复旦大学配音系女生 第1集

This charming film is practically unknown, but it is one of Klein-Rogge's best performances, as he plays a romantic lead with a dash of villainy. Klein-Rogge is the feared Master who lives in a bleak castle on top of a mountain, and the villagers in the valley below dread his ill-omened arrival at every wedding. The story concerns one couple who marries despite the master's baleful influence, only to have him crash their wedding party and bring about the death of the bride. The bride's sister, seeking revenge, tries to kill the Master but instead they fall in love, as she realizes that he is not really evil, but blighted by a loveless existence. Their love is ill-starred, however, as the Master kills an insolent guest at their wedding who takes liberties with his bride, and this is followed by a peasants' revolt, where the castle is stormed and the Master captured. In the end, the lovers escape, but their love is finally doomed. The year before this film, Klein-Rogge had his great triumph as the evil Dr. Mabuse in Fritz Lang's 'Dr. Mabuse, Der Spieler', and his most memorable roles have been as villains. This movie demonstrates what a really wide range he had as an actor - he starts off with his very characteristic glowering villain, but once the girl enters his life he demonstrates both joy and tenderness, as well as grief and pain when he thinks he has lost everything. I don't know if such an obscure film could be a candidate for restoration, but it would be a worthy project, as the sets, costumes and many of the performances are as classic examples of expressionism as one could hope to see. Hilde Warren, a famous actress, is impregnated by a convicted murderer and becomes plagued by visions of an extremely gaunt and sepulchral Death. Upon discovering her child is the image of its criminal father, Hilde must decide whether to allow it to live or to kill it and risk the embrace of Death himself. Walt Disney's 7th and last retelling of an old British fairytale from the Laugh-O-Gram Studio. Jack is trying to impress Susie by showing her a story how he will win her heart. 本(běn )片又(yòu )译作(🌐)《党同伐(🌯)异(yì )》，是(🥘)D．W．格(🎷)里菲思(📅)最具创(📄)作野(yě(📂) )心的作品。由于(🔝)(yú )受到(dào )《国家(jiā )的诞(dàn )生》惊人卖座的(👕)(de )影响(xiǎng )，格里菲(💊)思遂再(🌧)接再励(🛏)拍摄一(🤜)部场面(🖼)更大，内(🚵)容(róng )更(🍌)有深度的(de )影片(piàn )。他花了一(yī )年(😇)半(bàn )的时(shí )间(🍮)，动用了(🍍)(le )二百万(🚉)美元的(🖇)制(zhì )作(👤)费，拍摄(🖖)成片(pià(🎂)n )长220分的巨片（原(yuán )版(👍)长(zhǎng )480分）。可惜(xī )本片(piàn )在1916年9月(🖨)于纽(niǔ(🦋) )约公(gō(🤚)ng )映时，并(🕰)没有受(🖊)(shòu )到预(📸)期的欢(⏱)迎。本片所以卖(😸)座失(shī )败，原因很(hěn )多，最主(zhǔ )要是格(gé(🙎) )里菲(fēi )思在(zà(💬)i )本片所(🍖)采用(yò(🎹)ng )的故(gù(😯) )事结构(🕙)太复杂(♍)，导演手(📠)法已超越当时观众的(de )接受(shòu )能(🌡)力。加上(shàng )主题(🛬)(tí )过于(🎰)严肃，其(🍀)中(zhōng )提(🐨)倡(chàng )的(💏)宽容和(🙃)反(fǎn )对(🤷)暴力的论调跟(gēn )当时(🏙)美国的高昂(áng )参战情绪引起冲(🚕)(chōng )突，因(🔈)此未(wè(🕸)i )能受(shò(🍡)u )到普(pǔ(🥪) )遍欢迎(😬)。不(bú )过(💏)，人们却不能否(⭐)认(rèn )这是一部电影艺术上的不朽杰作(🎩)(zuò )。《忍无可(kě )忍(🛬)》由四(sì(🍟) )段不同(♎)(tóng )时代(🌌)(dài )发生(💵)(shēng )的故(🦑)事组成(🕰)(chéng )：巴(bā )比伦的没落、耶稣基(🏴)督的受难、法(🥨)国的圣(🚎)巴(bā )托(🔓)罗(luó )米(😜)宗教大(❔)屠(tú )杀(🐮)，以及二(🦅)十世(shì )纪初(chū )美国(guó(🚫) )的劳资冲突(tū )。格氏描述他自(zì(🌾) )己的构(🆕)想：“四(🏢)(sì )个大(😎)循环故(❓)事好(hǎ(😴)o )象四(sì(⛎) )条河流(liú )，最(zuì(🎨) )初是(shì )分散而平静(jìng )地流(liú )动着，最后(👧)却汇(huì )合成一(⛷)条强大(👵)汹涌的(🌇)急流"。本(👞)片(piàn )一(🎒)开始，是(🔉)(shì )一个(💽)(gè )母亲(qīn )推摇篮(lán )的镜(jìng )头，插(♎)入惠特曼(màn )的(🥫)诗(shī )句(🐻)：“如今(💯)如同昨(🏬)日，世间(🤜)的人情(📥)变化循(🔂)环(huán )无穷(qióng )。摇篮摇动(🍰)(dòng )着，为人类带来(lái )同样(yàng )的激(😂)(jī )情，同(👦)样的(de )优(🥄)乐悲欢(💢)。"这字幕(📘)之后，展(🈸)开第(dì(🚔) )一个作为全片(🍛)基(jī )调的(de )现代篇(piān )故事(shì )。随(suí )着剧情(🕕)的进(jìn )展，导演(🆖)经常切(🐈)入另(lì(🏚)ng )外三段(🌾)故事，成(🙁)为四段(❔)平行发(💘)展(zhǎn )。最后，画(huà )面仍(réng )回到(dào )母(🤓)亲和(hé )摇篮(lá(🌧)n )，呈(chéng )现(🆎)出“人类(🐅)(lèi )从不(🧜)(bú )容异(🏿)已到宽(🌩)容的进(🗻)化"的主题。作为故事核(😴)心(xīn )的现(xiàn )代篇“母与(yǔ )法"，内容(⤴)描述四(💑)(sì )个失(🕛)(shī )业的(😐)(de )男女工(🖍)人从(có(🐩)ng )小镇来(🏍)到都市中找工(😰)作，有人误(wù )入歧途，有人渴(kě )望过(guò )正(🕒)常的(de )家庭(tíng )生(🛸)活(huó )。正(💸)派的男(💄)(nán )主角(🧠)(jiǎo )被诬(🐥)陷为杀(❓)人凶(xiō(🔳)ng )手，被捕后判处死刑。行刑之日(rì(🤛) )，真凶良心(xīn )发(🔏)现(xiàn )，在(🎥)(zài )最危(🥁)险(xiǎn )的(🏘)一(yī )刻(🚉)将(jiāng )男(🍿)主角救(😵)了(le )出来(lái )。从这个故事(🈲)中，可以看出二十世纪初期美(mě(🈹)i )国的(de )一(🦊)般社会(🎵)状(zhuàng )况(💯)：农村(💕)不安定(🍛)(dìng )，都(dō(🔖)u )市阴(yīn )暗而复(❎)杂、劳工生活困苦、法律问题重重等(🕍)(děng )。格里菲思在(📙)本(běn )片(📧)中(zhōng )进(📓)一步(bù(🏒) )表演(yǎ(🍡)n )他在(zà(😷)i )“平行剪(♎)接(jiē )"方面(miàn )的杰出才能。他(tā )利(🐷)用四段故事中(🚓)的类似(🍴)情景作(🖖)比(bǐ )较(⛸)剪接，使(🖲)(shǐ )分散(🌌)(sàn )的情(🈚)(qíng )节显得(dé )统一(yī )有(🗻)力(lì )，并因类似(sì )镜头(tóu )的多次(👙)重复而(🎦)使剧情(🚦)产生出(🥛)热情奔(🚒)放的情(🛄)绪(xù )高(🎺)潮(cháo )。譬如有一(😷)(yī )段镜(jìng )头是这样剪(jiǎn )接的(de )：一(yī )、(👞)耶稣基督(dū )被(👵)士兵押(🏩)着前进(🐃)；二、(🕢)巴比伦(😮)的(de )村女(🦄)向情侣(🚽)奔告(gào )国王(wáng )的危急(jí )；三(sā(🤞)n )、现(xiàn )代的少(🍗)女拚(pī(😅)n )命为(wé(🐲)i )救她的(♋)爱人而(🛋)奔(bēn )走(♎)；四、(🈁)在巴黎大屠杀中，新教(📰)(jiāo )徒企图在群众骚(sāo )乱的(de )街道(🌈)上(shàng )援(🍐)救(jiù )未(🐮)婚(hūn )妻(🥞)。