黑冰电视剧剧情介绍
1925年联(🕵)(lián )合影片公司出(chū(🐝) )品
A masterpiece of comic cinema that shows how the medium can transform and distort, as well as record, reality. Swedish cinema in the period 1917-21 was arguably the most sophisticated in the world, its major figure being the actor-director Victor Sjostrom, whose magnificently downbeat films combined literary adaptation, action, melodrama and astonishing natural backdrops. There are some of us, however, who prefer comedy to action melodramas, Lubitsch to Ford, and for this we turn to Sjostrom's contemporary, Mauritz Stiller, unfairly relegated in history to 'The Man Who Discovered Greta Garbo'.
A middle-class man wants to just once break out of his routine life and his dull marriage and throws himself into the hustle and bustle of the big city nightlife. Attracted to all the temptations, he goes to a dancing bar with a prostitute, where one of her colleagues is trying to take advantage of a naive man during a gambling game. But when the man wins against all expectations, the women lure him to an apartment, rob him and then murder him. The middle-class man followed the women and when the police arrive, they arrest him as a suspect. In desperation he contemplates suicide in his prison cell, but just in the nick of time, the real killers are found. The man who was just looking for a new experience then meekly returns home where his wife, without a word, serves him the warmed up soup from the night before.
Sixth chapter picks up about two weeks after the previous chapter's end, and the trail has gone cold. Another murder in Fontainebleau, possibly by Les Vampires, puts Phillipe on their trail again. Irma Vep and another are soon spotted at a nearby theatre, and followed by Phillipe. Retrieval of a parcel left for Les Vampires informs them that The Grand Vampire is hiding at a hotel under an assumed name, and of a $200.000 robbery of an American. The hotel is located and, ultimately is discovered to be the base of operations of Les Vampires. What appears to be green-tinted bullfighting footage seems out of place. Sepia-tinted scene of Irma Vep rummaging about in hotel room is creepy looking, she is then captured and held for ransom by Moreno-- but the serial is wearing a bit thin now, with treasure maps and hypnotism being thrown into the plot, and the chapters are not only getting more convoluted, but also longer.
