聚力手机

本(🍧)片又译(yì )作《党同伐异(🔫)(yì(📀) )》，是(shì )D．W．格里菲思(sī )最具创(chuà(🌗)ng )作(🍁)野心的作品(pǐn )。由于受(⛷)到《国家(🌗)的(💜)(de )诞生》惊(jīng )人卖座的(📕)影(🍋)响(👬)，格里(lǐ )菲思遂(suí )再接再(zài )励(🤷)拍(😮)摄(shè )一部场面更大(dà )，内容(róng )更(🚦)有(💞)深度的影(yǐng )片。他花(🤦)了(📜)一年半(🚎)的(de )时间，动(dòng )用了二(è(☝)r )百(📳)万(🎟)美元的制(zhì )作费，拍摄成(chéng )片(🦆)长(📟)220分(fèn )的巨片（原版(bǎ(🥀)n )长480分）。可(⏳)惜本片在(zài )1916年9月于纽(🍍)约(🍓)公映(yìng )时，并没有受(shòu )到预期(qī(🌠) )的(😪)欢迎。本片(piàn )所以卖(mà(🚉)i )座失败(🌡)，原(🦂)因(yīn )很多，最主要(yà(🚈)o )是(🍑)格(🏦)里(lǐ )菲思在本(běn )片所采用的(😎)故(🛅)事结构(gòu )太复杂(zá )，导演(yǎn )手法(⛲)已(🈶)(yǐ )超越当时观众(zhò(🌚)ng )的(👗)接受(shò(⏸)u )能力。加上主(zhǔ )题过于(🔋)严(🕧)肃(🌶)，其中提(tí )倡的宽容(róng )和反对(⛪)(duì(💠) )暴力的论调跟(gēn )当时(🏁)美(měi )国的(🔠)高(gāo )昂参战(zhàn )情绪引(😳)起(👞)冲突(tū )，因此(cǐ )未能受到普遍(bià(🚲)n )欢(🔂)迎。不过，人(rén )们却不能(💉)否认(rè(🐣)n )这(〽)是一(yī )部电影艺术(🎙)上(🔰)(shà(👐)ng )的不朽(xiǔ )杰作。《忍无(wú )可忍》由(🍃)四(😽)段(duàn )不同时(shí )代发生的(de )故事组(🚳)成(🏴)：巴比伦的(de )没落、(🗺)耶(🎱)稣基(jī(📵) )督的受(shòu )难、法国的(📇)圣(✨)(shè(😃)ng )巴托罗(luó )米宗教大屠杀(shā )，以(😤)及(🥤)二十世纪初美(měi )国的(🐜)劳(🦏)资(zī )冲(😜)突。格氏描述他自(zì )己(👕)的(🔊)构(gòu )想：“四个大(dà )循环故事好(🌠)象(🌓)(xiàng )四条河(hé )流，最初是(🎿)分(fèn )散(🕳)而(😚)平静地流动(dòng )着，最(🍃)后(😐)却(😧)汇(huì )合成一(yī )条强大汹涌的(🙈)(de )急(⛓)流"。本片一开始，是一个母亲推(tuī(📢) )摇(🗃)篮的(de )镜头，插(chā )入惠(🐖)特(🏉)曼的诗(📫)句：“如今如同昨日(rì(🤫) )，世(🌶)间(🖌)(jiān )的人情变化循(xún )环无穷(qió(⏰)ng )。摇(🦁)篮摇动着(zhe )，为人类带来(👘)同(🐩)样的(de )激(💈)情，同(tóng )样的优(yōu )乐悲(🏙)欢(🍁)。"这字(zì )幕之后(hòu )，展开(kāi )第一个(🍒)(gè(🗒) )作为全片基调(diào )的现(🏁)代(dài )篇(🚝)故(🎙)事。随着(zhe )剧情的进展(☕)，导(🆚)(dǎ(😎)o )演经常切入另(lìng )外三段(duàn )故(🍝)事(🧐)，成为四(sì )段平行(háng )发展。最后，画(😇)面(💑)仍回到母(mǔ )亲和摇(🌄)(yá(🎋)o )篮，呈现(🎬)(xiàn )出“人类从不容异已(🍔)(yǐ(📔) )到(🚛)宽容的进化(huà )"的主题(tí )。作为(😐)故(🐹)事核(hé )心的现(xiàn )代篇(🎴)“母(🐶)与法(fǎ(🐛) )"，内容描述四个失业(yè(🚵) )的(🔏)男女工(gōng )人从小(xiǎo )镇来到都市(📏)中(🔮)(zhōng )找工作(zuò )，有人(rén )误(🍾)入歧(qí(🌱) )途(🍛)，有人渴望(wàng )过正常(🔳)(chá(🔲)ng )的(🍺)家庭生活。正派的男主角被(bè(⛪)i )诬(🤢)陷为杀人凶(xiōng )手，被(bèi )捕后判处(🚌)死(🏊)刑(xíng )。行刑(xíng )之日，真(🏜)凶(🐢)良(liáng )心(🙎)发现，在最(zuì )危险的(de )一(🏗)刻(👵)将(🐝)男(nán )主角救了出来。从这(zhè )个(🔟)故(🏹)事中，可(kě )以看出(chū )二(🖼)十(♈)世纪初(⏲)期(qī )美国的(de )一般社会(🌦)状(🌆)况(kuàng )：农村不安定，都市(shì )阴暗(🍿)而(🔉)复(fù )杂、劳(láo )工生活(🌲)困苦、(🐹)法(🥂)律问(wèn )题重重(chóng )等(🔵)。