幸福从天而降剧情 第5集

本片又(💨)译(yì )作《党(dǎng )同伐(🈵)异(yì(🥠) )》，是D．W．格(gé )里菲(🖖)思最(🚠)具(jù )创作野心的(🈳)作(zuò )品。由(yó(🚂)u )于受(🕶)到(dào )《国(guó )家(🍴)的诞生(shēng )》惊人卖(🈯)座(zuò(✊) )的影响(xiǎng )，格里菲(❕)思遂(🍺)(suí )再接(♐)再(zài )励拍(pāi )摄一(🤰)部场(✖)面更(gèng )大，内(nèi )容(🤤)更有(yǒu )深度的影(🚙)片。他(🐒)花了(le )一年(nián )半的(⛵)时(shí )间(🦐)，动用(🎶)了二(èr )百万美(mě(🔗)i )元的(👓)制作费，拍摄成片(🎤)长(zhǎng )220分的巨(🥡)(jù )片(🦒)（原版长480分(🧠)(fèn )）。可(kě )惜本片(🏖)在1916年(📷)(nián )9月于纽约公映(🏔)(yìng )时(📵)，并(bìng )没有受(shòu )到(💭)预期的欢迎(🐔)(yíng )。本(💽)片所以(yǐ )卖(🖨)座失败，原(yuán )因很(🥛)多(duō(🚌) )，最主(zhǔ )要是(shì )格(🤟)里菲(🛵)思(sī )在(🗳)本片所采(cǎi )用的(👁)故(gù(🚗) )事结构太复杂(zá(🕕) )，导演(yǎn )手法(fǎ )已(💡)超越(🛴)当时观(guān )众的接(♎)(jiē )受能(😋)力(lì(🍯) )。加上主题过(guò )于(🎣)严肃(❎)，其(qí )中提倡(chàng )的(㊙)宽容和反对(😯)(duì )暴(😛)力的(de )论调跟(📺)当时美国的高昂(🚠)参(cā(🤛)n )战情绪(xù )引起冲(🦑)突，因(🍨)(yīn )此未能(néng )受到(🔂)普遍欢(huān )迎(💱)。不过(🔁)，人(rén )们却不(🚑)(bú )能否认(rèn )这是(🐰)一部(🥦)电影(yǐng )艺术上的(🐭)不(bú(🎺) )朽杰作(🤔)。《忍(rěn )无可忍(rěn )》由(🏉)四(sì(🚗) )段不(bú )同时代发(🤱)生的故事组(zǔ )成(🌦)：巴(📝)(bā )比伦的没落、(🧦)耶稣基(👚)(jī )督(🚠)的(de )受难、法国的(♓)圣巴(👖)托(tuō )罗米宗(zōng )教(🚑)大屠杀，以及(😎)二十(📫)世纪(jì )初美(🏍)国(guó )的劳资冲突(🥣)。格氏(🆖)描(miáo )述他自己的(❕)构想(📄)：“四个(gè )大循环(🎊)(huán )故事好象(🆒)四条(🛐)河流，最初是(😖)分散(sàn )而平静地(📠)流动(🐝)(dòng )着，最(zuì )后却汇(🎤)(huì )合(🚺)成一条(🌰)强大(dà )汹涌的急(🔼)流(liú(🛳) )"。本片一开始，是一(🛍)(yī )个母亲(qīn )推摇(👎)(yáo )篮(😞)的镜头，插(chā )入惠(🕟)特(tè )曼(🤒)的诗(🍩)(shī )句：“如今如(rú(🚖) )同昨(🏯)日(rì )，世(shì )间的人(🏞)情变化循环(🌱)无(wú(🏂) )穷。摇(yáo )篮摇(🔏)动着，为人类带来(🖌)同(tó(🧟)ng )样的激(jī )情，同样(🏫)的优(🔯)(yōu )乐悲欢(huān )。"这字(🔵)幕之后，展开(♿)第一(🍫)(yī )个作为(wé(📣)i )全片基调的现代(🥗)篇故(✨)(gù )事。随着剧(jù )情(🎴)的进(👚)展，导(dǎ(⛪)o )演经常(cháng )切入另(💁)(lìng )外(😯)三段故事，成为四(🍁)段平(píng )行发展。最(🐥)后，画(🌧)面(miàn )仍回到(dào )母(🍃)亲(qīn )和(✏)摇篮(⛄)，呈现(xiàn )出“人(rén )类(🔔)从不(🔃)(bú )容异已到宽容(🚒)(róng )的进化(huà(🖊) )"的主(😚)(zhǔ )题。作为故(♒)事核心的(de )现代篇(💿)(piān )“母(🐝)与法"，内容描述四(🌮)个(gè(🗳) )失业的(de )男女工人(🧣)从小(xiǎo )镇来(📱)到(dà(🍹)o )都市中找工(🐼)作，有人误入(rù )歧(🐅)途，有(👉)人渴望过正常的(🚳)家(jiā(⛎) )庭生活(😒)。