Sci-fi is a rapidly changing genre. It loses impact even more rapidly than horror. Therefore it's virtually impossible to see a sci-fi movie from the past (from the pre-space period, i.e. late 50s) that isn't laughable in some sense. First serious sci-fi epics appeared in the very early 50s, and bearing in mind the first space yarn was filmed by Melies in 1902, we get about 50 years of sci-fi without the very basic concepts of space travel. Where The Trip To The Moon can be dismissed as a funny experiment, The Trip To Mars cannot. This is a serious film. The makers didn't know about weightlessness or the absence of atmosphere in space, plus about a hundred more things we know today. That was the period, when everybody was raving about the channels on Mars, so they naturally assumed there was intelligent life on that planet. Melies shows frogmen and other strange creatures on the Moon; in 1924 there appears the still popular tinfoil dress for Martians in Russian film Aelita. So, in between, we get the Egypto-Greek fairy-tale world of this film: wise old priests being wise; and virgins prancing around, praising virtue in the world, where virtue obviously is as normal and unnoticeable as metabolism. Enter the Earthlings, introducing death and sin. Well, nothing spectacular follows: they soon are "cured" and learn the ways of the righteous. This film is a total orgy of enjoyment. The double feature released by the Danish Film Institute (together with a disaster film from 1916, The End Of The World) boosts their usual superior quality. The Danes began storing and archiving their films very early, so you get a very clean second generation copy from a period when most of US films withdrawn from circulation went to the glue or comb factory. It's a pity this film with so many different locations isn't color tinted. The rather uninspired piano accompaniment, another trade mark of the series from the DFI, tends to grow a bit tedious too. But nevertheless, a remarkable film and something you can show to your friends without being afraid that they'll think you're a weirdo.
在电影(🈷)‘(🤸)第3个愿望’里，当书局(jú(🥌) )几(😆)女文员Maggie (Mattison) 发(fā )现(🥂)查尔斯•狄更斯小说的第(🌿)一(😤)版后，她(tā )得到了3个愿(yuà(🐏)n )望(🛹)。
伊丽莎(shā )白·(🔐)莱(🚁)恩是(shì )《聪明家政》杂志大(⛑)名(🍬)鼎鼎的饮食专(📃)栏(lán )作家(⏮)，在专(zhuān )栏中把自(💄)己(🌴)(jǐ )描述为勤劳(láo )的已婚(🆕)农(🌽)妇，对烹饪、打(🍞)理(📅)农场和照看(kàn )孩子颇有(🌯)心(💎)(xīn )得。然而事(shì(🛂) )实上她却(👪)是(shì )个未婚纽约(🎠)人(🐀)，不会做饭，住在单身公(gō(👬)ng )寓(💚)里。专栏(lán )里关(📂)于饮食(shí )的内容都是由她(🖖)的(🕎)好友，大厨子菲利克(kè )斯(👿)提(🏳)供的。海军医院(🤷)一(🐯)(yī )位护士写信(xìn )给杂志(⏺)的(😨)老板亚德利，希(🐟)望他能安(🍬)排一(yī )位刚下战(🤫)场(🤭)(chǎng )的军人到伊(yī )丽莎白(🏯)在(➖)康(kāng )涅迪格州(🥥)的(🚓)农场过圣诞节，伊丽莎白(🏐)的(😙)(de )谎言因此也(yě(🌲) )要穿帮了(🤳)......
很(hěn )久很久以前(✔)(qiá(❔)n )，有一个叫雷·派的男孩(🍃)，他(😓)会把破旧(jiù )罐(💀)头压扁后(hòu )放入鞋垫，让自(👈)己(📙)看起来更高一点。某一天(🛢)，他(🦖)谋(móu )杀了两个(💤)女(🖼)(nǚ )孩。四年后(hòu )，探长查理(⏸)(lǐ(🍥) )·席林打算将(💮)这个凶手(🙋)绳之以法。同时(shí(🚠) )，雷(😣)·派也(yě )在犯罪的道(dà(🆗)o )路(💇)上越走越(yuè )远(🌩)。
1994年(😶)，南方某开放城市。某公司(🏑)董(🥄)事(shì )长徐景风(🔅)和(hé )总经(🐢)理于杰(jié )在大门(🤢)口(🤸)迎(yíng )接上班职工。于总向(🤝)徐(📏)董介绍着发展(🎣)部(bù )经理袁方，徐董的秘书(🐞)(shū(🌬) )梁忆帆走近，徐董低声告(💙)诉她，下班后见。徐(🚐)董(😔)陪(péi )外商参观车(chē )间，对(🤜)袁(🕜)方(fāng )管辖部门(🕠)的工作表(😠)示满意，称赞他是(🕉)个(🐡)(gè )人才，并请(qǐng )他出任公(♈)司(😜)(sī )的工会主席(🦕)(xí(💺) )。袁方推辞不掉，只好答应(🍦)。梁(📭)忆帆按(àn )时等(📛)徐董赴(fù(👊) )约，但徐董(dǒng )失约(🐴)了(📴)。公(gōng )司几位党员开支部(💍)会(🍦)议，分析公司劳(⛪)资(🏄)(zī )关系的紧张(zhāng )情况，要(🕣)求(🐛)(qiú )袁方发挥工会主席的(🌂)作用……
A typical Nazi-era melodrama, The Comedians features a strong-willed female protagonist who refuses to live according to the rules of society. Naturally, such revolutionary behavior must be punished by death and the film's Karoline suffers the fate of so many heroines of the Third Reich. That this heavy-handed nonsense was directed by the same genius who gave the world Pandora's Box (1928) is nearly incomprehensible but, if nothing else, The Comedians offered employment for Henny Porten, a silent screen star otherwise more or less blacklisted by the regime. To her eternal credit, Porten delivers a finely tuned performance despite what must have been extremely difficult circumstances.