格氏利(🤨)(lì )用移(🗝)(yí )动摄(🖼)影、镜头、划(💣)过镜头等技巧连接四段平行发(fā )展的(💮)情节，节奏(zòu )紧(🦐)凑流畅(👵)。格氏(shì(📢) )甚至(zhì(🤯) )在个别的故(gù(🎐) )事片段(💠)中使用短短的倒叙技巧（FLAXHBACK）来(🤺)交代情节，显见(❤)(jiàn )他的(🧘)“电影(yǐ(📞)ng )文法(fǎ(🏿) )"的确比(🍘)同时(shí(🚍) )代的(de )导(🍗)演高出很多。除此之外(🥌)，格氏在本片中亦首创(chuàng )“大特写(😈)"和“大(dà(🕖) )远景(jǐ(🤝)ng )"的镜头(📟)(tóu )，以(yǐ(🍂) )加强(qiá(🧛)ng )观众的(🥔)心理(lǐ )感觉(jià(💬)o )（如：特写女人紧握的手，表现她在听(🤕)到丈夫判(pàn )死(🚍)刑的消(🚕)息(xī )时(🚬)的(de )焦急(🔎)；以大(dà )远景(⤴)(jǐng )拍摄(🐋)(shè )资本家独坐(zuò )办公室中，暗示(🌅)他庞大的支配(👄)权力）(🛰)。他又利(🛎)用(yòng )影(🐘)片(piàn )染(🌒)色的方(♐)法(fǎ )来(🐽)加(jiā )强各种特殊(shū )效(👮)果(guǒ )（如夜景用染青(qīng )色的影(📉)片、点(🌷)灯的房(👡)内用染(💍)黄色(sè(💍) )的影片(♍)、巴比(😝)伦(lún )城火(huǒ )烧(♐)时用(yòng )染红(hóng )色的(de )影片）。这(zhè )种影(yǐ(👚)ng )片染色方法虽(🚿)非格氏(🐷)首创，但(🏼)却没有(⏲)人像他这样(yà(🕞)ng )在一部(🥣)电影(yǐng )片中(zhōng )大胆的全面(miàn )采(🅱)用(yòng )。令(lìng )人惊(❄)异的是(🐸)(shì )，这样(🤢)一部内(🤥)容复杂(🍩)的大制(🕑)作竟然(💩)由始至终没有(yǒu )一个(🏅)(gè )完整的剧本(běn )，而(ér )只是靠格(🅰)里(lǐ )菲(😝)斯(sī )的(🔴)临场即(🏛)兴创作(🦖)(zuò )而成(💡)。此外，本(📑)片也没有任何(😁)布(bù )景的设计图，但(dàn )格氏(shì )却(🏕)能够(gò(🎢)u )命人(rén )搭盖(gà(👧)i )出宏伟(🎈)得哧(chī(🤐) )人的(de )巴(😧)比伦布景。在拍(👻)摄巴比(🐸)伦攻耶路撒冷的场面时(shí )，更在(😓)一天(tiān )之内(nè(🌸)i )同时动(🏖)用一(yī(❇) )万五(wǔ(🕓) )千名(mí(👻)ng )临时演(🌀)员和(hé(🏚) )二百五十辆战车。他这(💘)种大手笔使得当时意大利(lì )出(👤)品(pǐn )的(🕳)历史巨(🌏)片(piàn )也(👜)瞠(chēng )乎(🥥)其后，由(🐲)(yóu )此也(🧔)(yě )可以看出格(🏓)氏对(duì )自己的创作能力如何自(🥟)信。或许(⚪)(xǔ )正如格氏自(🏦)己的(de )格(🚧)言(yán )所(🏀)说：“艺(🛳)(yì )术经(jīng )常都(💧)是革命(💥)(mìng )性的(de )、爆炸性的，以及轰轰烈(🖲)烈的"。看《忍无可(🐣)忍》一片(🚹)幕前幕(🙆)(mù )后的(😯)(de )表现，可(⭐)知(zhī )格(😀)里(lǐ )菲(🥨)思(sī )的确是一个(gè )身(🌵)体力行的艺术家。 搏击冠军李子(❄)威受伤(🙆)后成为(🔠)(wéi )一名(🎳)(míng )快递(🎹)小哥，四(👔)肢(zhī )发(🕳)达头脑简(jiǎn )单的(de )他被某黑科技集(jí )团盯上将(🈺)他变成(🕐)改造人执行秘(✂)密(mì )任(🎏)务，ysgou.cc不料(🚋)卷入(rù(🔑) )一场(chǎng )隐藏十(shí )年的(🧢)(de )局中(zhōng )局。 Bargeman Louveau finds an abandoned boy, Victor, and with the authorities permission takes him back to his own family where he raises him. 10 years later Victor and Louveau's daughter Clara have fallen in love, and it is then that Louveau is called to Paris, where it has been discovered that Victor is really the son of Maugendré, a charcoal shipper on the Nivernaise canal. Meanwhile, Victor protects Clara when a jealous bargehand attacks her and he manages to save the family barge from crashing into the lock. Returned to his real father, Victor is sent away to be educated but misses Clara and his life on the barges. When Maugendré realizes this he lets him return and when they are married he gives Victor and Clara a barge of their own.