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For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence. For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence. 维克托(👌)是个(gè )大男子(🍩)(zǐ )主义者(zhě )，在(🏄)他眼里，妻子(zǐ(🛳) )艾达所(suǒ )做的(🏋)一(yī )切都是理(💫)所应当的(de )。有一(🧓)(yī )天，艾(ài )达被(🐛)辞退了，心中(zhō(😓)ng )更加无(wú )比愤(📊)懑(mèn )，维克托的(🎳)老奶奶(nǎi )和朋(💈)友(yǒu )们于是(shì(👍) )决定演一出好(📘)戏，让维克(kè )托(💹)反思自己过去(🤱)的行为。 A scientist creates a mechanical man but thieves steal it and send it out to kill and destroy a city. The only way to stop the creature is by creating another mechanical man to destroy it. This Italian horror film seems to have had an influence on Fritz Lang's Metropolis, at least in the look of the robots. It's hard to really judge the film since so much of it is missing but they did a good job at taking the current length and adding enough background so that we know what's going on. Suddenly left a legacy of 500 pounds, Rachel Higgins, maid-of-all-work in the Palfrey household, desires to become a "lady". Helped by Madame Recamier, a modiste who pities her, Rachel, perfectly gowned, manicured and versed in the art of deportment, applies to Lady Muriel Tahourdin for instruction but is scornfully told: "You have the soul of a servant and can never have that of a lady." Madame Recamier's mannequin advises her to set her cap at men, because, she says, "men won't worry about a woman's soul if her complexion and dress are right." Rachel meets Seward Pendyne, younger son of a Cornish baronet, who falls in love with her and whom she subsequently marries without revealing her real name or humble origin. 约翰•(💁)舒勒（Edward José 饰）(📧)是华(huá(🤹) )尔街一(🎫)(yī )名年(🐖)轻(qīng )干(🏷)练、事(⛴)业有成(♐)的(de )律师(🚔)，某日他(👢)(tā )要作(😭)为特别代理人(👤)(rén )前往英(yīng )国(😣)一段(duàn )时间，因(🕊)此不得不(bú )离(📦)开心(xīn )爱的妻(🎟)(qī )子（Mabel Frenyear 饰）和(🚍)女儿（Runa Hodges 饰）。漫(🌬)漫的(de )旅途百无(👯)聊赖，约(yuē )翰在(💬)船(chuán )上邂逅(hò(🏖)u )了一个美丽妖(🏌)艳的(de )女人（Theda Bara蒂(🚶)达•巴拉 饰）(㊗)，他迅速(sù )与之(⌛)坠(zhuì )入情网，将(🧥)妻子女(nǚ )儿抛(🕝)在(zài )了(💸)脑后(hò(😭)u )…… Desert Sky Air Force Base is instructed to carry out an urgent mission. Petey, a new fighter plane, arrives by forced landing. Petey is determined to carry out the most important task by himself and rescue his best friend. To win the hand of the caliph of Bagdad’(🌖)s daughter (played by Julanne Johnston), a thief (Fairbanks) embarks on a dangerous and mystical journey to secure the most desirable treasure imaginable. 希腊神(🚳)话，海伦(🕓)与(yǔ )特(🌠)洛伊(yī(🛸) )的故事(🌝) IMDB Plot