故事發(fā)生在第一次世界大戰(zhàn)期間，瑪麗（克拉拉·鮑 Clara Bow 飾）暗戀著英俊的杰克（查爾斯·巴德·羅杰斯 Charles 'Buddy' Rogers 飾），可是杰克的心思卻全部放在了大小姐西爾維婭（喬拜娜·勞斯頓 Jobyna Ralston 飾）身上，無奈西爾維婭亦有她的心上人，那就是富家子弟大衛(wèi)（理查德·阿倫 Richard Arlen 飾）。戰(zhàn)爭爆發(fā)了，大衛(wèi)和杰克投身軍隊為國家效力，在軍中，身為情敵的兩人關系漸漸緊密，之后成為了摯友。一場激烈的戰(zhàn)役中，大衛(wèi)遭遇了意外，悲痛的杰克決心為朋友報仇。然而，杰克并不知道的是，大衛(wèi)沒有死，他甚至偷到了一架敵機。正當大衛(wèi)喜滋滋地駕駛著敵機返回營地之時，與為朋友報仇心切的杰克撞了個正著。

妙藥春情

加里·格蘭特,金杰·羅杰斯,查爾斯·科本,瑪麗蓮·夢露

　　富頓教授（加里·格蘭特 Cary Grant 飾）是一位科學家，正在研究一種能夠讓人返老還童的神奇藥物。某一天，富頓用來試驗藥物的黑猩猩從籠子里逃了出來，在實驗室里“大鬧天宮”，沒想到竟然在誤打誤撞之下將富頓一直想要研制但始終沒有成功的神藥給搗鼓了出來。　　對此一無所知的富頓在偶然間喝下了這種藥物，很快，藥效便發(fā)揮了作用，富頓一反常態(tài)，言行舉止儼然一幅二十歲小伙子的模樣。秘書路易斯（瑪麗蓮·夢露 Marilyn Monroe 飾）前來拜訪富頓教授，沒想到卻被他邀請去游泳、溜冰。之后，富頓的妻子愛德華（金格爾·羅杰斯 Ginger Rogers 飾）亦誤食了藥物，一連串讓人忍俊不禁的趣事就此展開。

等待方舟

耶日·斯圖爾,克里斯提娜·楊達,卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾

　　Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart.　　Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory?　　n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in.　　What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts.　　On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired.　　One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places.　　Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.

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