亚历山大（米基·哈特 Mickey Hardt 饰）的父亲经营着一家香水公司，王朝亚历山大拥有与生俱来的灵敏嗅觉，王朝对香味非常的敏感，因此在事业上给与了父亲许多的帮助。一次偶然中，亚历山大邂逅了名为托尼（瓦莱丽·涅豪斯 Valerie Niehaus 饰）的美丽单亲妈妈，并且震惊的发现托尼的儿子雅诺士拥有着异于常人的嗅觉。亚历山大想要培养雅诺士，帮助他成为一名调香师，但是托尼却拒绝了他。然而亚历山大并没有放弃，雅诺士自己也很愿意涉足香水这一行业。随着时间的推移，托尼发现自己渐渐爱上了亚历山大，而亚历山大和雅诺士共同研制出来的爱情香水也诞生了。
回复 :心仪的男生邀请你参加化妆舞会，就当你穿戴打扮完毕就要出门时，却被告知要带着不懂事的弟弟到街上挨家挨户的要糖吃——先别急着郁闷，更糟糕的是，你竟然把他弄丢了！
回复 :Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.Roger Philip Mellor
回复 :一对老夫妇始终没有小孩，并为此伤心，一日，丈夫挖出了一具人形树根，送给妻子当做小孩取乐，但令人意想不到的是，这具人形树根竟然真的活了起来，夫妇俩欣喜若狂，把它叫做欧提科。欧提科显然是个胃口很好的小孩，一直哭闹着要吃的，老夫妇两人为了喂饱它，花光了所有的钱，但它仍是饥饿地捉了家里的猫吃掉了。尝到肉味道欧提科从此拒绝其他食物，又把偶然进入家中的邮差、路人，还有楼里的邻居都吃掉了。老夫妇又惊又怕，但面对越长越大的欧提科显然没有任何办法，只要任由它吃掉了自己。没了管束的欧提科走到大街上，遇到的活人活物都进了它无底洞一样的胃。在菜地大啖卷心菜后，欧提科睡在了树下，直到愤怒的田地主人老太婆向它举起斧头……
