海啸电影

In the castle Vogeloed, a few aristocrats are awaiting baroness Safferstätt. But first count Oetsch invites himself.. Everyone thinks he murdered his brother, baroness Safferstat's first husband, three years ago. So he is rather undesirable. But Oetsch stays; arguing he is not the murderer and will find the real one... 本(běn )片又译作(👍)《党同(🥁)伐异(📐)》，是(shì(🌋) )D．W．(📄)格里(lǐ )菲思最具创作野(🍆)心的(🐻)作品。由(yóu )于受到(dào )《国家的诞生》惊人卖座(🍙)的影(🥖)(yǐng )响(✂)，格里(🛀)(lǐ )菲(➿)(fēi )思遂再(🏠)(zài )接(🐑)再励(😾)拍摄(🌵)一部(🧒)场面(miàn )更大，内(nèi )容更有(yǒu )深(shēn )度的影片(🔮)。他花(😽)了一(📪)年半的(de )时间，动(dòng )用(😭)了二(🥨)百万(🍈)美元(🌹)的制(🦍)作费，拍(pāi )摄成片(piàn )长(zhǎng )220分的巨(jù )片（原版长480分）。可(kě )惜本片(piàn )在(zà(🅰)i )1916年9月(🥤)于纽(📚)(niǔ )约(⚪)公映(👨)时，并没有受到预期(qī )的(📱)(de )欢迎(📮)。本片所以卖座失败，原因很(hěn )多(duō )，最主(zhǔ(🐁) )要(yà(🍲)o )是格(🍤)里菲(🧛)思在(🛑)本片所采(🙄)用的(🦆)(de )故事(🍤)结构(👇)(gòu )太(😞)(tài )复杂，导演手法已超越当时(shí )观众的(de )接(👒)(jiē )受(🚃)能力(🎻)(lì )。加上主题过于严(💉)肃，其(❇)中提(📓)(tí )倡(🕡)的宽(🖐)容(róng )和反对暴力的论调跟当时美(měi )国(guó )的高昂(áng )参(cān )战情绪(xù )引起(🚟)冲突(👐)，因此(🌿)未能(🕚)(néng )受(🌌)到普(pǔ )遍(biàn )欢迎。不(bú )过(📫)，人们(🍞)却不能否认这是一(yī )部(bù )电影艺(yì )术上(👘)的不(🚎)朽杰(😄)作。《忍(🐢)无可(🌎)(kě )忍(rěn )》由(🔜)四(sì(🔩) )段(duà(💱)n )不同(🐛)时代(🚱)发生的故事组成：巴比伦的(de )没(méi )落、耶(⚫)(yē )稣(👙)基督(👋)的受难、法国(guó )的(📶)圣巴(➰)(bā )托(🏥)(tuō )罗(😷)米宗(🔚)(zōng )教(jiāo )大屠杀，以及二十世纪初美(měi )国的劳资(zī )冲突。格氏描述他自己(👚)的构(🔃)(gòu )想(🍃)(xiǎng )：(⭕)“四(sì(〰) )个(gè )大循环(huán )故事好象(😆)四条(📊)河流，最初是(shì )分(fèn )散而平静(jìng )地流动着(💚)，最后(⏸)却汇(🖌)合成(🛢)一(yī(💁) )条(tiáo )强大(🌮)汹(xiō(🍨)ng )涌的(⛏)急流(🔏)"。本片(📕)一开始，是(shì )一(yī )个母亲(qīn )推(tuī )摇篮的镜(🍪)头，插(🛩)入惠(📂)特曼(🐋)的(de )诗句：“如(rú(🐕) )今如(💩)同(tó(🚽)ng )昨日(🌚)，世间(🎟)的人情变(biàn )化循环(huán )无(wú )穷。摇篮(lán )摇动着，为人类带来同样的(de )激情，同(🤑)(tóng )样(⚽)的优(📃)乐悲(👪)欢。"这(🔌)字幕之后(hòu )，展开第(dì )一(📑)(yī )个(🔍)作为全片基调的现代篇故(gù )事。随着(zhe )剧情(👙)的进(💻)(jìn )展(🚩)，导演(💯)经常(🏗)切入另外(🕗)三段(👀)(duàn )故(🛄)(gù )事(🚓)，成(ché(🤖)ng )为四段平行发展。最后，画(huà )面(miàn )仍回到母(🧝)(mǔ )亲(🙅)和摇(⛹)篮，呈(🍴)现出“人类从(có(💼)ng )不容(🍉)异已(🔵)(yǐ )到(🔕)(dào )宽(🍟)容的(de )进化"的主题。作为故(gù )事核心(xīn )的(de )现代篇“母与法"，内容描述四个失(🎬)业(yè(🕚) )的男(🤕)女工(🍮)(gōng )人(🥀)从小镇来到都市中找工(✉)作(zuò(💷) )，有人误(wù )入(rù )歧途，有人渴望过正常的家(👈)(jiā )庭(♿)生活(🐐)。正派(🌜)的男(💲)(nán )主角被(📸)诬陷(📿)为杀(😡)人凶(🌃)手，被(🍽)(bèi )捕(bǔ )后判处(chù )死(sǐ )刑。行刑之日，真凶良(📱)心(xī(👈)n )发(fā(✅) )现，在(🌤)最(zuì )危险的一(👣)刻将(🕦)男主(🥀)角救(🥓)了出(💌)(chū )来。从这(zhè )个(gè )故事中(zhōng )，可以看出二十世纪(jì )初期美(měi )国(guó )的一般(🏎)社(shè(😃) )会状(🖊)况：(🧞)农村(📄)不安定，都市(shì )阴暗而复(🤒)(fù )杂(🏀)、劳工生活困苦、法律问(wèn )题(tí )重重等(➗)(děng )。格(📭)里菲(🎲)思在(🆓)本片(🥜)中进一步(🍪)表(biǎ(🌬)o )演他(🙌)在“平(🏤)行剪(📱)接(jiē )"方面的杰出才能。