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A mysterious man arrives at Moréno’s home, and shows that he knows that the Grand Vampire’(🏴)s body is inside a trunk. Moré(⛱)no tries to get rid of him, but he is paralysed by a pin in the man’s glove. The man reveals himself to be the true Grand Vampire, Satanas, and that the first was a subordinate. 本(běn )片又译作《党同(📜)(tó(🔫)ng )伐(💶)异(📿)》，是D．W．格里菲(fēi )思最具(🐑)创(💓)作(🍂)(zuò )野心的作品(pǐn )。由于受(❕)到(😀)(dào )《国家的诞生》惊人卖(mài )座(🔣)的(🥞)(de )影(🍑)响，格里(lǐ )菲思遂再接(jiē )再励拍(🏖)摄一(yī )部场面更大，内(nè(💤)i )容(🥠)更(🐈)有(yǒu )深度的影片。他(tā )花(🏳)了(💯)一(🥒)(yī )年半(bàn )的时间，动(dòng )用(🏠)了(🍊)二(🏯)百万(wàn )美元(yuán )的制作(zuò )费(🚋)，拍(🔤)摄(😫)成片长(zhǎng )220分的巨(jù )片（原版(🎐)长480分）。可惜本片(piàn )在1916年(👥)9月(🌗)于(🧦)纽(niǔ )约公映时，并没(méi )有受(🕦)到(🚊)预(🚶)期的欢迎。本(běn )片所以卖(🛳)座(✍)(zuò )失败，原因(yīn )很多，最主(zhǔ(🎑) )要(🍋)是(⏭)格里菲思在(zài )本片所(suǒ )采用(yò(💰)ng )的故事结构(gòu )太复杂，导(🈚)(dǎ(🕥)o )演(🐭)手法已超(chāo )越当时观众(🚽)的(😿)接(💉)(jiē )受能力(lì )。加上主题过(🗽)于(🙋)(yú(🌝) )严肃，其中(zhōng )提倡的宽容(ró(🥉)ng )和(🔐)反(🥎)对暴力(lì )的论(lùn )调跟当(dāng )时(🏚)美国的高昂参(cān )战情绪(✖)(xù(📋) )引(🍍)起冲突，因此(cǐ )未能受到普(🖼)(pǔ(💥) )遍(🏄)欢迎。不(bú )过，人们却(què )不(❓)能(💗)(néng )否认这是一部电影艺术(⛲)(shù(🐮) )上(🌊)的不朽杰(jié )作。《忍无(wú )可忍》由四(🐀)(sì )段不同时代发生(shēng )的(🏋)故(🤗)事(🤪)(shì )组成(chéng )：巴比伦的(de )没(😸)落(🎡)、(🍈)耶稣(sū )基督的受难(nán )、(🏆)法(🦊)国(📓)的圣巴托(tuō )罗米宗(zōng )教大(👥)屠(🌞)杀(🌺)，以及(jí )二十世(shì )纪初(chū )美国(🌨)的劳资(zī )冲突。格氏(shì )描(🗝)述(🌬)(shù(🌼) )他自己(jǐ )的构想：“四个(gè(🉑) )大(📂)循(⛄)环(huán )故事好象四条河(hé(💑) )流(😮)，最初是(shì )分散而平静(jìng )地(📙)流(💫)动(🏻)着，最后(hòu )却汇合(hé )成一条强大(🈂)汹涌(yǒng )的急流"。本(běn )片一(📵)开(✈)始(📧)，是一个母亲(qīn )推摇篮的(⭐)镜(🅰)头(🛠)，插入惠(huì )特曼(màn )的诗句(🍳)：(🔥)“如(🏷)今如同昨(zuó )日，世间的(de )人情(😶)变(📍)化(🌷)循环无(wú )穷。摇(yáo )篮摇动着，为(🏙)人(rén )类带来(lái )同样(yàng )的(🆖)激(💝)情(🚁)，同(tóng )样的优乐悲(bēi )欢。"这字(👠)幕(🌿)(mù(🧣) )之后，展开第一(yī )个作为(🗼)(wé(🗑)i )全片基调的现代(dài )篇故事(🍆)。随(🌤)(suí(✅) )着剧情的进(jìn )展，导演经(jīng )常切(🤸)(qiē )入另外(wài )三段故事，成(💣)为(🤛)(wé(🥧)i )四段平行发(fā )展。最后，画(🎺)面(🔣)仍(🎟)回到(dào )母亲和摇篮，呈现(🤫)出(🏖)“人类(lèi )从不容异已(yǐ )到宽容(⭐)的(🐵)进(🗞)(jìn )化"的主题。作为故事核心的(🗾)(de )现代篇(piān )“母与法"，内容(ró(👽)ng )描(💰)述(🕎)四(sì )个失(shī )业的男女工(gō(😼)ng )人(🧖)从(👙)小镇来(lái )到都(dōu )市中找(💼)(zhǎ(❎)o )工作，有人误入(rù )歧途，有人(📗)渴(🤗)望(🛁)过正常(cháng )的家庭生活(huó )。