正(zhèng )派的男主角(👪)被(bè(🖋)i )诬陷为(wéi )杀人凶(📙)(xiōng )手，被捕后判(pà(👒)n )处死(🍩)刑。行(háng )刑之日，真(💡)凶良心(😲)发(fā(👦) )现，在(zài )最危(wēi )险(💶)的一(🎥)刻将男(nán )主角救(🔪)(jiù )了出来(lá(🎿)i )。从这(😔)个故事(shì )中(🤳)，可(kě )以看(kàn )出二(⏬)十世(🐊)纪初期美国(guó )的(📣)一般(🏽)(bān )社会状况：农(🤢)村不安定，都(🗡)市阴(👬)(yīn )暗而复杂(💕)、劳(láo )工生活(huó(🚹) )困苦(⚡)、法律问题重重(👤)等。格(🎠)里菲(fē(➗)i )思在本片中进一(🧒)步表(🚲)(biǎo )演他在“平(píng )行(🚁)剪接"方面的(de )杰出(⚾)才(cá(🏵)i )能。他(tā )利用四段(🎣)故事(shì(📵) )中的(🈯)类似情(qíng )景作比(🦂)较剪(📕)接，使分(fèn )散的情(🚂)(qíng )节显(xiǎn )得(🔣)统一(📅)有力，并因类(🏮)(lèi )似镜头(tóu )的多(⬇)次重(⛱)复而(ér )使剧情(qí(😔)ng )产生(🔗)(shēng )出热情奔放的(😬)情绪高(gāo )潮(🏈)。譬(pì(🌾) )如有一段镜(👿)头是这样剪接(jiē(🎅) )的：(📶)一(yī )、耶稣基督(🦌)被(bè(📽)i )士兵押(🕡)(yā )着前进；二、(🌓)巴比(😻)伦的村(cūn )女向情(⏲)(qíng )侣奔告国王的(🖇)危急(🖍)；三、现代的(de )少(🏸)女拚命(🍴)为救(🥉)(jiù )她的爱(ài )人而(🤳)奔(bē(📱)n )走；四、在巴(bā(🎒) )黎大屠杀中(🦌)(zhōng )，新(🌡)教徒企图在(📘)群众(zhòng )骚乱的(de )街(🚄)道(dà(♐)o )上援救未婚妻(qī(🥎) )。格氏(🚾)(shì )利用移(yí )动摄(㊗)影、镜头(tó(🏊)u )、划(📮)过(guò )镜头(tó(🎚)u )等技巧连接四段(🕶)平行(🛫)(háng )发展的(de )情节，节(🏦)奏紧(😿)凑流畅(➰)。格(gé )氏甚至(zhì )在(🌒)个别(🔢)的故事(shì )片段中(🏧)(zhōng )使用短短的倒(🐸)叙技(🅿)巧（FLAXHBACK）来交代(dà(🍼)i )情节，显(💋)见他(📻)的“电(diàn )影文法"的(😧)确(què(🐉) )比同时代的导(dǎ(💝)o )演高出(chū )很(🕙)多。除(⏲)此之外，格(gé(🍱) )氏在本片中(zhōng )亦(💪)首创(🚻)“大特写"和“大远景(🥋)(jǐng )"的(🍛)镜(jìng )头，以加强观(🐴)(guān )众的心(xī(🥦)n )理感(👛)觉(jiào )（如：(😫)特写女(nǚ )人紧握(🐰)(wò )的(👏)手(shǒu )，表现她在听(🥇)到丈(🚬)夫(fū )判(🔮)死刑(xíng )的消息时(⛴)的焦(🎯)急；以大远(yuǎn )景(🍲)拍摄(shè )资本家独(🏹)坐办(🖲)(bàn )公室中(zhōng )，暗示(🏫)他庞大(🚡)的支(🐍)配权力(lì )）。他(tā(📍) )又利(🐫)用影片染色的方(🏤)(fāng )法来加强(🚞)各(gè(📆) )种特殊效果(🕵)（如夜景(jǐng )用染(🧒)青(qī(🤧)ng )色的影片、点(diǎ(🛂)n )灯的(🍷)房内用(yòng )染黄色(🈷)的影片、巴(📨)比(bǐ(🔰) )伦城火(huǒ )烧(⛳)时(shí )用染红色的(📽)影(yǐ(🥥)ng )片）。这种影(yǐng )片(❇)染色(😥)方法虽(⏲)(suī )非格氏(shì )首创(😶)(chuàng )，但(😙)却没有人像他这(🔳)(zhè )样在一(yī )部电(👜)影片(🐷)中大胆的全面采(🗽)(cǎi )用。