主题曲都让本片颇具看点。故事讲述前科犯约翰尼·巴尼恩出狱后，与黑帮成员迈克·卡特等人合作一起抢劫赌马场，但事后造人背叛，再次锒铛入狱，然而藏匿赃款之处只有巴尼恩一人知道。由于巴尼恩在A区混得风生水起，狱长故意将其调去B区，但在B区老大弗兰克·萨夫瑞恩的协助下，巴尼恩再次重返A区。在狱中得知迈克·卡特的势力已经越来越大，并为了找到赃款挟持了他的女友苏珊娜后，巴尼恩找萨夫瑞恩帮忙，打算越狱逃走阻止卡特。
电影
车祸
1967 / 英国 / 剧情 / 犯罪
德克·博加德 / 斯坦利·贝克 / Jacqueline Sassard
史蒂芬（德克·博加德 Dirk Bogarde 饰）出生在一个非常普通的家庭之中，凭借着自己的智慧和能力，他不断的向上爬，并且最终成为了英国牛津大学的教授，可以这么说，史蒂芬现在所拥有的一切，都是他一点一点亲手为自己挣来的。一次偶然中，史蒂芬撞见了自己的同事查理（斯坦利·贝克 Stanley Baker 饰）和一个名叫安娜（雅克利娜·萨萨尔 Jacqueline Sassard 饰）的女生之间的私情。<br>安娜的身份十分的尊贵，是一国之公主，并且已经有了未婚夫威廉（麦克尔·约克 Michael York 饰）。一场车祸中，威廉不幸去世，史蒂芬救了安娜一命，出于报复的心理，他强行占有了安娜。
电影
国王与国家
1964 / 英国 / 剧情 / 战争
德克·博加德 / 汤姆·康特奈 / 莱奥·麦凯恩 / 巴里·福斯特 / 彼得·科普利 / 詹姆斯·维利尔斯 / 杰瑞米·斯宾塞 / Barry Justice / Vivian Matalon / 基思·巴克利 / James Hunter / Larry Taylor
The last time Britain was a major force in world cinema was in the 1960s; a documentary of a few years back on the subject was entitled 'Hollywood UK'. This was the era of the Kitchen Sink, social realism, angry young men; above all, the theatrical. And yet, ironically, the best British films of the decade were made by two Americans, Richard Lester and Joseph Losey, who largely stayed clear of the period's more typical subject matter, which, like all attempts at greater realism, now seems curiously archaic. 'King and Country', though, seems to be the Losey film that tries to belong to its era. Like 'Look Back in Anger' and 'A Taste of Honey', it is based on a play, and often seems cumbersomely theatrical. Like 'Loneliness of the long distance runner', its hero is an exploited, reluctantly transgressive working class lad played by Tom Courtenay. Like (the admittedly brilliant) 'Charge of the Light Brigade', it is a horrified, near-farcical (though humourless) look at the horrors of war, most particularly its gaping class injustices. Private Hamp is a young volunteer soldier at Pachendaele, having served three years at the front, who is court-martialled for desertion. Increasingly terrorised by the inhuman pointlessness of trench warfare, the speedy, grisly, violent deaths of his comrades and the medieval, rat-infested conditions of his trench, he claims to have emerged dazed from one gruesome attack and decided to walk home, to England. He is defended by the archetypal British officer, Captain Hargreaves, who professes disdain for the man's cowardice, but must do his duty. He attempts to spin a defence on the grounds of madness, but the upper-crust officers have heard it all before. This is a very nice, duly horrifying, liberal-handwringing, middle-class play. It panders to all the cliches of the Great War - the disgraceful working-class massacre, while the officers sup whiskey (Haig!) - figured in some charmingly obvious symbolism: Hargreaves throwing a dying cigarette in the mud; Hamp hysterically playing blind man's buff. The sets are picturesquely grim, medieval, a modern inferno, as these men lie trapped in a never-ending, subterranean labyrinth, lit by hellish fires, with rats for company and the constant sound of shells and gunfire reminding them of the outside world. The play, in a very middle-class way, is not really about the working class at all - Hamp is more of a symbol, an essence, lying in the dark, desolately playing his harmonica, a note of humanity in a score of inhumanity. He doesn't develop as a character. The play is really about Hargreaves, his realisation of the shabby inadequacy of notions like duty. He develops. This realisation sends him to drink (tastier than dying!). Like his prole subordinates, he falls in the mud, just as Hamp is said to have done; he even says to his superior 'We are all murderers'. This is all very effective, if not much of a development of RC Sherriff's creaky 'Journey's End', filmed by James Whale in 1930. Its earnestness and verbosity may seem a little stilted in the age of 'Paths of Glory' and 'Dr. Strangelove'; we may feel that 'Blackadder goes forth' is a truer representation of the Great War. But what I have described is not the film Losey has made. He is too sophisticated and canny an intellectual for that. The film opens with a lingering pan over one of those monumental War memorials you see all over Britain (and presumably Europe), as if to say Losey is going to question the received ideas of this statue, the human cost. But what he's really questioning is this play, and its woeful inadequacy to represent the manifold complexities of the War. This is Brechtian filmmaking at its most subtle. We are constantly made aware of the artifice of the film, the theatrical - the stilted dialogue is spoken with deliberate stiffness; theatrical rituals are emphasised (the initial interrogation; the court scene, where actors literally tread the boards, enunciating the predictable speeches; the mirror-play put on by the hysterical soldiers and the rats; the religious ceremony; the horrible farce of the execution). Proscenium arches are made prominent, audiences observe events. This is a play that would seek to contain, humanise, explain the Great War. This is a hopeless task, as Losey's provisional apparatus explains, 'real' photographs of harrowing detritus fading from the screen as if even these are not enough to convey the War, never mind a well-made, bourgeois play. Losey's vision may be apocalyptic - it questions the possibility of representation at all - the various tags of poetry quoted make no impact on hard men men who rattled them off when young; the Shakespearean duality of 'noble' drama commented on by 'low' comedy, effects no transcendence, no greater insight. Losey's camerawork and composition repeatedly breaks our involvement with the drama, any wish we might have for manly sentimentality; in one remarkable scene an officer takes an Aubrey Beardsley book from the cameraman! This idea of the theatrical evidently mirrors the rigid class 'roles' played by the main characters (Hamp's father and grandfather were cobblers too; presumably Hargreaves' were always Sandhurst cadets). Losey also takes a sideswipe at the kitchen sink project, by using its tools - history has borne him out.
电影
沉眠之虎
1954 / 英国 / 剧情 / 惊悚
德克·博加德 / 亚历克西斯·史密斯 / 亚历山大·诺克斯 / 休·格里夫斯
The direction of The Sleeping Tiger was credited to Victor Hanbury, but this was actually a pseudonym for the blacklisted Joseph Losey, whose first British film this was. Alexander Knox stars as psychiatrist Clive Esmond, who believes that he can stem the criminal tendencies of young fugitive from justice Frank Clements (Dirk Bogarde). To this end, Esmond hides Clements in his own home. At first hostile towards the handsome crook, Esmond's wife Glenda (Alexis Smith) gradually warms up to her house guest, and before long she and Clements are casting lustful glances at one another. She intends to run off with Clements and make a new life for herself, when suddenly he decides that he actually wants to reform. If nothing else, The Sleeping Tiger is a fascinating precursor to the sexual tensions prevalent in Losey's later Harold Pinter adaptations. ~ Hal Erickson, Rovi