正派的(🛤)男(nán )主角被诬陷(xiàn )为杀(🥁)(shā(📣) )人(👌)凶手(shǒu )，被捕后判处死(sǐ(🥤) )刑(🤦)。行(🌹)刑之(zhī )日，真凶良(liáng )心发(🚚)现(😋)，在(zài )最危险的一刻将男主角(🔳)(jiǎ(🔠)o )救(🕝)了(le )出来。从这(zhè )个故事中，可以(🐃)看出二(èr )十世纪初期美(🥘)国(💳)(guó(🗃) )的一般(bān )社会状况：农村(🕰)(cū(🎅)n )不(🌡)安定(dìng )，都(dōu )市阴暗而复(😓)(fù(✅) )杂、劳工生(shēng )活困(kùn )苦、(⚓)法(🚟)(fǎ(😜) )律问题重重等。格里菲(fēi )思在本(🏒)片中进一(yī )步表演他在(👁)(zà(👂)i )“平(🤗)行剪接(jiē )"方面的杰出(chū(✔) )才(🛁)能(👘)(néng )。他利(lì )用四段故事中(🧗)的(🚧)(de )类似情景作(zuò )比较剪接，使分(🎀)散(📺)的(🏝)情(qíng )节显得统一有力，并因(yī(⛺)n )类似(sì )镜头的多次(cì )重(🚡)复(🥪)而(👉)使剧(jù )情产生出热(rè )情奔(🔞)放(💝)的(📜)情绪高(gāo )潮。譬(pì )如有一(✈)段(🤖)镜头是(shì )这样剪(jiǎn )接的(de )：(🌇)一(⏯)、(🚖)耶稣(sū )基督被士兵(bīng )押着(zhe )前进(♊)；二、巴比伦的村(cūn )女(🤫)向(😁)情(➰)(qíng )侣奔告国王的危(wēi )急(⬇)；(🥌)三(😓)、现(xiàn )代的少女拚(pīn )命(🔏)为(🖌)救她的(de )爱人(rén )而奔走(zǒu )；四(🌎)、(👻)在(🐮)巴黎大(dà )屠杀中，新(xīn )教徒企(🖖)图在(zài )群众骚乱的(de )街道(🌺)上(📂)援(🍯)救未婚妻。格(gé )氏利(lì )用移(🐬)动(💁)摄(📂)影(yǐng )、镜头、划(huá )过镜(🤒)头(⚓)等技(jì )巧连接四段平行(há(🐔)ng )发(📡)展(🏨)的(de )情节，节奏紧凑(còu )流畅。格氏(shì(🛥) )甚至在个别(bié )的故事片(💙)段(📜)(duà(㊗)n )中使(shǐ )用短短(duǎn )的倒叙(💝)技(🤼)巧(🌉)（FLAXHBACK）来交代(dài )情节，显见(🚌)他(🍈)的(de )“电影文法(fǎ )"的确比同时(shí(🏮) )代(🌵)的(🛃)导演高出很(hěn )多。除(chú )此之外(🛄)，格氏在(zài )本片中亦首(shǒ(🍞)u )创(🍲)“大(🈶)特写(xiě )"和“大远景(jǐng )"的镜头(🎍)，以(🌤)加(🦗)强观众的心理(lǐ )感觉（(🦇)如(🔓)：特写女人紧(jǐn )握的手，表(🧒)(biǎ(💃)o )现(🍁)她在听到丈夫(fū )判死刑(xíng )的消(🛌)息时的焦急(jí )；以大远(🕞)景(⛪)(jǐ(🎬)ng )拍摄资本家(jiā )独坐办公(💋)室(🐲)中(📋)，暗示他(tā )庞大的支配权(⛺)力(🤕)(lì )）。他(tā )又利用影片染色(sè(🎇) )的(📀)方(🔽)法来加(jiā )强各种特殊(shū )效果(♿)（如夜景用(yòng )染青色(sè(🀄) )的(👶)影(😳)片、点灯的(de )房内用染黄(huá(🥪)ng )色(🛷)的(🌋)影片、巴比伦城火(huǒ )烧(👗)时(✍)用染红色的影片）。这(zhè )种(🌩)影(🖥)片(🐙)染色(sè )方法虽非格(gé )氏首创，但(🎫)(dàn )却没有人像他这(zhè )样(🕣)在(♊)一(♍)(yī )部电影片中大胆(dǎn )的(🏴)全(🔛)面(🤞)采用(yòng )。令人惊异(yì )的是(🖋)，这(⏭)样一部(bù )内容复(fù )杂的大制(🚫)作(🅰)竟(⛑)然(rán )由始至(zhì )终没有一个完(🔼)整(zhěng )的剧本，而(ér )只是靠(☔)格(🚹)里(🍆)(lǐ )菲斯的临场即兴(xìng )创作(❗)而(🌴)(é(🍨)r )成。此外，本片(piàn )也没有任(🖲)何(🍗)(hé )布景的设计(jì )图，但格氏(🌞)(shì(💛) )却(⏰)能够命人搭盖出宏伟得哧(chī(🕰) )人(🍛)的巴比伦(lún )布景。在拍(pā(🛄)i )摄(👕)巴(🔅)比伦攻(gōng )耶路撒冷的场(💢)面(👋)(mià(🦓)n )时，更(gèng )在一天之内同时(📬)(shí(📰) )动用一万五(wǔ )千名临时演(yǎ(🕜)n )员(🛑)和(📓)二百五十辆(liàng )战车。他这种大(🥢)手笔使(shǐ )得当时(shí )意大(🕉)利(🐗)出(🐋)品的历(lì )史巨片也瞠(chēng )乎(🦅)其(⬆)后(🏥)，由(yóu )此也可以看出格(gé(🐐) )氏(⏩)对自(zì )己的创作能力如(rú(🤠) )何(🔴)自(♒)信。