一代宗师影评

Lisa Ryder是一个年轻的(📄)女(nǚ )警察，最(🍦)近(😤)晋升为侦探(📬)(tàn )，此次(cì )她被派往加州(🐹)的(de )小镇上(shà(🍫)ng )去(🔷)追踪一个被(🎷)警(jǐng )察成为(wé(🛵)i )冷面杀手(🍌)的凶犯(fàn )，但是(🎓)(shì )最终她发(🦉)现(👉)这个(gè )杀人(🎶)凶(xiōng )手不过是个幻想(xiǎ(🥌)ng )中的人(rén )物(🤑). М(💞)олодо(🌛)й челов(👮)ек Ро(🔥)же запо(😩)дозре(🔤)н(🥜) в шуле(🚰)рстве при иг(🐈)ре в кар(🌾)ты. За н(🚠)его зас(🍄)тупа(🛑)ется Ра(🍫)скаль(🚎) В(🗽)енкон(🌴), которы(👎)й ока(🚨)зывает(🔙)ся изв(🏯)е(🆎)стным(🆖) парижским а(🐠)вантю(🎤)р(✴)истом(🦒). Он прот(📺)ягив(🙎)ает рук(🎙)у помо(🛅)щ(💘)и и дае(📇)т совет, как с(🦉)тать «К(🤯)ороле(🌰)м Париж(🆘)а»… In this version of the golem legend, the golem, a clay statue brought to life by Rabbi Loew in 16th century Prague to save the Jews from the ongoing brutal persecution by the city's rulers, is found in the rubble of an old synagogue in the 20th century. Brought to life by an antique dealer, the golem is used as a menial servant. Eventually falling in love with the dealer's wife, it goes on a murderous rampage when its love for her goes unanswered. Written by Doug Sederberg After 16 years' experience on stage, the actor and playwright Curt Goetz (1888-1960) made his debut as a film director and producer with the silent movie Friedrich Schiller - Eine Dichterjugend (1923). Writing razor sharp dialogue was his profession; acting comic parts in the theatre - without having to renounce speech - was his craft. And that is why the silent cinema presented such a special artistic challenge to Goetz, a task whose accomplishment was prompted by a difficult subject: the poet Friedrich Schiller's adolescence. An enthusiast of the spoken word makes a movie about the early life of a powerfully eloquent poet, but has to eschew the cadence of poetry. Under such circumstances, the artistic potential of a film director must prove itself. 安(🎅)娜（阿莱西(xī(🆚) )亚·皮(pí )奥(😤)凡(🔖) Alessia Piovan 饰）的死让(💯)(ràng )整个小(xiǎo )镇(⛹)陷入了恐(🚷)慌之(zhī )中，负(fù(🤓) )责此案的治(🎂)安(⤵)官(guān )圣奇奥(🎊)(ào )（托尼·瑟维洛(luò ) Toni Servillo 饰(✂)）来(lái )到了(💫)镇(❇)上，决心(xīn )要(🐿)靠自(zì )己的努(👛)力查明真(👃)(zhēn )相。 Maude Brooks is in love with an aviator, George Pinckney. Maude tells her father that she intends to marry George, as he is a splendid fellow, but her father will not listen to her. So she decides to elope. Maude meets George at the machine and together they fly up into the air. Mr. Brooks, who has been apprised of his daughter's intentions, starts in pursuit. He also flies in an aeroplane until something goes wrong. Then he has to descend and by devious routes manages to reach the express train, which runs to the neighboring town, where his daughter has fled to be married. An exciting race takes place between the flying machine and the locomotive. When the train reaches the station, Mr. Brooks hails an automobile and arrives at the church just as his daughter has changed her name to Mrs. George Pinckney. He is furious, but Maude's persuasiveness leads him to see things in a different light. 不(bú )明身(😲)份的流浪者(🚕)(zhě(🚭) )来到冰(bīng )岛(🤜)高原的牧场。一位已(yǐ )经(🚲)丈夫(fū )去世富(💿)有的女农(nó(🎍)ng )场主收(shōu )留了(💕)这个流浪(🚍)者(zhě )，让他(tā )做(🕷)雇工。不久，女(🧝)农(🏳)场(chǎng )主爱上(🗄)了这个人(rén )，提(🈶)拔(bá )他为(🤮)总管。肥胖(pàng )的(🦔)村长(zhǎng )曾经(🚸)向(🤺)女农场主(zhǔ(🎖) )求婚，被拒绝了，现在(zài )见(🔗)到这(zhè )个情(📷)况(🏏)，嫉妒异(yì )常(🐵)。他(tā )暗中调查(🙁)出流浪(là(📨)ng )者的身(shēn )份，原(🈸)来这是一(yī(🐅) )个(🏑)在其(qí )他地(🍣)方被判刑的(de )逃犯。女农场(🤽)主放弃了(le )一切(🤰)拥(yōng )有的财(😾)(cái )产，和流浪者(🕊)为(wéi )了躲(🍁)避(bì )追捕，逃向(⏳)深山(shān )老林(🎉)，在(🤭)喷泉和瀑布(🦒)边(biān )上生活(huó )。几年以后(🏫)，他(tā )们生下(xià(🏐) )一个男孩。牧(🌩)羊(🚑)(yáng )人发现(xià(🌝)n )了他们，村长带(dài )人来追(📒)(zhuī )捕他们。女(💹)农(😧)场(chǎng )主和流(🌖)(liú )浪者把孩子(😹)扔下(xià )悬(🐎)崖抛(pāo )入急流(🐺)险滩中，逃进(🐴)大(🔹)(dà )山深处。许(🎻)多年(nián )过去，两个情人老(🌚)去。严冬中(zhōng )，他(🚾)们在山中的(🐬)(de )小屋里(lǐ )，回顾(📞)过去的往(🉑)事，感(gǎn )到了一(📔)(yī )种无名的(🚵)恐(🕙)惧，最后在(zà(🎈)i )可怕的大风雪中(zhōng )死去(🗜)。 For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence.