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回复 :大唛（刘青云 饰）与克仔（周文健 饰）及Bowie（林保怡 饰）三个死党，均染上赌马嗜好，利用赌马去制造梦想与成就。而大唛幸有何May（吴倩莲 饰）的鼓励与提点，尚不至恋马烂赌之徒。一次，Bowie找到一部电话偷听器，怂勇大唛与克仔在马场宿舍偷听练马师贴士，结果赢得万多元，而大唛便把所赢款项尽交阿May保管。为赢钱他们重施故技，大唛更想藉此赢得老婆本，好向阿May求婚，谁料练马师坠马而弄致全军尽墨，结果大唛不单拖欠贵利，更受到外父臭骂，又令母亲失望。面对这样的困境，大唛会再重投马场一赌？还是改过自新，自食其力？这也正是普遍香港“赌仔”要面对的问题。
回复 :文慧（罗美薇）与友明头（刘玉翠）欲成为歌星，可惜文慧因家庭问题被迫到夜总会工作，因与黑帮头目B哥发生争执，惹祸上身，幸得车房仔阿忠（张家辉）及May姐（蓝洁瑛）、健哥（成奎安）相助脱离险境。阿忠对文慧情有独钟，但文慧一心仰慕新进男歌星Peter（吴大维）。另一方面，明头却对义薄云天的忠产生好感，一对女友的感情生活顿起波澜……
回复 :It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.