本片(pià(😘)n )又译作(zuò(♈) )《党同伐异(🈴)(yì )》，是(shì )D．W．格里菲思(⛷)(sī )最具(🥥)创(🌘)(chuàng )作野心(xīn )的作品(💄)。由(yóu )于受(🐏)到《国家(jiā(🚴) )的诞生(shē(🏩)ng )》惊人(rén )卖(🏇)座的影响，格里(lǐ )菲(😌)思(🎵)遂再接(😨)再(zài )励拍摄(shè )一部场(🚗)(chǎng )面更大(🏯)，内容更有(🌈)深度的(de )影(🕣)片。他花了(le )一年半的(➿)时间(jiān )，动(🥟)用了二百(🔚)万美(měi )元的制(zhì )作费(🌏)，拍摄成(💉)片(🍎)长220分(fèn )的(🏂)巨片(piàn )（原版长480分(😪)(fèn )）。可(kě(🧗) )惜本片在(🌂)1916年9月(yuè )于(🤖)纽约(yuē )公映时(shí )，并没(😧)有受(shò(🍷)u )到(🆑)预期(qī )的欢迎。本片(🐟)(piàn )所以卖(🦁)(mài )座失败(🌜)(bài )，原因很(🌎)多(duō )，最主(🥁)要是格(gé )里菲思(sī(👏) )在(🤼)本片(pià(👏)n )所采用的故事结构(gò(🏊)u )太复杂，导(⛵)演(yǎn )手法(🍍)已(yǐ )超越(🤺)当(dāng )时观众的接受(🤶)能力。加上(📖)(shàng )主题过(🤒)(guò )于严肃(sù )，其中提倡(📕)的(de )宽容和(📣)反对暴力(📝)的(de )论调跟(gēn )当时美(🔂)(měi )国的高(🛁)昂参战(zhà(📹)n )情绪引(yǐ(🚥)n )起冲(chōng )突，因(yīn )此未能(😯)(néng )受到(🔫)普(🥟)遍欢迎(yíng )。不过(guò )，人(🗜)们(men )却不能(🔆)否认(rèn )这(🛢)是一(yī )部(💙)电影艺术(🤩)上(shàng )的不朽(xiǔ )杰作(🐽)。《忍(🥖)无可忍(🔪)(rěn )》由四段不同(tóng )时代(💩)发(fā )生的(💧)故(gù )事组(🎲)成：巴比(🏘)伦的(de )没落、耶稣基(🔵)(jī )督的受(💱)(shòu )难、法(🥗)(fǎ )国的圣巴托罗米宗(📲)教大屠(tú(🦊) )杀，以(yǐ )及(🐐)二十(shí )世纪初美国(🚘)的(de )劳资冲(🌯)突。格氏描(😬)(miáo )述他自(🕒)(zì )己的构(gòu )想：“四个(🛍)大(dà )循(🎧)环(🛬)故(gù )事好(hǎo )象四条(✈)(tiáo )河流，最(🍳)初是分散(🗃)而(ér )平静(🔤)地(dì )流动(🔩)着(zhe )，最后却汇(huì )合成(🐌)一(🌴)(yī )条强(🐦)大汹涌的(de )急流"。本片一(🍹)(yī )开始，是(🕵)一(yī )个母(⛷)亲推摇篮(📷)(lán )的镜头(tóu )，插入(rù(🖱) )惠特曼的(🕧)诗句：“如(✊)今如同昨日(rì )，世间(jiā(😬)n )的人情(qí(🤠)ng )变化循环(🦍)无穷。摇篮摇动(dòng )着(🏘)，为(wéi )人类(🌀)带(dài )来同(👎)样的激情(⛸)(qíng )，同样的优乐悲欢(huā(💞)n )。"这字(zì(🆖) )幕(🕉)之后(hòu )，展开第一个(🍿)(gè )作为全(✊)(quán )片基(jī(🔇) )调的现(xià(🔺)n )代篇故(gù(🈸) )事。随着剧情(qíng )的进(🏂)展(🏛)(zhǎn )，导演(🖕)(yǎn )经常切入另(lìng )外三(🏳)段(duàn )故事(🌮)，成为四(sì(👺) )段平行(há(🌩)ng )发展。最后，画面(miàn )仍(📱)回到母亲(💣)和(hé )摇篮(👕)，呈现出(chū )“人类从不容(🥤)异已(yǐ )到(🎌)宽容的进(💔)化(huà )"的主题(tí )。作为(📚)(wéi )故事核(🤫)心的现代(💘)篇“母与(yǔ(🚢) )法"，内(nèi )容描述(shù )四个(😳)失业的(🧦)男(🦀)(nán )女工人从小镇来(🚶)到(dào )都市(🏛)中(zhōng )找工(🗻)作(zuò )，有人(🤮)误入歧(qí(😶) )途，有(yǒu )人渴(kě )望过(🐵)正(⏲)(zhèng )常的(👱)家(jiā )庭生活。