糖小姐探案集 第15集

故事发生(shēng )在(zài )18世(shì )纪(jì )末(mò )法(fǎ )国首都巴黎。年轻貌美的(🏨)女徒工(💥)让娜(nà(🍘) )在(zài )一(🔀)(yī )次(cì(⛓) )偶(ǒu )然(📥)(rán )的(de )机(😥)会认识(⏲)了西班(🤼)牙公使(👈)堂·迪(👜)埃戈并(🥉)与其相(🚫)好。让娜(🧖)的男友阿芒德一气之下将(jiāng )迪(dí )埃(ā(🥇)i )戈(gē )刺(🏅)(cì )死(sǐ(🐀) )，自己被(🍇)投入了(🐣)监狱。此(📶)后，让娜(🙆)先后(hò(😬)u )成(chéng )为(🛏)(wéi )杜(dù(🔥) )巴(bā )瑞(🤑)(ruì )伯爵和国王路易十五的情妇，并向国王提出赦免阿芒德。出狱后的阿芒德参与了(le )革(gé )命(mì(🎗)ng )，最(zuì )后(🌄)(hòu )革命(♓)群众冲(⚪)垮了政(👁)权，并把(⛷)让娜送(🛑)上(shàng )革(🏴)(gé )命(mì(🙃)ng )法(fǎ )庭(🔫)(tíng )受(shò(🥈)u )审(shěn )。阿(🉑)芒德因(🌞)企图解(😓)救让娜而被处死，随后让娜也被送上断(💞)头台。 《环(😌)球卫士(😵)》讲(jiǎng )述(🐗)(shù )四(sì(🌖) )个(gè )不(🏦)(bú )合群(🏜)的青少(🧑)年亚历(🌬)克斯、(🔥)珍珍、大流士(shì )和(hé )加(jiā )布(bù )里(lǐ )埃(āi )尔参加了夏令营，活动刚刚开始，外星人突然入侵了地球，尚(🖼)未适应(🐯)环境的(🔴)他们(men )发(✨)(fā )现(xià(🍶)n )自(zì )己(🙄)(jǐ )即(jí(🖼) )将要面(😾)对的困(🛀)难比学(📶)习如何(❤)划独木(🌱)舟(zhōu )和(⤵)(hé )爬(pá(💂) )绳(shéng )索(suǒ )更(gèng )大(dà )。原本熙熙攘(🌥)攘的营(🥒)地如今(🍩)只剩他(🉑)们四个(🎐)，孩子们(🚳)意外地(🍻)被委以(🚢)一把钥(♐)匙，这(zhè(👋) )把(bǎ )钥(🕝)(yào )匙(shí )藏(cáng )有(yǒu )阻止外星人入侵的秘密。没有任何成年(nián )人(rén )或(huò )电(diàn )子(zǐ )设(shè )备的帮助指引，他(🐲)们要做(🚚)的事情(🌝)显而易(💍)见：团(🕜)结一致(🧡)、战胜(😵)恐惧、(🔺)拯救世(🍯)界。这(zhè(🔃) )部(bù )宏(🌚)(hóng )大(dà(🛑) )的(de )动(dò(👵)ng )作冒险(⏸)片由约瑟夫·麦克金提·尼彻(🛁)(chè )（《霹(✂)(pī )雳(lì(📽) )娇(jiāo )娃(🈷)》）执导(🏧)。 In pre-WW1 England, a youngster is expelled from a naval academy over a petty theft, but his parents raise a political furor by demanding a trial. 又称《四(🦅)神奇》《不(🕛)莱梅四(🌍)重奏》 年(💁)轻的法(🤭)国姑娘(😸)马莉（艾德娜·珀(pò )薇(wēi )安(ān )丝(sī ) Edna Purviance 饰(shì )）同名为约翰（卡尔米勒 Carl Miller 饰）的小伙子(zǐ )相(xiàng )爱(ài )了(le )，可(🧓)(kě )是这(👙)段感情(🌛)却遭到(🧀)了他们(🐱)的家人(🔄)的反对(♓)。于是，约(🌈)翰和马(🌉)莉相约(🎰)私奔前(🥔)往巴黎(🚲)。然(rán )而(🎱)(ér )就(jiù )在(zài )约(yuē )定的那一夜，约翰的父(🐕)亲不幸(🤚)身亡，约(🚾)(yuē )翰(hà(😧)n )没(méi )有(🌍)(yǒu )能(né(😡)ng )够赴约(🚀)。马莉以(🔟)为约翰(🛃)变了心(😂)，在悲伤(🐕)和痛苦之中独自一人前往巴黎。 Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?