格(🕓)(gé(🔼) )里菲思在本片(piàn )中进一(yī )步(💌)表(🌩)演他在“平行剪接"方面的(de )杰出才(🈸)能(🌔)。他(tā )利用四(sì )段故(👕)事(🏡)中的类(🤓)(lèi )似情景(jǐng )作比较(jià(⤴)o )剪(🍹)接(⤴)，使分散的情节(jiē )显得统(tǒng )一(🕰)有(🔻)力，并因类似镜头的多(🌉)次(😎)(cì )重复(🏪)而使剧情(qíng )产生出(chū(🤹) )热(🦋)情奔放的情(qíng )绪高潮(cháo )。譬如有(🛡)一(🐯)段(duàn )镜头是这样剪接(📂)的：一(🧤)、(😖)耶稣(sū )基督被(bèi )士(🍇)兵(🔪)押(🌶)着前进(jìn )；二、巴比伦(lún )的(🈶)村(🍗)女(nǚ )向情侣奔告国(guó )王的危(wē(🍝)i )急(❤)；三、现代(dài )的少(🎉)女(🌏)拚命为(㊙)救(jiù )她的爱人而奔(bē(🌨)n )走(💬)；(🔽)四(sì )、在巴黎大屠(tú )杀中，新(🚎)教(🚟)徒(tú )企图在(zài )群众骚(📥)乱(🌦)的街(jiē(💱) )道上援(yuán )救未婚妻。格(🦁)氏(🥝)利用移动摄影(yǐng )、镜头、划过(🦂)(guò(🚷) )镜头等(děng )技巧连接四(🚀)段(duàn )平(🍟)行(😶)发(fā )展的情节，节(jiē(🤦) )奏(💥)紧(⏮)凑流畅。格氏甚(shèn )至在个别(bié(🔘) )的(♑)故事片段中使用短(duǎn )短的倒(dǎ(🕛)o )叙(👣)技巧(qiǎo )（FLAXHBACK）来(lái )交(📪)代(⛩)情节，显(🖖)(xiǎn )见他的(de )“电影文法"的(📥)(de )确(🏁)比(🖥)同时代的导演高出很多。除此(🛶)之(👩)(zhī )外，格氏在本(běn )片中(🏘)亦(📄)(yì )首创(🚆)“大特写(xiě )"和“大远景"的(📆)(de )镜(🈂)头，以加强观众的心理感觉（如(🌔)：(🆓)特写女人紧握(wò )的手(🔞)，表现她(🔌)在(🎮)听到(dào )丈夫判(pàn )死(⛄)刑(🥧)的(✌)消息时(shí )的焦急；以大远景(🍍)拍(👋)(pāi )摄资本家(jiā )独坐办公室中，暗(🎥)示(👨)(shì )他庞大(dà )的支配(🏤)(pè(🌨)i )权力）(🏾)。他又利用影(yǐng )片染色(👖)(sè(🥃) )的(😗)方法来加强(qiáng )各种特殊效果(🔺)（(⚾)如夜景用染青(qīng )色的(🌠)影(🀄)(yǐng )片、(🙃)点灯的房(fáng )内用染(rǎ(⏺)n )黄(🌀)色的(de )影片、巴比伦城火烧(shāo )时(😘)用(🐟)染(rǎn )红色的影片）。这(⛏)种影片(🍋)染(🌭)色(sè )方法虽非格氏(🌜)(shì(🤠) )首(📣)创，但却没有人像(xiàng )他这样(yà(🍔)ng )在(🕔)一部电影片(piàn )中大胆的全面采(⏭)用(🐘)。令人惊异(yì )的是，这(♉)样(📐)一部内(🚈)容(róng )复杂的(de )大制作(zuò(🐹) )竟(🍏)然(🔓)由(yóu )始至终没有一(yī )个完整(🚅)(zhě(🛀)ng )的剧本，而只(zhī )是靠格(🌦)里(🚻)菲斯的(🈯)临场即兴创作(zuò )而成(🏞)。此(📛)外，本片也(yě )没有任(rèn )何布景(jǐ(📭)ng )的(📨)设计(jì )图，但格氏却(què(🎻) )能够命(♑)(mì(🈹)ng )人搭盖出宏伟得哧(🕘)人(🌩)的(🗻)巴比伦(lún )布景。在拍摄(shè )巴比(🙇)伦(🛢)(lún )攻耶路撒冷的(de )场面时(shí )，更在(㊙)一(🔒)天之(zhī )内同时动用(🐀)一(👭)万五千(🛋)(qiān )名临时演(yǎn )员和二(🌓)百(🍍)五(⛴)十辆战车(chē )。他这(zhè )种大手(shǒ(🔐)u )笔(🌓)使得(dé )当时意大利出(🍏)(chū(🏕) )品的历(🛀)(lì )史巨片也瞠乎(hū )其(🔐)后(👀)，由此也可以看出格氏对(duì )自己(🍎)的(🦎)(de )创作能力如何(hé )自信(🏁)。或许正(🌀)(zhè(📷)ng )如格氏(shì )自己的格(➕)言(🎦)所(🌽)(suǒ )说：“艺术经常都是革命性(💃)的(🚇)、爆炸(zhà )性的，以及轰(hōng )轰烈烈(〰)(liè(♋) )的"。看《忍无(wú )可忍》一(🤖)片(🥫)幕前幕(💓)后(hòu )的表现，可知格里菲(🔉)(fē(🏏)i )思的确是(shì )一个身体力行的(🌤)艺(🥉)术(shù )家。 Louis Feuillade是(shì )法国无(wú(👇) )声(👝)片时(shí(🔣) )期最伟大的导(dǎo )演.