凶鬼恶灵第二季

电影配图是(🛤)错的(de )，1922年(📲)的睡美人在IMDb上(💐)(shàng )都没(🔩)有图片(🐜)(piàn )。这张(🚬)(zhāng )图上(⏭)的睡美(měi )人是(🚢)1990年捷(jié )克(👋)斯洛伐(fá )克版的Sípová(🤧) Ruzenka，豆瓣(bà(🔕)n )链接在(🦌)此(cǐ )：(🦍) This film's German title would translate as "Journey in the Night", but that "night" is metaphoric: it refers to blindness, rather than anything nocturnal. The film's most notable merits are its photography (by Max Lutze), the direction by F.W. Murnau (a bit lighter than usual from this director) and a remarkable performance by Conrad Veidt ... an actor who never fails to impress me, yet who surpasses his own high standards in this drama. 米拉德(dé )是一(💁)个会(huì(🔀) )偶尔上学(xué )迟(🏃)到的小(☝)(xiǎ(🎮)o )学生，老师(shī )没少批(pī(🍪) )评，爸妈(🚂)没(méi )少教训。可(🈺)这一天(🏸)(tiān )，米拉(🔣)德又旷(🌖)课了(le )，校长让(rà(🗣)ng )他把家(🚔)长(zhǎng )请来，结果(guǒ )米拉(🏗)德(🏷)(dé )挨了(🧣)顿打。可他这顿(💻)打挨得(🗑)很(hěn )冤枉，因为(😻)他并不(🚻)(bú )是有(🙆)意旷课(🔌)。原来(lái )在上学的路(lù(🍓) )上，他(tā )看(🔤)到一名从(cóng )外地来找(🤭)(zhǎo )儿子(💅)的老(lǎ(🧠)o )妇人，虽(📢)(suī )然听不懂(dǒ(🚤)ng )她的话(🐀)，虽然怕迟(chí )到(🐱)，可米(mǐ(🔟) )拉(🐛)德还是(shì )想方设法(fǎ(🍨) )把老妇(🛺)人送(sòng )到了他(😘)(tā )儿子(⚫)住的大(🐟)(dà )街上(♒)，老妇人还奖(jiǎ(🐫)ng )励了他(✊)两颗巧克力(lì )。米拉德(🥕)(dé(🔃) )只有把(🧕)这(zhè )件事写进(🎭)作(zuò )文(🎪)以诉(sù )说自己(📜)的委(wě(🔰)i )屈。第二(🌒)天的听(🔬)写(xiě )课上，老师也悄悄(🏓)(qiāo )地塞给(✔)他两颗巧克(kè )力。 PATRIA (pronounced PAY-tree-uh), a 15-episode "preparedness serial" filmed by the Whartons in Ithaca, New York, in 1916, cast the Japanese, with whom we were not at war, as the villains in a spy story. Warner "Charlie Chan" Oland plays the chief villain, Baron Huroki, who is determined to gain munitions factory and "defense fund" heiress Patria Channing's vast wealth for Japan. 本片(🛠)又(yòu )译(👋)作《党同(🍿)伐异》，是(🐨)D．W．格里菲思(🥥)(sī )最具(🔬)创作(zuò )野心的(🎯)作(zuò )品(🛡)。由(💧)于(yú )受到《国(guó )家的诞(🗻)生(shēng )》惊(🕜)人卖(mài )座的影(😽)响(xiǎng )，格(🍤)里菲思(🌦)(sī )遂再(🍻)接(jiē )再励拍摄(🐬)一(yī )部(🤟)场面更大，内容(róng )更有(🤕)深(🤦)度的影(🕛)片。他花了一(yī(👰) )年半的(💎)时(shí )间，动用了(🥜)(le )二百万(🛫)(wàn )美元(💪)的制作(📠)(zuò )费，拍摄成片长220分(fè(🚚)n )的巨片（(🎀)原版长480分(fèn )）。可惜本(🐼)片在1916年(⤴)(nián )9月于(🔰)纽约公(🥞)(gōng )映时，并没有(🤮)受到(dà(🍢)o )预期的欢(huān )迎(🍐)。本片(pià(⛽)n )所(😽)以卖座(zuò )失败，原(yuán )因(👨)很多，最(🏝)主要是(shì )格里(🕶)菲思(sī(💂) )在本片(🤞)所(suǒ )采(👞)用的故(gù )事结(🛄)构太复(🐰)(fù )杂，导(dǎo )演手法已超(🤕)(chā(👈)o )越当时(🌍)观众的接受(shò(📟)u )能力。