《呼吸过度》

Another amazing find from our friends at Cine-Clasico, "Vier um die Frau" is a 1921 Fritz Lang film found in the Brazilian film archives. The period intertitles are in Portuguese but the plot is not difficult to follow, particularly with the assistance of the invaluable Herr Graf Ferdinand Von Galitzien, whose blog entry on the film (link) follows : A man who spent his formative years in prison for murder is released, and struggles to adjust to the outside world and escape his lurid past. He gets involved with a cheap dancehall girl, and when her protector is accidentally killed, they go on the lam together, getting jobs as farm labourers. But some fellow workers get wise to them. 这是(🥦)史诗片巨匠(🕔)(jiàng )冈斯的(de )早(zǎ(🎮)o )期作品(🉐)，原版长(🎆)(zhǎng )达九个小时(🔓)。 不明(🚒)身份的(🔶)(de )流浪者来到冰(😒)岛(dǎo )高(〰)(gāo )原的(🛡)牧场(🖌)。一位(wèi )已(🐻)经丈(🥜)(zhàng )夫(fū(🗡) )去世富(📇)有的女农(nóng )场(🦖)(chǎng )主收留(liú(🦅) )了这个流浪者(⭐)，让(ràng )他(👣)做雇工(🚣)。不久(jiǔ )，女农场(🌐)(chǎng )主爱上了(📸)这个人(🙏)(rén )，提拔他为总(☝)管。肥胖(😊)的(de )村长曾经向女农(nóng )场(chǎ(🐂)ng )主求婚(🖲)，被拒绝(jué )了，现(🤲)在(zài )见(🗽)到这个情况(❓)，嫉(jí )妒异常。他(💍)暗中(zhō(🍌)ng )调查出(👌)(chū )流(liú )浪者的(🚎)身份(🏏)，原(yuán )来(💦)这是一个在其(🦈)他地方(🐷)被(bèi )判(🕗)刑的(❌)逃犯。女(nǚ(🏿) )农(nó(🖱)ng )场主放(🎯)弃了一(👭)切(qiē )拥有的(de )财(🛢)(cái )产，和流浪(📍)者为(wéi )了(le )躲避(🚙)追(zhuī )捕(⛄)，逃向深(🏇)山老(lǎo )林(lín )，在(🆕)喷泉和瀑布(🥂)(bù )边上(🙀)生活(huó )。几年以(👅)后，他(tā(🚧) )们生下一个男孩。牧羊人(ré(🔺)n )发现了(🗞)他们，村(cūn )长(zhǎ(🏆)ng )带人来(❔)追捕他们(men )。女(💕)农场(chǎng )主和流(🍹)浪者把(🕴)孩(hái )子(🚄)(zǐ )扔下悬崖抛(🏌)入急(🎸)(jí )流险(🧜)滩(tān )中(zhōng )，逃进大山深(🗑)处(chù )。许多年(💝)过去，两个情人(🎎)(rén )老去(💸)。严冬中(📞)，他(tā )们在山中(✌)的小屋(wū )里(🛩)，回(huí )顾(gù )过去的往事(🌗)，感(gǎn )到(🔑)(dào )了一种(zhǒng )无名的恐惧，最(😑)(zuì )后(hò(⚪)u )在可怕的大风(🐔)雪(xuě )中(🏼)死去。 本片又译作《党(dǎng )同伐(🚁)异》，是D．(💥)W．格里菲(fēi )思最具创(🤳)作野心(xīn )的(🚴)(de )作品。由于受到(🏓)(dào )《国家(😞)的(de )诞生(🌅)》惊人卖座(zuò )的(🗃)(de )影响(👛)，格里菲(🔫)思(sī )遂再接(jiē )再(zài )励(🤘)拍摄一部场(👯)面(miàn )更大，内容(🈳)更有深(🖥)度的影(🥡)(yǐng )片。他花了一(🌉)年(nián )半(bàn )的(🍜)时间，动用了(le )二百万(wà(🐧)n )美(měi )元(🙁)的制作费，拍(pāi )摄(shè )成片长(🗄)(zhǎng )220分的(🤧)巨片（原版(bǎ(👴)n )长(zhǎng )480分(🐂)）。可惜本片(piàn )在1916年9月于(yú(🌁) )纽约公(🔉)映时，并(bìng )没有受到预(🈸)期的(🍞)欢(huān )迎(😫)。本(běn )片所以卖(📰)座失败(🏧)(bài )，原因(🌨)很多，最主(zhǔ )要(🍮)是格(🚶)里(lǐ )菲(⚫)思在本片所采(cǎi )用(yò(🚦)ng )的故事结构(🛺)太复(fù )杂，导(dǎ(❌)o )演(yǎn )手(🛬)法已超(♒)越当时(shí )观众(⏳)的接受能力(🐂)。加上主(zhǔ )题过于严肃(♑)，其(qí )中(🕘)(zhōng )提倡的宽容和反(fǎn )对暴(📖)力(lì )的(⤵)(de )论调跟当时美(🙍)国(guó )的(➕)(de )高昂参(cān )战情绪引起冲突(🥢)(tū )，因此(🌊)未能受到普(pǔ )遍欢迎(❤)。