查理（尼古拉斯•凯奇）是个善良、首席师温和、首席师喜欢孩子的好警察，却有一个虚荣自私的妻子，他们像所有不搭调的夫妻一样吵闹不断，但是查理总是忍让。一天查理的妻子说梦见父亲并认定有特殊含义，叮嘱查理买彩票。善良的查理在早餐中没有钱付给伊娃小费，就约定如果彩票中了奖就一人分一半，如果没中奖则第二天来把小费补上。没有当真的伊娃没料到奇迹的事情发生了，查理的彩票一下子中了四百万美元巨奖！信守承诺的查理把一半的奖金分给了伊娃，让伊娃从此摆脱了破产穷困的生活，尽管惹来妻子的牢骚不满。晋身富豪的妻子在上流社会谈笑风生，而查理与同样善良热情的伊娃越走越近。妻子把二人告上法庭，要回属于自己的财产，查理与伊娃败诉。打算离开这个城市的二人最后一夜在自己的咖啡店相处，给了雨夜中毫无分文的黑人一碗热汤。这个在纽约城打拼了十年的黑人记者把这一夜的经历写在报纸上，全纽约城的人都知道了这对善良人的故事，纷纷给他们寄来自己的小费。信件如雪片，查理和伊娃靠着全纽约城善良人们的小费，赎回了自己的咖啡店，过上了幸福的生活。
杜长蕊
回复 :讲述了山村妇女秋月的故事。
回复 :千葉道場。恋人・健児と同じ道場に通い、殺陣を練習する裕子。道場主の千葉は、厳しくも温かい指導で弟子達を見守る。天涯孤独の身で一生懸命に頑張る裕子には特に目をかけていた。居酒屋のアルバイトで生計を立てている裕子にとって、店主・大山夫妻はもはや親代わりの存在だ。稽古後、繁盛する店内で、アルバイトにいそしむ裕子。そこへ、ミニスカートのエロい風貌の弘美が入ってくる。裕子を訪ねてきた彼女は、19年前に生き別れた姉だと名乗った。信じられない裕子だが、家族しか知らない秘密を語る弘美を信用し、一緒に済むことになる。弘美は、芸名・鵬亜季沙として女優をしており、自身が出演する新作映画の台本を読むと裕子を思い出し、いてもたってもいられなくなり訪れたという。その頃、制作会社では亜季沙の失踪で大混乱。彼女に心底惚れこんでいるスポンサーのリーは、何が何でも捜せと秘書に命じる。アクション女優を目指して道場に通っていた裕子は、姉が女優だという事に感動するが、それは弘美にとっても同じ思いであった。そんな中で、大石を始めとする弟子達がこぞって道場を辞めてしまう。芸能プロダクションから声がかかり、このまま千葉の元にいても先が見えないという理由からだった。自分たちを拾ってくれた千葉への恩義から、裕子は仲間たちを引き止めるが…
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