正派(pài )的(🤰)男主(zhǔ )角(😇)被诬(wū )陷(🔓)为杀人凶(📺)(xiōng )手，被(bèi )捕后判处(🛸)死刑(xíng )。行(🦖)刑(xíng )之日(🕣)，真凶良心发(fā )现，在最(🐿)危险(xiǎn )的(🚒)一刻(kè )将(🍫)男主(zhǔ )角救了出来(🚯)。从这(zhè )个(🚯)故事中，可(⏫)(kě )以看出(🍩)(chū )二十世(shì )纪初期美(💫)国的一(🔬)般(🦕)社会状况：农(nóng )村(⌛)不安(ān )定(🚺)，都市阴暗(🍋)而复杂、(🍙)劳工生活(🈷)(huó )困苦、法律问(wè(🎷)n )题(🐧)重重等(😌)。格(gé )里菲思(sī )在本片(🍒)中进(jìn )一(🐗)步表(biǎo )演(🆘)他在“平行(🎹)剪接"方(fāng )面的杰(jié(📍) )出才能。他(🕛)(tā )利用四(📙)(sì )段故事中的类(lèi )似(💇)情景(jǐng )作(🤾)比较(jiào )剪(⛹)接，使分(fèn )散的情节(🦆)显得统一(🗿)有(yǒu )力，并(🍴)(bìng )因类似(🏆)镜头的多次(cì )重复而(🚠)使剧情(🍸)(qí(🛤)ng )产生出(chū )热情奔(bē(📁)n )放的情绪(🥖)高潮。譬如(👨)有一段镜(♑)头(tóu )是这(☔)样(yàng )剪接的：一、(⏸)耶(🧒)稣基督(👼)被士兵押(yā )着前进(jì(🎳)n )；二、巴(♍)比伦的村(😟)女(nǚ )向情(🛀)侣(lǚ )奔告国王的(de )危(💧)急；三、(📊)现代的少(📴)女拚命(mìng )为救她(tā )的(🔨)爱人而奔(🐕)(bēn )走；四(🧦)(sì )、在巴黎大屠(tú(📹) )杀中，新教(❄)徒(tú )企图(🕵)在群众(zhò(🏛)ng )骚乱的街道上援救未(🐮)(wèi )婚妻(🗻)。格(📄)氏利用移动摄影(yǐ(🎴)ng )、镜头、(🕞)划过(guò )镜(😂)头等(děng )技(🎙)巧连(lián )接(🥕)四段平行发展的情(🗺)节(🧣)，节奏紧(👥)(jǐn )凑流畅(chàng )。格氏甚至(🌥)在个别的(👟)故事片段(🏗)中(zhōng )使用(🙌)短(duǎn )短的倒(dǎo )叙技(🏜)巧（FLAXHBACK）来(😁)(lái )交代情(🐡)(qíng )节，显见他(tā )的“电(dià(🔫)n )影文法"的(🤰)确比同时(🔅)代(dài )的导演(yǎn )高出(😙)很多。除此(😒)之(zhī )外，格(🤛)氏在本(bě(💀)n )片中亦(yì )首创“大特写(⛷)"和“大远(🛍)景(📛)"的镜头，以加(jiā )强观(⏱)众(zhòng )的心(🅱)理感觉（(🕌)如：特写(😲)女人紧握(🗳)(wò )的手，表现她(tā )在(🧙)听(👌)到丈夫(😾)判死刑的消息时的焦(🐺)(jiāo )急；以(Ⓜ)(yǐ )大远景(🧟)拍摄资本(🏈)家独坐办公室中(zhō(🐴)ng )，暗示(shì )他(🛅)庞大(dà )的(🔬)支配权力）。他又(yòu )利(🍝)用影片染(🎬)(rǎn )色的方(😐)(fāng )法来加强各种特(🎈)殊效(xiào )果(🥏)（如(rú )夜(🐾)景用染青(🌚)(qīng )色的影(yǐng )片、点灯(🤾)的房(fá(🍥)ng )内(🦒)用染(rǎn )黄色的(de )影片(🏽)、巴比(bǐ(🙇) )伦城火烧(🦒)时用染红(🍖)色(sè )的影(📊)片(piàn )）。这种影片染(💛)色(📐)(sè )方法(😚)虽非格氏(shì )首创，但却(🍰)没(méi )有人(🏚)像他这样(🎦)在一部电(🌄)影片中大(dà )胆的全(👈)(quán )面采用(🌄)。令(😑)人惊异(🖤)的是，这样一(yī )部内容(🌯)(róng )复杂的(💙)(de )大制作竟(⛄)然由(yóu )始至终(zhōng )没(🔳)有一个完(🈚)(wán )整的剧(📜)(jù )本，而只(💊)是靠格里菲(fēi )斯的临(🐵)(lín )场即(🔽)兴(🔙)创作(zuò )而成。此外，本(👝)片也(yě )没(🧝)有任(rèn )何(⛩)布景(jǐng )的(🎏)设计图，但(🎩)格氏却能够命人搭(🐸)(dā(🌋) )盖出宏(💣)(hóng )伟得哧人的巴比伦(🍥)(lún )布景。在(👶)拍摄(shè )巴(🐫)比伦(lún )攻(🐍)耶路(lù )撒冷的场面(💷)时，更在一(🔜)天(🚩)之内同(😺)(tóng )时动用(yòng )一万五千(🥄)名临时演(🍢)员和二百(🚑)五十(shí )辆战车(chē )。他(🔺)这(zhè )种大(🤯)手笔使得(🤐)(dé )当时意(🔠)(yì )大利出品的(de )历史巨(🐋)(jù )片也(🛀)瞠(📡)乎其后，由此(cǐ )也可(✴)以(yǐ )看出(💖)格氏对(duì(💄) )自己的(de )创(🎄)作能力如(📏)何(hé )自信。或许正(zhè(🍖)ng )如(🚞)格氏自(🕞)己(jǐ )的格言所说：“艺(🐙)术(shù )经常(🕙)都(dōu )是革(🦇)命性的、(🌑)爆炸(zhà )性的，以及轰(❣)(hōng )轰烈烈(♋)(liè(🥙) )的"。看(kà(🐰)n )《忍无可忍》一片幕前幕(🖐)后的表(biǎ(🎓)o )现，可(kě )知(🚸)格里菲思的确是一(🙊)个身体力(😇)行(háng )的艺(👬)术(shù )家。