加(🏃)(jiā )上主题过(guò(🏠) )于严肃(🗾)，其中提(🍼)倡(chàng )的(📑)宽容和反(fǎn )对暴力(lì(🐅) )的论调跟(🙀)当(dāng )时美国的高昂参(🥣)战(zhàn )情(🌸)绪引起(🎥)冲突，因(📬)(yīn )此未能受到(✝)普遍欢(🔫)(huān )迎。不过，人们(🎸)却(què )不(🧦)能否认这(zhè )是一部电(dià(💤)n )影艺术上(shàng )的不朽杰(🈹)(jié )作。《忍(🙏)(rěn )无可(🚏)忍》由四(🎙)段不(bú )同时代(😊)发(fā )生(⛓)的故事(shì )组成：巴(bā(🌏) )比(🏣)伦的没落(luò )、耶稣(sū(🧖) )基督的(🎈)受难(nán )、法国(♓)的圣巴(📛)托罗(luó(👂) )米宗教(🎸)大(dà )屠杀，以(yǐ )及二十(🦇)世(shì )纪初美国(guó )的劳资冲突(tū(➡) )。格氏(shì )描述他(⛺)自己(jǐ(📑) )的构想：“四个(⏱)大(dà )循(⛓)环故事好象四(⛩)条(tiáo )河(🕠)流，最初是分散(sàn )而平静(🐱)地流(liú )动着，最后却汇(🏣)合(hé )成(🈳)一条强(🍽)(qiáng )大汹(😠)涌的(de )急流"。本(bě(💍)n )片一开(😶)始(shǐ )，是一个(gè )母亲推(📑)摇(🔽)(yáo )篮的镜头(tóu )，插入惠(🕝)(huì )特曼(🌠)的诗(shī )句：“如(🐣)今(jīn )如(🌫)同昨(zuó(🏭) )日，世间(🛒)的(de )人情变化循环无穷(♉)(qióng )。摇篮摇(yáo )动着，为(wéi )人类带来(🔒)(lái )同样的激(jī(🐣) )情，同样(🐜)的(de )优乐悲(bēi )欢(🌲)。"这字幕(😭)(mù )之后，展开第(🌺)一个(gè(💙) )作为全片基调的现(xiàn )代(🍉)篇故事。随着剧(jù )情的(💕)进展，导(📌)演经(jī(🎆)ng )常切入(👋)另外(wài )三段故(⚡)事(shì )，成(🛅)为四(sì )段平行发(fā )展(🍣)。最(🔸)后(hòu )，画面仍(réng )回到母(🔨)亲(qīn )和(🏜)摇篮，呈现出“人(🐬)类从不(🔠)(bú )容异(🐤)已到宽(💶)(kuān )容的进(jìn )化"的主题(♉)。作为故事核心的现(xiàn )代篇“母(mǔ(🔘) )与法"，内(nèi )容描(☕)述四(sì(🤕) )个失业的(de )男女(🌋)工人从(📬)(cóng )小镇来(lái )到(🥏)都市中(🔤)找(zhǎo )工作，有人误入歧(qí(🗳) )途，有人渴望过正(zhèng )常(😠)的家庭(🧚)生活。正(📓)(zhèng )派的(🔻)男主角(jiǎo )被诬(🥦)陷(xiàn )为(🌇)杀人凶手(shǒu )，被捕后(hò(⏭)u )判(🕚)处死刑(xíng )。行刑之(zhī )日(🍛)，真凶(xiō(🌝)ng )良心发现(xiàn )，在(🛃)最危(wē(😥)i )险的一(👄)刻(kè )将(🌲)男主角(jiǎo )救了出来(lá(🐗)i )。从这个故(gù )事中，可以看出二(è(👸)r )十世纪初期美(🏹)国的(de )一(🍐)般社会(huì )状况(⛴)：农(nó(🕜)ng )村不安定(dìng )，都(🥓)市阴(yī(⌛)n )暗而复杂、劳工生(shēng )活(😝)困苦、法(fǎ )律问题重(🥢)重等。格(😫)(gé )里菲(🧛)思在本(🥃)片中进(jìn )一步(👅)表演他(🍯)在“平(píng )行剪接"方面(mià(🙊)n )的(🎹)杰出(chū )才能。他利(lì )用(🚕)四段故(🎤)(gù )事中的类(lè(🥜)i )似情景(👎)作(zuò )比(🤜)较剪接(😯)(jiē )，使分散(sàn )的情节显(🤷)(xiǎn )得统一有(yǒu )力，并因(yīn )类似镜(🌠)头(tóu )的多次重(🥖)复(fù )而(🎤)使剧情产生出(🌤)热(rè )情(🧘)奔放的情绪高(🈂)潮(cháo )。譬(🏡)如有(yǒu )一段镜头(tóu )是这(🚯)样剪(jiǎn )接的：一(yī )、(🎃)耶稣基(🌿)督(dū )被(❇)士兵(bī(💀)ng )押着前进；二(🎯)、巴比(🍚)伦的村女(nǚ )向情侣奔(🌠)告(💐)国王的(de )危急；三、现(🚯)代的(de )少(⏮)女拚命为(wéi )救(🍟)她的(de )爱(🎟)人而奔(🥘)走(zǒu )；(👢)四、在(zài )巴黎大屠(tú(🛥) )杀中，新(xīn )教徒企图(tú )在群众骚(🐲)(sāo )乱的街道(dà(🍡)o )上援救(🔉)未(wèi )婚妻。格(gé(👺) )氏利用(🚡)移(yí )动摄影、(🏞)镜(jìng )头(🌑)、划过镜头等技(jì )巧连(🐒)接四段平行发(fā )展的(💲)情节(jiē(🛰) )，节奏紧(🗃)(jǐn )凑流(📩)畅。格氏甚至(zhì(🏋) )在个别(🕟)的故(gù )事片段(duàn )中使(💾)用(🍳)短短(duǎn )的倒叙技巧（(🦊)FLAXHBACK）来(lá(🌲)i )交代情节，显见(♐)他(tā )的(🏜)“电影文(🤱)法"的确(💹)(què )比同时代的(de )导演高(🥙)(gāo )出很多。