医道官途 第5集

年轻(qīng )的(🛄)Cedric和他的(🌃)母(🚁)亲住在纽约市(➖)(shì(🕦) )。他的父亲(qīn )早逝。原来他(🗻)的(🈺)父亲是英(yīng )国的(🍹)皇族，因为家族不同(tóng )意(⏫)婚(🌆)礼所以(yǐ )他们一(🤒)家才(cá(🚭)i )到(🧀)美国。但是(shì )，在(🤒)英(🔱)国这(zhè )里，皇族最(zuì )后一(👩)个(🛣)男宗不(bú )幸在意(🌎)外中(zhō(🙁)ng )去世，变成(chéng )Cedric是英(📎)国(🛃)皇族的(de )最后一个男(nán )丁(🚞)，称(🎼)为小公子特洛男(🔶)爵(jué )。他和他的(de )母亲被老(🍥)皇(🎟)帝叫回去英国(guó(🐳) )住，Cedric是否(🕙)适(shì )应这艰苦的(😼)皇(🐲)族生活呢？ 该片为中国(📑)(guó(🕛) )最早的长故事片(🍕)之一，也(yě )是但杜宇创(chuà(🥧)ng )办(🚤)的上海影戏(xì )公(🕥)司的第(🔬)一(🥕)(yī )部影片。故(gù(🐛) )事(👆)写一个名叫(jiào )福珠的女(🚱)子(⛴)(zǐ )，和穷画师(shī )周(💀)选青相(🎚)爱，两人订立了(le )婚(😒)约(⬛)，并盟(méng )誓如将来负约(yuē(🏕) )，当(🐤)蹈海而(ér )死。后来(😯)，福珠被有钱的(de )表兄诱惑(🍲)，竟(📓)负前约与表兄结(🥨)婚。当(dā(🏒)ng )他们在教堂(táng )举(🔯)行(💑)婚礼之时，福珠忽然(rán )天(👢)良(🤲)发现，逃离了教堂(🎺)去找画师，周(zhōu )选青拒绝(🧟)了(🍛)(le )她，于是她跑(pǎo )去(🙂)投海自(🌿)杀(👐)(shā )，幸而画师(shī(🧠) )前(🚹)去相救，最(zuì )后两人终成(🏺)(ché(🏅)ng )佳偶。 英俊(jun4 )青年麦(🐝)克尔（Walter Slezak 饰）是画家(jiā )苏(🏠)莱(💢)特的专(zhuān )属模特，以麦(mà(😞)i )克(🎥)尔为原型(xíng )，苏莱(🚏)特创作出了精美的(de )艺术(🍭)作(🐅)品，名声大噪，登门(🉑)求画的(🐱)人(rén )络绎不绝，但(🎓)苏(🔽)莱特为了保存和麦克(kè(🧣) )尔(⛏)的美好回(huí )忆拒(🔎)绝出卖杰作。年轻貌(mào )美(🏽)的(👑)女伯爵(jué )拜访苏(🌭)莱特，请(🔶)求(💉)后者为(wéi )自己(🥚)画(🌗)像，麦克尔默默注(zhù )视着(🚗)女(⌚)伯爵(jué )，四目交投(🐑)(tóu )之下，情意暗(àn )生，苏莱(🏨)特(🥨)(tè )思量之后决(jué )定为女(🍅)伯(🏒)爵作(zuò )画，但创作(🎱)(zuò )不久因苏莱特无法描(🏵)画(🔢)女(nǚ )伯爵的眼睛(🛳)(jīng )而陷(🎯)入停滞，麦克尔提(😇)笔(🈶)(bǐ )代劳，女伯(bó )爵美丽的(👝)神(👮)色跃然画上……(🥘)麦克尔与(yǔ )女伯爵相爱(🌨)并(😂)逐渐离苏莱(lái )特(🖌)而去，苏(💼)(sū(🧗) )莱特承受着年(㊗)青(🌨)人的欺骗(piàn )和背叛，将(jiā(🦓)ng )内(🎞)心的悲苦呈(chéng )现(🌅)在画作上(shàng )，受孤独煎(jiā(🏑)n )熬(🤷)的生命之火(huǒ )渐(😾)渐熄灭(🚔)…(📧)… 讲的是一(yī )个(🔗)作曲家创作(zuò )的一部交(😚)响(👞)(xiǎng )曲，因为极(jí )具(🌐)震撼力(🎶)，以(yǐ )至于他的朋(🥪)(pé(🎥)ng )友都认为是继贝多芬第(🍛)九(🤳)(jiǔ )交响曲之后(hò(🌷)u )的杰作。 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. 德国表现主义代(🚇)(dà(🐧)i )表作品 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. In Nerven, writer-director-producer Robert Reinert tried to capture the "nervous epidemic" caused by war and misery which "drives people mad". This unique portrait of the life in 1919 Germany, filmed on location in Munich, describes the cases of different people from all levels of society: Factory owner Roloff who looses his mind in view of catastrophies and social disturbances, teacher John who is the hero of the masses and Marja who turns into a radical revolutionary. Using different fragments the Munich Film Museum could reconstruct this forgotten German classic which is a historic document and anticipates already elements of the Expressionist cinema of the 1920s.