戲(⌚)(xì )名難免使人聯(lián )想(🙊)到食(shí(🍒) )色(🛬)「性」也(yě )，但慾(yù(🎒) )望的對象(🔆)？對不起(👞)，卻是個(gè(🤔) )男兒。美國(🉐)(guó )蠔業大(dà )王有個(🐛)刁(🈴)蠻女(nǚ(🚢) )，一天(tiān )覺得自(zì )己非(🦂)要嫁人(ré(🛃)n )不可，被媒(📃)人相中的(🥤)(de )落難歐(ōu )洲王子派(💮)出心腹試(🎓)(shì(💭) )探虛實(🌦)，蠔女(nǚ )一聲多(duō )謝馬(💹)上(shàng )拉去(🥋)註冊結婚(🥎)，當晚大排筵席，酒飽(🍳)飯(fàn )醉後(🥘)只差沒半(🍷)點洞房動(🏘)機。直至(zhì )窮王子(zǐ )真(🐌)人現(xià(⏳)n )眼(💰)前，慾望傾(qīng )瀉得一(📅)(yī )發不可(⤴)收拾(shí )。女(🎒)性(xìng )情慾(🔧)在劉別謙(🏻)筆下從(cóng )來都很(hě(🚭)n )坦然和直(🐁)接(jiē )，蠔女(nǚ )這荷里活女性(xìng )原(🕎)型，令後來(🚨)(lái )者亦甘(🐸)拜下(xià )風。揶揄資本(🍫)家與消(xiā(🚆)o )費社會(huì(📬) )的大場面可觀亦抵(dǐ )死，筆觸細(⛲)膩(nì )幽默(🤜)。劉別謙(qiān )第二部長(📆)片，是他打(🙌)造品牌之(🏟)作(zuò )，驚人(📔)(rén )的成熟導技令人擊節復感(🏈)動(🌔)。
This film begins with the invocation of 'almighty god' at a river where several people are gathered. The child god Krishna rises out of the water astride the demon snake Kaliya. Then we see Yashoda as she rocks the sleeping Krishna's crib and imagines the god as Gopala. The next scene shows Kamsa fantasizing about Krishna threateningly duplicated many times around him. Kamsa then imagines himself dead as his severed head rises up and descends again. People of all castes pay obeisance to the deity with the title-card: 'may this humble offering be accepted by the Lord'. Written by Sujit R. Varma
A member of a counterfeiting gang gives a forged note to his daughter. When she spends it on a dress the note ends up in the hands of the secret service, who then bring the entire gang to justice.
动(dòng )画名家(jiā )北山清(qīng )太郎(💚)制作的早(🏍)(zǎo )期动画(🈹)。
瑞典當年(🚞)(nián )成本最(zuì )高的默(🎴)片，也被視(♟)為(wéi )早期瑞(ruì )典影史必看(kàn )經(👎)典。全片幾(😳)乎實景(jǐ(🕚)ng )拍攝，拍攝難(nán )度與(📱)戲劇張(zhā(🥒)ng )力超越當(🚟)代。原本平(píng )凡的水(shuǐ )手，戰時為(🏉)了養家(jiā(🍒) )活口冒險出航(háng )，卻(👗)被(bèi )軍人(🗜)所(suǒ )俘。多(🧓)年後脫身(🚏)返家卻人事已非(fēi )，只有(yǒu )滿(😢)腔(🤦)怨怒相伴。某天，當年俘虜(lǔ )他(🚊)的仇(chóu )敵(🤜)與相(xiàng )隨(🎻)的妻女海(📠)上(shàng )落難待援，他奮(🎼)勇(yǒng )而至(🌨)，卻陷入「復仇還是救(jiù )援？」(🌬)的天人交(😞)戰(zhàn )。