有(🕓)些(⬆)(xiē )影评人甚至认(rèn )为其成就高(🏚)于(🕧)同时期的格里非(fēi )斯(🖊).Tih Minh是Louis Feuillade成(ché(🌁)ng )就(🛹)最高的电影(yǐng )之一(💦),该(⬅)(gā(🏇)i )片被美(měi )国影评(píng )人 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. Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"? 德国默(🚿)片(👪)，但具体(tǐ )资料已不可考，见： Gotthold Ephraim Lessing published his "dramatic poem" in 1779 as a direct response to censure by official orthodox religious circles, to which he was subject after publishing a work by Samuel Reimarus that was critical of religion. He set his story in Jerusalem at the time of the Crusades, where Christians, Jews and Muslims were in constant and close confrontation. It threatens to end tragically in religious conflict, but the main character succeeds, with insight and shrewdness, in reconciling the religious communities. Lessing's drama is acknowledged in German literary history as a "humanist manifesto" that defends "religious tolerance and the freedom of ideas". Scriptwriter Hans Kyser adapted the drama to great cinematic effect, incorporating as a powerful prologue, the opening episode that Lessing resolved only at the end of his drama. Manfred Noa used the brutality of the Crusades and their exotic setting to stage visually impressive crowd scenes. Experienced actors from box-office hits were magnificent in the leading roles, among them Werner Krauss (Das Cabinet des Dr. Caligari / The Cabinet of Dr. Caligari by Robert Wiene) as Nathan, and Carl de Vogt (Die Spinnen / The Spiders by Fritz Lang) as a young Templar knight. As in the original drama, this emotionally charged production ends in an impassioned plea for reason and for tolerance towards people of other faiths. Stella Maris is a beautiful, crippled girl, who is cared for by a rich family. They shield her from the harsh realities of the world, so that she has no idea of the cruel things that some people do. Unity Blake is a poor orphan all too familiar with the harsh realities of the real world. These two young women both fall in love with John, love which is complicated by the fact that he is still married to (though separated from) a bad wife.