他利用四(sì )段(duàn )故(🏵)事中(🖼)(zhōng )的(🗳)(de )类似(🐵)情景作比较剪(🥕)接，使(🎍)(shǐ )分(🥇)(fèn )散(🦅)的情(📷)节(jiē )显得统一有力，并因类似镜(jìng )头的多次(cì )重(chóng )复而使(shǐ )剧情产生(🚤)出热(❣)情奔(🏷)放(fà(🐗)ng )的情(🏈)绪(xù )高(gāo )潮。譬如(rú )有一(🎹)段镜(🐉)头是这样剪接的：一、耶稣(sū )基督被士(🐧)兵押(🎧)着前(👈)进；(💧)二、(🍙)巴(bā )比伦(🧠)的(de )村(🏂)(cūn )女(🖕)向情(🍉)侣奔(📼)告国王的危急；三、现代(dài )的少女拚(pī(🥈)n )命为(🎰)救她(🏂)的爱(🖤)人而奔走；四(🦕)(sì )、(🍞)在巴(⬇)黎(lí(♌) )大(dà(💝) )屠杀中，新教徒企图在群(qún )众(zhòng )骚乱的街(jiē )道上援救未婚妻。格氏利用(📟)(yòng )移(😋)动摄(📅)影(yǐ(🍂)ng )、镜(🌓)头、划过镜头等技巧连(🏤)接(jiē(⛑) )四段平(píng )行(háng )发展的情(qíng )节，节奏紧凑流(🙅)畅。格(😱)氏甚(🦊)(shèn )至(🍢)在个(😑)别(bié )的故(🌭)事片(🌒)段中(📎)使用(🥤)短短(🚪)的倒(dǎo )叙(xù )技巧（FLAXHBACK）来交代情节，显见他(💲)的“电(🐈)(diàn )影(🎧)文法(💎)"的(de )确比同时(shí(🐱) )代的(🚥)导演(🎗)高出(🐎)很多(🌑)。除此之(zhī )外(wài )，格氏(shì )在(zài )本片中亦首创“大特写"和(hé )“大远景"的(de )镜头，以(🔅)加强(🎡)观众(🍘)的心(🧛)理感(📛)(gǎn )觉（如：特(tè )写女人(🥌)(rén )紧(🗜)握的手，表现她在(zài )听到丈(zhàng )夫(fū )判死刑(📬)的(de )消(❄)息时(🐃)的焦(🐃)急；(🏻)以大远景(👗)拍(pā(🐜)i )摄资(🏵)本家(👧)(jiā )独(🤨)坐办公室中，暗示他庞大(dà )的(de )支配权(quán )力(🤭)(lì )）(🔒)。他又(🤭)利用(🌺)影片染色的方(🛶)(fāng )法(🌲)来加(🦂)强(qiá(🚙)ng )各种(😤)特殊(shū )效果（如夜景用染青色的影(yǐng )片(piàn )、点灯(dēng )的(de )房内用染黄色(🎢)的影(🐽)片、(🍼)巴(bā(🧝) )比(bǐ(🎢) )伦城火烧(shāo )时用染红色(🏅)的影(🦃)片）。这种(zhǒng )影片染色(sè )方(fāng )法虽非(fēi )格(🔧)氏首(🛠)创，但(⌛)却没(💒)有(yǒ(👪)u )人像他(tā(💳) )这(zhè(🍡) )样在(📲)一部(🎏)(bù )电(🍻)影片中大胆的全面采用。令人惊异(yì )的是(🗻)，这样(🏕)一部(🗺)内容(🐃)复杂的(de )大(dà )制(🎆)作竟(🚨)(jìng )然(🧣)(rán )由(😇)始至(✳)终没有一个完整的剧(jù )本，而只(zhī )是靠格里(lǐ )菲斯的临场即兴创作而(🖖)成。此(🏃)(cǐ )外(🛶)，本(bě(😑)n )片(pià(🎗)n )也没有任何布景的设计(🧞)图(tú(🎺) )，但格氏却(què )能够命人搭盖出宏伟得哧人(🔸)(rén )的(👖)巴比(👮)伦(lú(🦌)n )布(bù(📪) )景。在(zài )拍(🥕)摄巴(🍽)比伦(👈)攻耶(🕥)路撒(🌵)(sā )冷的场(chǎng )面(miàn )时，更在(zài )一天之内同时(👘)动用(🚤)一万(🔓)五千(🐉)(qiān )名临时演(yǎ(📸)n )员和(🦊)二百(🛢)五十(😒)辆战(🤔)车。他这(zhè )种(zhǒng )大手笔(bǐ )使(shǐ )得当时意大利出品的历史巨(jù )片也瞠乎(🤸)(hū )其(🍬)后，由(📢)(yóu )此(🗼)也可(🔠)以看出格氏对自己的(de )创(🌋)(chuàng )作(🚁)能力(lì )如(rú )何自信。或许正如格氏自(zì )己(🚥)(jǐ )的(💊)格言(🔵)所(suǒ(🍟) )说：(🤡)“艺术经常(⛽)都是(❄)革命(👁)性(xì(🌻)ng )的、(🚙)爆炸(zhà )性(xìng )的，以(yǐ )及轰轰烈烈的"。看《忍无(🧡)可(kě(👋) )忍(rě(🍝)n )》一片(😒)幕(mù )前幕后的(🌟)表现(🕖)，可知(🚎)格里(⛩)菲(fē(🐉)i )思的确是(shì )一个身体力行的艺术家。 Within Our Gates is a 1920 silent race film that dramatically depicts the racial situation in America during the violent years of Jim Crow, the Klan, the Great Migration, and the emergence of the "New Negro." The story focuses on an African-American woman who goes North in an effort to help a minister in the Deep South raise money to keep a school open for poor Black children. Her romance with a black doctor eventually leads to revelations about her family's past that expose the racial skeletons in America's closet, most famously through the film's depiction of the injustice of lynching. Produced, written and directed by novelist Oscar Micheaux, it is the oldest known surviving film made by an African-American director. The film, which was written and directed by Micheaux, stars Evelyn Preer, Flo Clements, James D. Ruffin, Jack Chenault, William Smith and Charles D. Lucas. 