贝蒂·戴维丝官司败诉重回华纳，亚洲却争取到一定范围内选角权利。此时华纳将制片重责交给新作风的赫尔·华和斯，亚洲开始“高成本、精制作”的路线。贝蒂在此情况下感到如鱼得水，很快演出了另一部再度获得金像奖最佳女主角奖的代表作《红衫泪痕》：以南北战争时期美国南方为背景，描述一名个性倔强的美女在任性地失去她的男友之后，再想尽办法将已经找为有妇之夫的他抢回来。此片在划时代的《乱世佳人》出现之前年面世受到好评。贝蒂跟导演威廉·怀勒连续合作了三部影片，确立了贝蒂的超级女星地位。事实上1937年起，贝薷连续十年赢得“票房皇后”的美誉，被推为“美国国影坛第一夫人”，这种殊荣在影坛上相当罕见。假如对贝蒂的银幕形象细心观察，可发现她鲜少扮演善待其它女人的角色，通常是跟别人怨对、抗争，甚至发生激烈的争执，充份显示出“同性相斥”的强烈排挤色彩。同时，贝蒂的角色也证明了女人一样可以强悍无情、咄咄逼人，甚至可以剥夺了一向被视为男性的特权，使男人反要吃女人的亏，可说是首位“女性电影”的诠释者。
回复 :“Sangen Om Den Eldröda Blomman” ( “Song Of The Scarlet Flower” ) was a recent and remarkable silent surprise for this Herr Von; the oeuvre is an excellent Herr Stiller silent film that this German count watched in a newly restored and tinted copy. It combines the well-known aesthetics, technical improvements and artistic merits for which the Nordic director was known and praised since those early silent times till today. The film tells of the merry and carefree love life of young Olof ( Herr Lars Hanson ) a woodsman who during his search for true love, seduces many frauleins ( just like this German aristocrat… well, not exactly because the purpose of this Herr Von’s seduction of rich fräulein heiresses are their great fortunes… ). He will suffer disappointment and deception, all those problems that turn up in any loving relationship. Finally he will find responsibility and maturity, learning during his particular quest that his actions always have consequences in different degrees to the people around him. This Herr Von can describe “Sangen Om…” as a kind of coming of age film, the special introspective growth toward maturity of a free and easy youngster. As this German count said before, the film displays Stiller’s characteristic artistic virtues. ; in the first part of the film, we can see elements of comedy, not exactly like the comedy of intrigues in other Stiller films, but humor of a more cheerful sort, highlighting the self-involvement of our hero. Olof ‘s frivolous flirtations with the different girls eventually turn romantic and then turn into drama. There is conflict in the troubled relationship between Olof and his father and later with the father of his beloved. The beautiful and wild natural landscapes of Norrland and northern Sweden lend the tale a certain power and is characteristic of Herr Stiller’s other silents where Nature emerges as an important character in the story. This is strongly reflected throughout the film but especially during the frantic scene wherein Olof descends into the troubled waters of a river, a beautiful metaphor for the hardships that our hero has to endure until he finds himself. “Sangen Om Den Eldröda Blomman” is an excellent, beautiful film, a solid, technically perfect and intricate production of 1919 that demonstrates once again the importance of Herr Stiller for silent film history.
回复 :能演善導的比利時全才導演卜力藍內自編自導自演的新作《末日前上路》，這回和法國演技派演員亞伯杜龐帝飾演一對賞金老獵人，他們在世界末日來臨前，和一對魯蛇情侶、自稱耶穌的神祕人物展開一場邊境公路之旅，不需滿街亂咬人的殭屍，陰鬱的無盡路途已盡顯末世的荒謬。影片宛如《黑色追緝令》的三段人物結構線，加上科恩兄弟的冷血硬氣，再注入比利時特有的冷調黑色幽默，一舉奪得柏林影展最佳歐洲電影獎、電影大觀天主教人道精神獎的讚賞。
回复 :梁超从越南偷渡来港，误入歧途，投效于黑社会老大庄威身边当杀手。为了利益，庄威命手下制造三起重大命案，重案组组长方刚为此疲命侦查，却苦无蛛丝马迹。董力忠心于义父庄威，深爱着义妹牧兰，而牧兰却不理会，心情低落的董力几次出师不利让庄威不满，董力在爱情事业皆告失意之际，背叛了庄威…...
