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In this version of the golem legend, the golem, a clay statue brought to life by Rabbi Loew in 16th century Prague to save the Jews from the ongoing brutal persecution by the city's rulers, is found in the rubble of an old synagogue in the 20th century. Brought to life by an antique dealer, the golem is used as a menial servant. Eventually falling in love with the dealer's wife, it goes on a murderous rampage when its love for her goes unanswered. Written by Doug Sederberg 这是史诗片(🕞)(piàn )巨(😓)匠冈(🧟)斯的(de )早期(🈶)作品(🚂)，原(yuán )版长达九个(gè )小时。 美国人(🔐)(rén )艾(🕚)伦·(🖍)卡弗(🔯)(fú )（肯(kě(🈴)n )尼斯·哈(hā )兰 饰）坠海(hǎi )后被(bèi )海(🎥)狼冲(🍫)到(dà(📈)o )岸边(🥙)，莲花(huā )（(🚦)黄(huáng )柳霜 饰）救了他，并(bìng )悉心(xīn )照(🗽)料卡(🏦)弗恢(🧀)复健(🦒)康。二人(ré(🕧)n )坠入爱河。莲花憧憬(jǐng )着和(hé )卡弗一(💚)起去(🏞)美国(🍓)。 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. 动(dò(🛑)ng )画名(míng )家(🖖)北山清太郎(láng )的早期(qī )动画(huà )。 Мо(🐌)ло(🅱)да(👝)я гра(😤)фи(🥑)ня Вера Дубровс(🤽)ка(🅱)я м(🛒)еч(🔨)тает(🌝) пр(🛶)инести пользу ч(🏸)ел(🕰)ов(💗)еч(😬)еств(💊)у. Она посещает бед(🙀)ны(🎼)х, «(🧠)бы(🎭)вших(🚔) людей» и помогает(⚾) им(💕) в м(🧠)ер(💭)у сил(🗓). Однажды Вера оказ(🗨)ыв(🐺)ае(💯)тся в ка(⚪)морке пьяницы Мак(🚌)си(👢)ма(🌮) Петр(🎠)ов(🗡)а. На помощь граф(👯)ин(🙆)и о(📭)н о(🌍)твеч(🐔)ает тем, что обесче(🥏)щи(👜)ва(🍖)ет(🌰) ее, ос(🔭)тавив незаживающ(🐲)ую(🎭) ра(🔘)ну(🈂) в ее д(🤠)уше. Придя в себя, Ве(😝)ра(🔯) уб(🕴)ивает н(🥤)егодяя. This silent German film, which depicts events leading up to Danton's execution, is interesting in that all the characters get fair treatment-- NONE of them are likable. It focuses mostly on Danton, Camille Desmoulins, and Hérault-Séchelles, and the three women with whom they become involved. This leads to a few historical inaccuracies. Lucille is an aristocratic girl Camille happens to "find," and he marries her to protect her from the Revolution. She then promptly cheats on him with Danton, who is in love with her, much to the ire of his own wife, a mysterious "Julia." (His wife at the time was actually named Louise.) Meanwhile, Hérault-Séchelles has adopted a poor girl named Babette and made her over into an aristocrat. (There is a bath scene that rivals that of My Fair Lady. . . .) After his arrest, her old friends raid his house and find her. She promptly tears off her fancy dress and puts on her old clothes to be carried away victoriously by the people. Her only remorse seems to be leaving her shoes. And those six are the heroes.