或(huò )许正如格氏(shì )自己的(⛳)格(🦔)言(yán )所说：“艺术经常都(🙊)是(🍘)革(🎅)命(mìng )性的、爆炸(zhà )性的(👺)，以(😢)及(🚤)(jí )轰轰烈烈的(de )"。看《忍无可(🔧)忍(👤)(rěn )》一片(piàn )幕前幕后的表现(xià(🐵)n )，可(😹)知(🖤)格里(lǐ )菲思的确是(shì )一个身(🥁)体力行的(de )艺术家(jiā )。 I saw this at the London Film Festival in 1995 or 1996. The print had been lovingly restored from sections scattered around the world, including some from archives in Moscow. Somebody near me said "I'm really looking forward to this", which was understandable, since the director, as Michael Curtiz, later made some jolly swashbucklers and Casablanca, and the LFF had previously come up with several almost unknown silent masterpieces, including Jacques Feyder's Visage d'enfants. 记录(🎞)摄(⏳)影(🐽)师雇(gù )用前罪(zuì )犯和经验(🤫)丰(🚅)富(👔)的(de )演员体验犯(fàn )罪受害(🉐)者(📑)和(hé )犯罪者时发生的(de )事件(🌍)。 In pre-WW1 England, a youngster is expelled from a naval academy over a petty theft, but his parents raise a political furor by demanding a trial. 剧(🌸)情(😀) Sigrid, A French dancer, diagnosed with a weak heart, is ordered by her doctor never to dance again. But when her dancing skills are needed by her lover's father to help quell a native uprising on the East Indian frontier, she determines to dance whatever the cost. L'un des premiers chefs d'oeuvre du réalisme cinématographique. Il s'agit là de la première version de l'oeuvre de Zola. L'originalité du film tient à sa longueur (107 mn) tout à fait inhabituelle pour cette époque ainsi qu'au tournage en extérieur, sur la fosse 5 d'Auchel. "A corrupt young man somehow keeps his youthful beauty eternally, but a special painting gradually reveals his inner ugliness to all." Captain Wynnegate leaves England, accepting the blame for embezzling charity funds though knowing that his cousin Sir Henry is guilty. Out West he and the Indian girl Nat-U-Rich save each other from the evil cattle rustler Cash Hawkins and marry. Lady Diana shows up to announce Sir Henry's death. After Nat-U-Rich's suicide Wynnegate takes his half-breed son and Lady Diana back to England as the new Earl of Kerhill. Written by Ed Stephan