不过(😃)，人们却(🤺)不(bú )能否认这(👸)是一部(🗿)电(diàn )影(👴)艺术(shù )上的不(🚇)朽杰(😃)作。《忍无(📕)可忍》由四(sì )段不同时(🤟)(shí )代发生的(📐)故事组(zǔ )成(ché(🐵)ng )：巴比(🐗)伦的没(📋)落(luò )、耶稣(sū(💣) )基(jī )督的受(⛩)难、法国(guó )的圣巴托(⏱)罗米宗(🏒)教大屠杀(shā )，以及二十世纪(🍖)(jì )初(chū(🤕) )美国的劳资冲(🤛)突(tū )。格(💮)氏(shì )描(miáo )述他自己的构想(🥝)(xiǎng )：“四(📽)个(gè )大循环故事好象(🧑)(xiàng )四(⛽)(sì )条河(💱)流，最初是(shì )分(✔)散而平(🎟)(píng )静地(🙉)流动着，最(zuì )后(🕰)却汇(🍨)合成一(🖥)条强(qiáng )大汹涌(yǒng )的急(🕢)流"。本片一(yī(🍹) )开(kāi )始，是一个(💭)母亲(qī(🎙)n )推摇篮(🚻)的(de )镜头，插入惠(🔖)特(tè )曼(màn )的(📎)诗句：“如今(jīn )如同昨(🌁)(zuó )日(rì(🌗) )，世间的人情变(biàn )化循环无(🤐)穷。摇篮(💌)摇动着(zhe )，为人类(👛)带来同(🎻)(tóng )样(yàng )的激情，同样的(de )优乐(⭕)悲(bēi )欢(🍠)(huān )。"这字幕之后，展(zhǎn )开(🔤)第一(🔰)(yī )个作(🧔)为全片基调(dià(👧)o )的(de )现代(💟)篇故事(🗃)。随(suí )着剧情的(⛳)(de )进展(🐣)，导演经(👩)常(cháng )切入另外三段故(👧)(gù )事(shì )，成为(🥝)(wéi )四段平行发(🤧)展。最(zuì(👡) )后，画面(🔠)仍回到(dào )母亲(🏵)和摇(yáo )篮，呈(📹)现出“人(rén )类(lèi )从不容(🚣)异已到(🕯)宽(kuān )容的进(jìn )化(huà )"的主题(⌚)。作为故(😌)(gù )事核心的现(👂)代篇“母(⚡)与法(fǎ )"，内容描述四个(gè )失(😹)(shī )业的(😼)男女工人从(cóng )小镇来(🐔)(lái )到(🆒)(dào )都市(🙌)中找工作，有(yǒ(🏨)u )人误入(💍)(rù )歧途(👭)，有人渴望(wàng )过(🌘)(guò )正(🎳)常的家(👷)庭生活(huó )。正派的(de )男主(🕑)角被诬陷为(🔕)(wéi )杀人凶手，被(🌞)捕(bǔ )后(🔫)(hòu )判处(🔐)死(sǐ )刑。行刑之(⏳)日，真(zhēn )凶良(🕗)心发现，在(zài )最危险的(🏅)(de )一刻将(😅)男主角救(jiù )了(le )出来。从这个(🎛)故(gù )事(🎖)中，可(kě )以看出(🍯)二十世(🌤)纪(jì )初期美国的一般社会(🎩)状况(kuà(🔷)ng )：农村不安定，都(dōu )市(🥖)阴暗(🤟)而复杂(⏩)、劳工生(shēng )活(🤬)(huó )困苦(🈵)、法律(🆎)问题(tí )重(chóng )重(💵)等。格(🥃)里菲思(🥠)在本片(piàn )中(zhōng )进一步(🉐)表演他在(zà(✋)i )“平行剪接"方面(💧)的杰出(📉)才(cái )能(🦈)。他利用四段(duà(🚯)n )故(gù )事中的(🔀)(de )类似情景作比较(jiào )剪(🃏)(jiǎn )接，使(🗾)分散的情(qíng )节显得统(tǒng )一(❓)有力，并(🌬)因类(lèi )似(sì )镜(🔬)头的多(🐣)次重复(fù )而使剧情(qíng )产生(🏖)出热情(🤭)奔放(fàng )的情绪高潮。譬(⤵)如有(🗣)一段(duà(👠)n )镜头是这样剪(😯)接(jiē )的(👝)(de )：一、(🏟)耶稣基督(dū )被(🔛)士兵(🕔)押(yā )着(😞)前进；二、巴(bā )比(bǐ(📏) )伦的村女向(📥)情侣奔告国(guó(🏁) )王(wáng )的(🤜)危急；(🀄)三、现(xiàn )代的(🤗)少女拚命为(👵)救她的爱(ài )人而奔走(🚉)；四、(🍹)在(zài )巴黎大屠杀中，新教徒(🎪)(tú )企(qǐ(✡) )图在群众骚乱(⛅)的(de )街道(🌀)上援(yuán )救未婚妻。格氏(shì )利(🚝)(lì )用移(🌀)动摄影、镜(jìng )头、划(😤)过(guò(👞) )镜头等(😾)技巧连接(jiē )四(🥂)段平行(🧒)发展的(🚧)情节，节(jiē )奏紧(🏷)凑流(🥗)畅。格(gé(👘) )氏(shì )甚至在个别的故(🏅)(gù )事片段中(👧)(zhōng )使用短短的(🏠)倒叙(xù(🙈) )技(jì )巧(📌)（FLAXHBACK）来交代情(💟)节，显(xiǎn )见(jià(🗣)n )他的“电影文法(fǎ )"的确(🤬)比同时(🧦)代的导演高出(chū )很多。除此(🚍)之外(wà(🤒)i )，格氏在本片中(🎉)亦首创(👶)“大(dà )特写"和“大远景(jǐng )"的镜(✔)头，以加(🎈)强观众的心(xīn )理(lǐ )感(🐨)觉（(🎹)如：特(💁)写(xiě )女人紧握(📀)(wò )的手(🐑)，表现她(🆔)在(zài )听到丈夫(🚡)判死(😋)刑的消(🐭)息时(shí )的焦急；以大(🍚)远(yuǎn )景(jǐng )拍(✅)摄资本家独坐(🅾)(zuò )办公(🤰)室中(zhō(✋)ng )，暗示他庞大的(🌜)(de )支(zhī )配权力(💘)）。