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撒(sā )旦狂(kuáng )想(xiǎ(🔢)ng )曲(🈹) Rapsodia Satanica（1915）是由Nino Oxilia的最后执导(🐂)的(♑)一部电影(yǐng )，此(cǐ )片(🔬)(pià(🙍)n )无疑是早期意大利电(🍀)影(🕉)最优秀的(de )成果(guǒ )之(🛵)(zhī(👋) )一。 中国明代古装历史(🍯)影片 诗人挖(wā )目记(jì(📣) ) 前(🛃)(qián )法总(zǒng )理克理满(🌙)沙(♊)编剧 留法中国电影明(🚎)(mí(🦁)ng )星(xīng )徐琥(hǔ )主演 前法(🚢)总理克理满沙在欧战(📰)(zhà(🎛)n )和议(yì )既(jì )成之(zhī(🍎) )后(👒)，深痛人类残杀之罪恶(👶)，联(🐠)(lián )想所(suǒ )及，觉世界(⏺)实(🐆)现之事实，皆足使明(mí(🛥)ng )眼(📽)人(rén )触(chù )目伤(shāng )心(🎺)，退(📌)著《诗人挖目记》（The Veil of Happiness）一(💱)剧(jù )，以 中国清代装饰(🐅)出(🈶)演于法国国家(jiā )大剧(🍋)(jù )场(chǎng )，颇(pō )受法人之(🗼)欢(🥙)迎。时中国和会总(zǒ(😅)ng )代(🤗)表(biǎo )陆(lù )征祥(xiáng )氏在(🌔)法(📉)， 喜其剧情寓意深奥，嘱(🚋)(zhǔ )林(lín )纾译(yì )为华文(🎖)，题(⏮)名《膜外风光》。书既(jì(🥔) )发(🤠)(fā )，留(liú )法学生争往观(📩)剧(👿)，见演员垂辫(biàn )之状(🌝)(zhuà(👖)ng )，有(yǒu )辱国体，退而大哗(🏋)，举(👁)徐琥告(gào )克氏(shì )，谓(🌪)剧(🆔)(jù )情所述，系明代事，不(😀)可故误(wù )。克(kè ) 氏(shì )乃(🍁)请(🌆)徐为顾问，命剧场以明(🎨)代古(gǔ )装出(chū )演(yǎn )，法(🚍)(fǎ(🚠) )人欢迎，更见热烈。巴(🎅)黎(💎)汉蜜(mì )莱影(yǐng )片(piàn )公(🎛)司(🦗)(sī ) （Hamalaya Film Co.）总导演欲摄演(🛤)之为影戏，聘(pìn )任(rèn )徐(🕳)琥(🗣)(hǔ )为副导演，并请主(🥜)演(🌩)剧中张怡(yí )一角(jiǎo )。 巴(⏫)黎(🔴)(lí )总领事廖叙时之(📂)弟(🍔)廖世勤，及(jí )留法(fǎ )美(⛰)术(🏼)(shù )学生华女士赵庭(🛤)良(🐧)李福昌等，闻讯(xùn )自(zì(🀄) )告奋(fèn )勇，分任剧中诗(🌊)春(📸)夫人、杜夫(fū )、李(lǐ(🚎) )刚(gāng )、赵犯诸角，历时(😷)十(🥧)余月，用费(fèi )数十(shí(😜) )万(🎨)(wàn )，全(quán )剧始成。出演之(👂)日(🔹)， 巴黎全市(shì )，如(rú )中(🤢)(zhō(🔫)ng )狂热(rè )。今本院以巨价(🧖)购(🐅)运来沪，定三(sān )月(yuè(⭐) )十(😒)三(sān )日开演。凡欲认识(🌃)克(🥓)理满沙氏(shì )之政(zhè(🍡)ng )治(🎒)(zhì )眼光(guāng )，及领略剧中(💏)之(🍘)哲学意味者，不可(kě(😶) )不(😬)看(kàn )此明代古装历史(🏹)片。静安寺路(lù )夏令(lì(👟)ng )配(🥔)(pèi )克戏(xì )院 启 （《申报(🌗)》一九二六年三(sān )月十(👭)(shí(🚁) )一(yī )日头版） 法国(🈴)电(🍜)影导演。先锋派(pài )电影(👬)(yǐ(🤾)ng )的(de )代表(biǎo )人物之一(🎫)。1897年(😡) 3月25日生于华沙，1953年卒(zú(🆚) )于(❣)(yú )巴黎(lí )。爱浦斯坦(📫)原(🚸)是散文作家和哲学(xué(🍹) )家(🍒)(jiā )，曾(céng )在L.德吕克主(🔖)办(🌥)的电影杂志上发(fā )表(🏎)文(🤘)(wén )章(zhāng )热情(qíng )称颂(🛎)“第(🐐)七艺术”。1922年，他首次执(zhí(👕) )导了(le )《巴斯德传》。次年，执(🚒)导(😡)了(le )根据(jù )巴(bā )尔扎(zhā(🏮) )克小说改编的《红色旅(🕍)店(🔢)》以(yǐ )及《忠(zhōng )实的心(👧)》。这(🌌)些影片在蒙太奇手(shǒ(🤽)u )法(🍸)的(de )应(yīng )用上(shàng )十分(🍤)精(🏤)彩，获得了巨大成功。爱(🕰)浦(✔)(pǔ )斯(sī )坦成(chéng )为先(🍂)锋(🔊)时期印象主义学派的(🍛)重(🏊)要(yào )人(rén )物。此后爱(🥞)浦(😂)斯坦开始拍摄了一些(🤦)(xiē )商业(yè )影(yǐng )片。但是(🍚)他(🙈)从未完全抛弃对电影(🧡)艺术的(de )探索(suǒ )：1927年他(😲)导(💴)演了《┩$×11》、 《三(sān )面镜(⛲)(jìng )》，次(cì )年导演了《于谢(🚹)家(⏳)的没落》，其中(zhōng )仍使(🛹)(shǐ(👁) )人感受到先锋派风格(🛄)。 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. Salomé(🕐) (1923), a silent film directed by Charles Bryant and starring Alla Nazimova, is a film adaptation of the Oscar Wilde play of the same name. The play itself is a loose retelling of the biblical story of King Herod and his execution of John the Baptist (here, as in Wilde's play, called Jokaanan) at the request of his stepdaughter, Salomé, whom he lusts after. Edith Hardy uses charity funds for Wall Street investments in hopes of buying some new gowns. She loses all the money and borrows from wealthy oriental Tori. When her husband gives her the amount she borrowed, Tori won't take it back, branding her shoulder with a Japanese sign of his ownership. She shoots him. Her husband takes the blame. In court Edith reveals all to an angry mob. Written by Ed Stephan {stephan@cc.wwu.edu} A young woman marries the wastrel son of a British aristocrat. Her husband, who has been disinherited by his father, loses what little money he has left gambling in casinos and then dies, leaving her penniless and with an infant son. When her former father-in-law tries to get custody of the child, she leaves him with a couple she trusts, but when she later goes to reclaim her son, she can't find the people she left him with.