青(qīng )年(nián )郑元和(hé )上(shàng )海求学，与(🕗)妓女(🐖)李亚(🔒)仙邂(🛰)逅(hò(🦖)u )，沉迷烟(yān )花场中。不久，元(💖)和因(✍)财力不支被鸨(bǎo )母(mǔ )驱逐，流(liú )落街头。郑父得(👼)同乡(💱)告知(😳)(zhī )赶(🅾)(gǎn )来，恰好(hǎo )撞(🏰)见元(🎶)和正(🐪)街头(🏯)抢食，盛怒(nù )之下，一(yī )拳(quán )将其打(dǎ )晕。郑父以(🔔)为孽(🦖)子已(💣)(yǐ )死，便(biàn )抛(pāo )尸于(🐋)荒郊(🥃)(jiāo )。元(🦖)和苏(🏹)醒后被乞丐张三救(jiù )起，从此(cǐ )便一起口唱“莲花落”，行(háng )乞(qǐ )度日。自(zì )元和(💒)被逐(⛴)后，亚(🏯)仙便(🔮)为自己(jǐ )赎身，四(sì )处寻(😿)访元(🤺)(yuán )和下落。一日，元和正行乞(qǐ )，恰被亚(yà )仙(xiān )婢(😙)女看(🔥)见。亚(🕑)仙将(🐍)其接回(huí )家(jiā(📽) )中，以(🍹)情(qí(🌫)ng )理相(🐀)触动，终于使元和鼓起(qǐ )勇气，走(zǒu )上(shàng )正途。 The likeable and carefree Grand Duke of Abacco is in dire straits. There is no money left to service the State's debt; the main creditor is looking forward to expropriating the entire Duchy. The marriage with Olga, Grand Duchess of Russia, would solve everything, but a crucial letter of hers about the engagement has been stolen. Besides, a bunch of revolutionaries and a dubious businessman have other plans regarding the Grand Duke. With the intrusion of adventurer Philipp Collins into the Grand Duke's affairs, a series of frantic chases, plots and counter-plots begins... 英(🆖)俊青(📺)年麦(🎛)克尔（Walter Slezak 饰(shì )）是画(🚠)(huà )家(💸)(jiā )苏(🧢)莱特(🆔)的(de )专属模特，以麦克尔为原型(xíng )，苏莱特(tè )创作出了精美的艺术作品，名(míng )声(🥨)大噪(💕)(zào )，登(🥕)门求(🖋)画的人络绎不绝，但(dàn )苏(😚)莱特(🚥)为(wéi )了保存和(hé )麦克尔的美好回忆拒绝出卖(🥁)(mài )杰(🤨)(jié )作(🏼)。年(niá(👛)n )轻(qīng )貌美的女(💐)伯爵(💐)拜访(🗑)苏莱(🛐)特(tè )，请求后者(zhě )为自己画像，麦克尔默默注(zhù(🥙) )视着(⛴)女伯(🍣)(bó )爵(jué )，四目(mù )交投(🥞)之下(🍷)，情意(💦)暗生(🙄)(shēng )，苏莱(lái )特(tè )思量之后(hòu )决定为女伯爵作画，但创作(zuò )不久因苏(sū )莱特无(🍗)法描(🤢)画女(👲)伯爵(👧)的眼睛(jīng )而(ér )陷入停(tíng )滞(zhì(🕝) )，麦克尔提笔代劳，女伯爵(jué )美丽的神(shén )色跃然(💼)画(huà(🕜) )上…(🌧)…麦(❤)克尔与女伯爵(🏎)相爱(🎐)(ài )并(🛬)(bìng )逐(🐈)渐离(lí )苏(sū )莱特而去，苏莱特承受着(zhe )年(nián )青人(🤳)的欺(🤤)(qī )骗(🌺)和背叛，将内心的悲(💥)苦呈(🍢)(chéng )现(🥄)在画(📎)作(zuò )上(shàng )，受孤(gū )独煎熬的生命之火渐(jiàn )渐熄灭(miè )…… Catherine is a servant girl working for the local mayor and victim of the sharp tongues of the mayor's wife and her friends. This is made clear in a first scene where she is asked to get the key of the mayor's desk at a cultural party the wife is attending. She is harassed by the whole elite who dislike the intrusion of the maid. In this scene it's made clear also that the wife has a