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The film depicts, in three acts and an epilogue, the story of a clumsy clerk, Siegmund Lachmann (Ernst Lubitsch , who, after been fired for having broken accidentally the shop window where he works, goes to Berlin in order to get a new job in a prestigious fashion salon. Our hero finds himself surrounded by Teutonic beauties, that is to say, fat fräulein models that wear the latest fashions of the 1910's. Pretty soon he will be attracted to a young rich girl but with the opposition of her father. 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. Chief Ahmad (fiesty Valentino) urgent desire of British socialite Diana (Ayers), so he kidnapped her, put her to his luxury desert tent palace. Free Diana from his www. 5233tv.com warm hug and the desire to be released. Only in the desert bandits kidnapped Diana realized that she had fallen in love with Ahmad, who came to save her, at the crucial moment. A minister is malevolent and sinister behind his righteous facade. He consorts with, and later extorts from, the owner of a gambling house, and betrays an honest girl, eventually driving them both to ruin Eva lives in the sinister Tower with her father, a mad inventor, and her grandfather. The aviator Wilfred Durian and his lovely wife live nearby in the town. But Durian's famous flight across the Australian desert was not all it seems... and when his 'dead' partner Arved Holl is rescued by Eva and comes to claim his former fiancée's hand, the whole house of cards is about to come tumbling down. Meanwhile, Eva's own family history is not quite as she had always believed... 德(dé(🚶) )国(🍠)表(biǎ(🔗)o )现(xiàn )主(🖇)义代表作品 1948年，济南(🖼)解放(⛄)前夕。兴(💋)业火(huǒ )柴厂老(lǎo )板(🐶)郭化(🕔)(huà )雨（(🎚)康(kāng )景玉 饰(shì )）为(wéi )让(😮)工人多(🥔)干活，竟偷偷改动钟表时(🆘)间(jiān )，以(👟)拖(tuō )延下班(bān )。工人(rén )们发(🐟)现(xià(🔢)n )后，非常(⛑)气愤。大年夜，童工二(💲)丫（(👩)王璐(lù(🚫) ) 饰）一(yī )家情景(jǐng )凄惨(🛥)，弟弟生(🐂)(shēng )病，爸(bà )爸王青山（梁(🐊)音 饰）(⛴)饿着肚子在街上拉车(chē(👔) )。串(🌄)门(mé(💃)n )的小玉(🧘)(yù )（刘青(qīng ) 饰）将(🎼)(jiāng )情(🎒)况告诉(🐬)了工厂地下党员冯(👒)敏，冯(🤭)敏带着(➕)(zhe )过年的(de )东西上(shàng )门看望(♌)(wàng )，并出(💣)(chū )钱治好了弟弟的病。她(💒)还给小(⏹)玉和二(🌹)丫讲(jiǎng )卖火柴(chái )小(🕟)女孩(😺)(hái )的故(😣)事(shì )，激发(fā )她俩(liǎ(📎)ng )对旧(📵)社会的(🚢)仇恨和对美好生活的向(📲)往(wǎng )。过(⛵)完(wán )年上工(gōng )后，冯(féng )敏(🐱)带领(lǐ(😫)ng )工人(rén )们(men )和贪婪的资本(👭)家(📕)展开(⛄)机智斗(🙁)争。小(xiǎo )玉利用(yòng )到(🍊)郭化(🎺)(huà )雨家(🧚)当(dāng )佣人的(de )机会(huì(👚) )，巧取(🍎)其名片(🥀)，为解放区提供了大量当(🏏)时的(de )禁(🤞)品——火柴(chái )...... 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. Survives complete with color sequences. Directed by Cecil B. DeMille. (Color was billed as the "DeMille-Wyckoff Process")