剧情主要围绕着病院图书室需要安装新的窗帘而产生矛盾，院长夫人希望由她来决定花式藉以凸显其地位，纺织公司的主管则精打细算希望省钱，院长本人却找一位具有自杀倾向的新病人来设计窗帘。
以一所精神病院为舞台的人海众生相电影，内容虽不像中文片名那么疯狂，不过也多少有点讽刺意味，仿佛医院的员工比那里的病人还要神经过敏！一向擅拍歌舞片的导演文森特．明尼里在这部根据小说改编的群戏之中，采用了比较冗长和低调的方式来反映病院中发生的一些生活琐事和浪漫恋情，戏剧张力显得略嫌松散，不过由一批老牌明星组成的大堆头阵容还是颇有可观。

主人公由于在朝鲜战俘营中发表过反战演讲，而受到调查

黑道人物马田改邪归正，却为偿还昔日一笔人情债而毅然再投身黑帮买卖。岂料这次交易逼使马田堕入陷阱，被夹在黑白两道中间。在家人与自己性命备受威胁之下，他只好一面替警员加云作卧底，一面为黑帮头目尊尼亚做买卖。
马田为求早日脱身，遂制造机会，让警方尽快把尊逮捕归案，瓦解黑帮，可是警方以证据不足为由释放了尊，致使马田的处境变得岌岌可危。

接连发生的两起谋杀案让市民们陷入了恐慌之中，犯罪者干净利落的作案手段亦让警方没了头绪。警方好不容易找到了一个嫌疑人，哪知道这名嫌疑人在不久之后亦被杀害，案件彻底的陷入了迷雾之中。焦头烂额的布瑞格斯探长（劳伊德·诺兰 Lloyd Nolan 饰）找到了优秀的探员柯代尔（马克·史蒂文斯 Mark Stevens 饰），希望他能够成为终结这一连串噩梦的那个人。
经过缜密的调查取证，柯代尔发现这一切和一个名为埃里克（理查德·威德马克 Richard Widmark 饰）的男子以及他领导的帮派有着不可分割的联系，于是他隐姓埋名潜伏在帮派内部，哪知道在警方中，亦有帮派的卧底存在。

本片由五个短片组成，改编自20世纪初美国著名短篇小说家欧·亨利O. Henry的五部短篇小说：The Clarion Call / 嘹亮的号角（1908年）、The Ransom of Red Chief / 红毛酋长的赎金（1910年）、The Gift of the Magi / 麦琪的礼物（1905年）、The Cop and the Anthem / 警察与赞美诗（1904年）、The Last Leaf / 最后的常春藤叶（1907年）

Im rassistischen Louisiana hetzt der brutale weiße Farmer Boutan den verängstigten Schwarzen Charlie durch die Felder. Charlie flüchtet in die Hütte des alten Mathu, der auf Boutan schießt und ihn tödlich trifft. Doch als Sheriff Mapes am Tatort eintrifft, um Mathu festzunehmen, haben sich achtzehn alte schwarze Männer mit abgefeuerten Gewehren vor der Hütte versammelt. Jeder einzelne von ihnen behauptet, Boutan erschossen zu haben …
Volker Schlöndorffs spannende Adaption von Ernest J. Gaines’ Roman überzeugt durch die bis hin zur kleinsten Nebenrolle exzellente Besetzung.

An outlaw and a Texas Ranger Captain have a life-long personal feud, but twenty years later, with old-age settling in, they must put their differences aside in order to face the latest Texas problem, the youngest generation of outlaws.

Jim Slater seeks a survivor of the Apache ambush his father died in.

Marshal Jake Wade aids outlaw Clint Hollister escape jail but Clint wants to know where Wade hid an old hold-up loot taken while both men were outlaws in the same gang

纽约市警探梅迪根和伯纳洛对一间公寓进行例行突击，突击罪犯贝内许所住的公寓。两名警探打开门后，看到贝内许女友的裸体愣住了，让贝内许有机可乘，夺走他们的枪然后逃逸。两名警探也发现原来这不是一般的例行突击，贝内许其实是一个遭通缉的杀人犯。对于他们的长官罗素而言，贝内许并不是唯一的问题，罗素不但被情妇抛弃，还被控滥用暴力和贪污。梅迪根和伯纳洛有七十二小时的时间，来阻止贝内许再次杀人。

Hooker、Fiske和Daly因为所乘船只需要修理，暂被困在墨西哥一个小镇。在小镇上，他们和墨西哥人Vicente受Leah的雇佣，一起到去寻找Leah被困在金矿里的丈夫。一行人来到“邪恶园”找到了她的丈夫，发现他受了重伤，同时他们受到了印第安人的攻击……

这是一部惊险的二战题材的影片，一名海军少尉被派到海军蛙人部队任职。他严格的态度赢得了士兵们的友谊，部下跟着他出生入死，即将执行一项危险的任务——攻击日军潜艇基地……

一位夜总会老板迷上了一位火炬歌手，并在女歌手爱上他时诬陷他最好的朋友/经理挪用公款。

A mini-series made up of four plays, each showing Benjamin Franklin at a different stage in his life. In each episode, Franklin is played by a different actor.

一个腼腆、孤独但对电影梦怀有执念的电影怪人，模仿经典老电影中的犯罪桥段，开始对那些欺负和威胁他的人进行疯狂的报复。

1985 television film by Douglas Hickox

Spy escapades riddled with double crosses and triple crosses were all the rage in the '60s and '70s, and this is Peter Collinson's belated addition to the genre. An uninspired and very routine espionage yarn, set (and filmed) in Israel, The Sell-Out is preposterously hard-to-follow at times but it would be wrong to dismiss it as a complete failure. It may not be especially good, but the performances are competent enough and the climactic chase sequence is moderately exciting.
Elderly ex-spy Sam Lucas (Richard Widmark) lives in Jerusalem with the sexy but much younger Deborah (Gayle Hunnicutt). He likes to think he has left the spy business behind, and he now runs a successful antiquities store. However, he is forced back into action when he receives a call for help from his old protege Gabriel Lee (Oliver Reed). Lee defected to the East some years previously, but has now become the target on a clandestine CIA-KGB death list. His only chance of getting out of Israel alive is to plead for the help of his old pal Lucas, even though it will mean re-igniting long-buried tensions and emotions.
There have been so many films of this ilk that The Sell-Out struggles to come up with anything fresh or interesting. Widmark is likable as the reluctant hero and Reed gets to put in some moody posturing as the enigmatic defector. Director Collinson cuts back on the hard-hitting violence that characterises many of his earlier films (there's violence in this one, but nothing in the same league as Fright or Open Season). The Sell-Out is a very formulaic film, never so bad that you feel like turning it off but never so good that you feel the urge to watch it again. Everyone involved has done better.... and worse.