令(lìng )人(🚱)惊异的是，这样一(🥠)(yī )部(🎏)内容复杂的大制(😰)作竟然(rán )由(📃)始至(🌾)(zhì )终没有一(🏌)个完整的剧(jù )本(🔹)，而只(📑)是(shì )靠格里菲斯(🎨)的(de )临(🗃)场即(jí )兴创作(zuò(💄) )而成。此外，本片也(⛸)没有(yǒu )任何(😏)布景的设计图，但(🏔)格氏(🏟)(shì )却能(néng )够命人(🧞)搭盖出(chū )宏(🍗)伟得(dé )哧人的(de )巴(💷)比伦布景。在拍摄(shè )巴(🥜)比(bǐ )伦攻耶路撒(🤺)冷的(🌒)场面(miàn )时，更(gèng )在(📙)一天之内同(👹)时动用一万(wàn )五(🏃)千名(míng )临时演员和二(👍)(èr )百五十(shí )辆战(🙊)车。他这种大(🍒)手笔使(shǐ )得当时(👾)(shí )意(🍈)大利出品的历史(🖕)巨(jù )片也瞠乎其(qí )后(🔽)，由此也可(kě )以看(❇)出(chū )格氏对(🔍)(duì )自己的创作能(🧥)(néng )力(🚍)如何自信(xìn )。或许(🌶)正如格氏自(🐃)己(jǐ )的格言(yán )所(💄)说(shuō )：“艺术经常(cháng )都(➰)是革(gé )命性的(de )、(📣)爆炸(🤲)性的，以及轰(hōng )轰(🐹)烈(liè )烈的"。看(📽)《忍无可忍(rěn )》一片(🛡)(piàn )幕前幕后的表现，可(㊙)知格(gé )里菲思(sī(🏿) )的确是一个(📫)身(shēn )体力行(háng )的(😑)艺术(🌾)家。 Eva lives in the sinister Tower with her father, a mad inventor, and her grandfather. The aviator Wilfred Durian and his lovely wife live nearby in the town. But Durian's famous flight across the Australian desert was not all it seems... and when his 'dead' partner Arved Holl is rescued by Eva and comes to claim his former fiancée's hand, the whole house of cards is about to come tumbling down. Meanwhile, Eva's own family history is not quite as she had always believed... 年轻的法国(🤒)(guó )姑娘马(mǎ )莉（艾德(🥁)娜·珀薇安(ān )丝(🚸) Edna Purviance 饰）同名(mí(➿)ng )为约翰（卡尔(ě(⛽)r )米勒(💳) Carl Miller 饰(shì )）的小(xiǎo )伙(🎉)子相爱了，可(🏑)是这段感(gǎn )情却(😤)遭到了他们的家(jiā )人(🏽)的反(fǎn )对。于是，约(📳)翰和(❄)(hé )马莉相(xiàng )约私(💲)奔(bēn )前往巴(😳)黎。然(rán )而就在(zà(🤓)i )约定(dìng )的那一夜，约翰(🐅)的父(fù )亲不幸(xì(🎉)ng )身亡(🐀)，约翰没(🥉)有能够赴约(yuē )。马(⛷)莉(lì(👃) )以为约翰变了(le )心(🐒)，在(zài )悲伤和痛苦之中(😎)独自一人(rén )前往(⛷)巴(bā )黎。 年轻(〰)的法国姑娘(niáng )马(🔎)莉（(🖥)艾德(dé )娜·珀薇(🐕)安丝(sī ) Edna Purviance 饰）(🥃)同(tóng )名为约(yuē )翰(🏋)（卡尔米勒(lè ) Carl Miller 饰）的(🌂)小伙(huǒ )子相爱了(🦎)，可是(🍆)这段(duàn )感情却(què(🚌) )遭到(dào )了他(🎗)们的家人(rén )的反(⛱)对(duì )。于是(shì )，约翰和马(🍾)莉(lì )相约私(sī )奔(⛎)前(qiá(🍔)n )往巴黎(⏸)。