古德森（杰克·莱蒙 Jack Lemmon 饰）和麦克斯（沃尔特·马修 Walter Matthau 饰）是从小玩到大的好友，情人虽然两人都已经步入了古稀之年，情人但他们之间的情谊却没有丝毫的改变。某日，一位名叫爱丽儿（安·玛格丽特 Ann Margret 饰）的女子成为了两人的邻居，美丽优雅的爱丽儿很快就吸引了古德森和麦克斯的注意，他们都为爱丽儿所倾倒。很显然，爱丽儿更喜欢的是古德森，这让麦克斯感到十分不快，因为古德森那已经过世的妻子，是自己曾经喜欢过的女人，麦克斯认为，这一次，该轮到古德森主动退出了。最终，古德森决定成全麦克斯的感情，他故意羞辱和伤害爱丽儿，致使爱丽儿最终和麦克斯走到了一起。
黄毅成
回复 :与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called "intellectual" film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak: Muz, ktory luze; French title: L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
回复 :青云堂女掌门于胜男是个拳头比铁硬、性子比钢直的泼辣女子。为了完成病重在床的父亲的愿望，急于结婚的于胜男在荒唐又搞笑的相亲路上认识了命定冤家牛多多，威逼利诱这个憨大叔和自己签下假结婚协议，带着他去民政局领了证。就在于胜男逐渐被牛多多的善良淳朴打动之际，多年前被于胜男父亲逐出师门的师兄林杰归来，以言语相激导致老人病发去世，又以牛多多的一条腿威胁于胜男接受挑战帖。于胜男怒而迎战，反目成仇的师兄妹誓要在武林大会上争个你死我活……
回复 :该片以东京新闻记者望月衣塑子的小说为原案，描绘了逼近政治权力黑暗下的女性记者和追求理想公务员之道的精英官僚间的对峙故事。