他又利用影(yǐng )片(pià(🐽)n )染色的(👽)方法来加(jiā )强各种特殊效(⏺)果（如(🔢)夜景(jǐng )用染青(✨)色的影(☝)片(piàn )、点灯的房内用染黄(🔒)色的(de )影(💌)(yǐng )片、巴比伦城火(huǒ(🌌) )烧时(📪)用染(rǎ(🎀)n )红色的影片）(😸)。这(zhè )种(✋)影片染(🔇)色方法(fǎ )虽非(✳)格氏(📁)(shì )首创(👒)，但却没有(yǒu )人像他这(👤)样在一部电(🍓)影片(piàn )中大胆(🧦)的全面(🎠)采(cǎi )用(😁)(yòng )。令人惊异的(🛃)是(shì )，这样一(💈)(yī )部内容复杂的大(dà(🆗) )制(zhì )作(🏠)竟然由始至终没有一(yī )个(👹)(gè )完整(🦗)的剧本，而(ér )只(🤨)是靠格(🖌)里菲斯的临场即(jí )兴创作(🏐)而成。此(👵)(cǐ )外(wài )，本片也没有任(🐗)何布(🤧)景(jǐng )的(🦔)(de )设计图，但格氏(👶)(shì )却能(🎸)够命(mì(🌔)ng )人搭盖出宏伟(🌟)得(dé(🚜) )哧(chī )人(❌)的巴比伦布景(jǐng )。在拍(🆓)摄(shè )巴比伦(🤢)攻耶路撒(sā )冷(📤)的场面(🍘)时，更在(😠)一天之(zhī )内同(🌚)时动用一万(🤠)(wàn )五(wǔ )千名临时演员(👁)和(hé )二(🚅)百五十(shí )辆战车。他这种(zhǒ(📯)ng )大(dà )手(😋)笔使得当时意(🙀)大利出(👪)(chū )品(pǐn )的历史巨片也瞠(chē(🐉)ng )乎其后(📪)，由此也可以看出(chū )格(🏘)氏对(💵)自己的(🚜)创(chuàng )作(zuò )能力(👝)如何自(🚉)信。或许(🧀)正(zhèng )如(rú )格氏(🏘)自己(👃)的格言(👄)(yán )所说：“艺术经常都(🅰)是革(gé )命(mì(🦍)ng )性的、爆炸性(🤷)的(de )，以及(👃)轰(hōng )轰(🥀)烈烈的"。看《忍无(🌷)可忍》一片幕(💇)前幕后(hòu )的表现，可知(🛬)格(gé )里(🧔)(lǐ )菲思的确是一个(gè )身体(🎄)力行(há(🖍)ng )的艺术家。 "Die schwarze Natter" shows the director with a fine example of the 'Sensationsfilm', i.e. a pulpy adventure much in the vein of the early crime serials of Feuillade and others. Two agents from different sides are working in a circus, one - the Schwarze Natter (Black Adder)- as a dancer, the other as a horseback artist. The Schwarze Natter is informed that the other is receiving information by one of the visitors this night, who is also in love with her. She is trying to get him and the information herself, making it look like the other side has her finger in this incident. But an officer of the local police had an eye on them, because some things happening before made him suspicious and starts playing his little game. Salomé (1923), a silent film directed by Charles Bryant and starring Alla Nazimova, is a film adaptation of the Oscar Wilde play of the same name. The play itself is a loose retelling of the biblical story of King Herod and his execution of John the Baptist (here, as in Wilde's play, called Jokaanan) at the request of his stepdaughter, Salomé(🔸), whom he lusts after. Vladimir’s dealings are rather obscure, he is in constant need of money. Mary Tudor, sister of England's Henry VIII, causes a stir by falling in love with a guardsman below her class.