根据台湾知名女作家郭良蕙长篇小说《心锁》拍摄。原著中因涉及叔嫂间恋情，日本有违中国传统礼俗而经台湾当局查禁，日本历三十年仍未解除。搬上银幕的《心琐》保留原著中大胆的描述而有更深入的揭露，将爱欲和苦闷、仿徨和挣扎刻划得完整而又有激情。江梦萍有一个玩世不恭而同父异母的二哥江梦石, 以及养子大哥江梦辉。二哥已结婚, 但却是不安于室的男人, 喜欢飞车, 而大哥却是个忠厚老成的未婚医师。江家圣诞舞会中来了一对情侣, 范林和夏丹琪。范林为了前途而与江梦琪结婚, 但仍然不能忘记夏丹琪。夏丹琪因范林的结婚,赌气嫁给了江梦辉。 但是范林与夏丹琪私下仍藕断丝连。另一方面, 江梦石却又对夏丹琪穷追不舍, 终于得到了夏丹琪, 并渐渐产生了爱情。最后的结局是范林和江梦石为了争夺夏丹琪, 而在一场飞车争逐的场面中, 双双因车祸而撞了个血肉模糊, 造成两败俱亡的局面。
林庆宗
回复 :阿真（Suwinit Panjamawat 饰）的母亲因为难产而死，因此父亲对阿真十分痛恨，常常虐待之余还称阿真为畜生。阿真对父亲的残忍荒淫分外痛恨，幸好阿真仍得到母亲朋友华姨（Wipawee Charoenpura 饰）的疼爱。不久华姨为父亲生下了一名女儿，这个妹妹阿乔得到了父亲的溺爱，父亲更教会阿乔同样憎恨阿真。阿真十三岁时，父亲的旧情人晚娘（钟丽缇 饰）搬到了他们家，血气方刚的阿真与晚娘也发生了关系。这时可恶的乔竟然侮蔑阿真要强奸自己，阿真在华姨的劝说下回到了乡下。三年后，阿真再次回到了家中。原来阿乔怀孕了，孩子的父亲却不知是谁。而阿真的回来就是要迎娶阿乔，为了报答多年疼爱他的华姨，阿真答应了。成为一家之主后的阿真，竟然与当年的父亲一样，荒淫无度。而母亲的惨痛经历，使他无法忘怀。
杨幂
回复 :由美从日本来台湾投靠亲人，未寻得亲人却先遭窃，身无分文的由美四下求助，巧遇略同日语的潘志忠，志忠热心帮忙且安排自宅提供生活所需，并承诺代为打听亲人的下落!两人共处一室日久生情，在由美献身后，志忠露出浪荡子的本性，设计由美出卖肉体还赌债，志忠食髓知味后故计重施，单纯的由美一再的受骗，直到由美从陪宿男子口中得知志忠抽佣之实，这才恍然大悟，在温泉酒家工作的妈妈桑相助下，由美满怀恨意的出现在志忠面前。。。。。
乱弹
回复 :The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown.Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus ("The Church Is an Old House"), which was distributed to the members of the committee for their comments.In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church.On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast.Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive.The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.