除(chú )此之外，格氏在本(🚠)(běn )片中亦首(shǒ(😣)u )创“大特(🏫)(tè )写"和“大(dà )远(🧚)景"的镜(🍼)(jìng )头，以加(jiā )强(🦋)观众的(🧠)(de )心理感觉(jiào )（如：特写(🛂)(xiě )女人紧握的手，表(biǎ(🏩)o )现她在(🌷)听到丈(✍)夫判(pà(🍥)n )死刑的消(xiāo )息(🗓)时的焦(🗑)(jiāo )急；以大(dà )远景拍(🏏)摄(🛋)(shè )资本家独坐(zuò )办公(🃏)室(shì )中(🐼)，暗示他(tā )庞大(🧀)的支配(🏐)权力）(🧘)。他又利(⛅)用影片染(rǎn )色的方法(🥌)来加强各(gè )种特殊效果(guǒ )（如(♒)夜(yè )景用染青(🌶)色(sè )的(🌈)影片、点灯的(🚍)房(fáng )内(❄)用染黄(huáng )色的(👾)影片(pià(🍊)n )、巴比伦(lún )城火烧时(shí(🎈) )用染红色(sè )的影片）(🔲)。这种影(👬)(yǐng )片染(🕟)色方法(🆙)(fǎ )虽非格氏首(📭)创，但(dà(🌨)n )却没有人像他这样(yà(🥂)ng )在(🤙)一部电(diàn )影片中大(dà(⛄) )胆的全(🚰)面采用。令(lìng )人(💠)惊异的(👟)是(shì )，这(♍)样一部(🆎)内容复(fù )杂的大制作(🍃)竟然由(yóu )始至终没有一(📮)个完(wá(💼)n )整的剧本，而只(🥟)是(shì )靠(😘)格里菲斯(sī )的(😠)临场即(🛥)兴创作而(ér )成(⏬)。此外(wà(🚵)i )，本片也(yě )没有任何(hé )布(🚈)景的设(shè )计图，但(dàn )格(🥤)氏却能(🥝)(néng )够命(⬛)人搭(dā(🧢) )盖出宏伟得哧(🎀)人的(de )巴(🦗)比伦布景(jǐng )。在拍摄巴(🥜)比(🖖)伦攻(gōng )耶路撒冷的场(🐜)面时(shí(😫) )，更在一(yī )天之(⌛)内同(tó(🏫)ng )时动用(📞)一万五(👵)千名(míng )临时演员和(hé(💝) )二百五十辆战车。他这种(🔖)大手笔(🤸)使得(dé )当时意(📆)大利出(🎖)品的(de )历史巨片(🎎)也瞠乎(😼)其(qí )后，由此也(🐡)(yě )可以(😨)看出格氏对自(zì )己的创(🚲)作(zuò )能力如何(hé )自信(🏟)。或(huò )许(♓)正如格(♐)(gé )氏自(✌)己的(de )格言所说(♓)(shuō )：“艺(🐓)术(shù )经常都是革命性(🔀)的(🚾)(de )、爆炸性的(de )，以及轰轰(🚭)烈烈的(💟)(de )"。看《忍无可忍》一(📧)片幕前(🏅)(qián )幕后(🥋)的表(biǎ(💨)o )现，可知格里菲思(sī )的(🥁)确是一个(gè )身体力行的(📓)艺术家(🏼)(jiā )。 A secret society holds a meeting to determine what to do about a powerful and dangerous man whom they have been studying closely for the past three months. They all agree that he deserves to die. Two of the members, Farallone and Forrest, are both in love with Lilith, the group's only female member. But Lilith accepts neither of them, preferring to devote herself to the group's cause. When the group meets again and deals cards to all the members, Forrest draws the ace of hearts, meaning that he will be the one to carry out the assassination. Lilith then suddenly agrees to marry him, in order to give him courage. But after their first night together, both of them begin to feel differently about what they have planned. The Wicked Darling is a 1919 drama film directed by Tod Browning. The film was considered to be lost, until a copy was found in Europe in the 1990s. The copy now resides in the Nederlands Filmmuseum