然而就在约(yuē )定(⚽)的那(🌪)(nà )一夜，约翰的父(🏣)亲不幸身(shēn )亡，约(yuē )翰(📅)没有能够赴(fù )约(🐶)。马(mǎ )莉以为(🔝)约翰变了心，在悲(📪)(bēi )伤(🆘)和痛(tòng )苦之中独(🖕)自一人前往(🕣)(wǎng )巴黎。 在荒(huāng )凉(🌈)而充满野性(xìng )的美国(🐧)(guó )西部，荒原的腹(🧒)地坐(🦔)(zuò )落着一个孤(gū(🔠) )寂的小镇。牛(🔘)仔 洛克(kè )美伦悠(👕)(yōu )哉游(yóu )哉地生活于(🦊)此(cǐ )，他的(de )一大乐(🧀)(lè )趣(🎛)就是戏(🚖)弄可(kě )怜的杰(jié(🏵) )瑞，先(📱)任其逃跑，然后从(🛏)(cóng )容地抛(pāo )出绳索套(📊)住杰瑞。如是再(zà(👛)i )三，乐(lè )此不(⚡)疲。这一(yī )天，引(yǐ(😟)n )擎的(💞)轰鸣声引起了 洛(📓)克美(měi )伦的(✉)注(zhù )意。一辆考究(⌚)的老爷(yé )车带来了美(🔣)(měi )丽性感的游客(🌕)(kè )—(🐚)—图(tú )丝。见(jiàn )到(📚)这个尤物， 洛(🌋)克美伦不(bú )禁怦(🛏)然心动，体内荷(hé )尔蒙(🔠)呈(chéng )几何(hé )数级(🗨)增长(👸)。他(tā )转(🥙)瞬之(zhī )间传来(lá(📿)i )了最(🎬)威武的行(háng )头，牛(🧔)(niú )了牛(niú )气地走到图(🐷)丝面前，展现他(tā(🍜) )所谓的雄风(🔌)。在此之后， 洛克美(🏔)(měi )伦(🛥)招来吉他唱(chàng )起(👜)了快(kuài )乐的(👱)德州情歌。 An extended family split up in France and Germany find themselves on opposing sides of the battlefield during World War I. 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. MARIZZA is the first of Murnau's peasant films. Marizza is tired of her smuggler employer's orders for her to play up to the gendarmes so that he and his men can ship contraband. She leaves and begins work at the farm of an impoverished aristocrat, Mme. Avricolos and her twin sons, Christo (dynamic) and Antonino (dreamy). Marizza is discovered in Christo's room by his mother and she banishes Marizza who runs away with Antonino. Mme. Avricolos sets the smugglers on their trail and they are found, poor and starving (shades of TABU). Marizza plays up to the gendarmes, especially Haslinger, in order to get money, but Antonino becomes jealous and attacks Haslinger. Marizza kills the latter to save Antonino, who accuses himself of the murder. There is a last minute rescue of both Marizza and her baby from a burning cabin.