secret lover who will later challenge the mayor's political career and will use Catherine as a scapegoat for his own ambitions. This role of "bad guy" is played by Renoir himself. The mayor who is fond of Catherine and is afraid that she'll be more victimized by his wife asks his sister to give Catherine a position in her own household. The sister has a son with tuberculosis (role played by Dieudonné). He's so weak he has no success with women of his class but of course Catherine will like instantly this fragile man. He dies after kissing Catherine while the rest of the town is celebrating carnival. The kissing scene at the window mixed with the fireworks is a brilliant moment of silent melodrama. Catherine is in mourning and because of that driven away by the mayor's wife and her friends. It is indecent that a servant girl is in mourning and shows public affection for someone who is not from her own social status. The emotions of Catherine are the element of disorder in the social ordered world of the rich. Catherine goes away and hides in a cheap hotel in the city where she is also bullied by a local pimp who sees in her an easy target to exploit. By accident Catherine is seen in the hotel window with the pimp, so more reason for gossip by the elite. When she returns to the village looking for a job she is rejected everywhere, even by the local Christian relief organization of which the mayor's wife became president. She meets the mayor again who is shocked by the attitude of the town, takes her in his home again and promotes her to his secretary. The wife is furious of course and leaves her husband to live with her mother. It is start of a slander campaign against the political credibility of the mayor. The lover of the mayor's wife sees what is happening as a golden opportunity and makes a public attack on the moral character of the mayor (what's new under the sun?) Catherine wants to avoid the downfall of her protector and leaves the mayor, explaining herself in a note. She hides in an old tram for the rain while the mayor is driving around in his car frantically looking for the girl. Two vagabonds are thrown out of a pub and out of frustration push the tram car, so it starts a crazy race up and down the hills towards the bridge and the valley abyss. Catherine is already accepting her death but is saved in time by the mayor who has made his choice for the girl. The social implications of his choice are not shown but are clear for all.