欧阳震华古装电视剧

The poet Dante is lost in a dark and gloomy wood. At the summit of a mountain he sees the light of salvation. He endeavors to ascend to it, but his way is barred by three wild beasts, symbolizing Avarice, Pride and Lust. Beatrice sees his predicament and descends from Paradise into Limbo, where she asks the poet Virgil to rescue and guide Dante. Virgil knows another way to go, but this leads straight through the entire Inferno, before it continues towards Paradise. Virgil leads Dante to the portals of Inferno. Charon ferries them over the river Acheron, and then they start their journey downwards through the different circles of Inferno. Dante meets all kind of sinners and sees the never-ending punishments they have to undergo. The various punishments are adjusted to the different transgressions. Among the sinners Dante recognizes many persons he has met in Florence, when they were still alive. They tell him their sad stories and why they have ended here. At last Dante and Virgil ... 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. 旧金山(shān )女强人律师(📭)克莱(lái )尔•(📎)库比(bǐ )克（(🚞)阿(ā )什(shí )莉(🕘)•贾德 Ashley Judd 饰）的(de )丈(📈)夫汤姆•库(🔪)比(bǐ )克(kè )（(🌋)詹姆(mǔ )斯•(🚇)卡维(wéi )泽 James Caviezel 饰(🚙)）突然被FBI抓(🐝)(zhuā )走，送往(wǎng )洛杉(🕥)矶附(fù )近的(🍇)军事法庭秘(🛒)(mì )密受审，罪(🔅)名则是(shì )在(📭)服役(yì )时于(🆑)萨尔(ěr )瓦多杀害(🍥)(hài )9名平民。震(📩)惊的(de )克莱尔(🛑)不(bú )顾一切(🐢)丢(diū )下工作(🚲)来到洛杉(shān )矶，雇(🆒)佣(yòng )了当地军(jun1 )事法庭律(🙄)师查尔(ěr )斯(🔲)•格瑞(ruì )姆(🌋)斯（摩(mó )根(🐑)•弗里曼 Morgan Freeman 饰），共(🎉)同与(yǔ )军方(📊)指(zhǐ )派(pài )的(🔨)年轻辩护律(📓)师(shī )中尉恩(✊)布里（亚(yà(👀) )当(dāng )•斯科(kē )特(🐙) Adam Scott 饰）一(yī )起(㊙)为汤姆辩护(🌰)。三人的调(dià(📻)o )查取证遭(zā(⚡)o )到军方层层(🔧)阻隔(gé )，甚至克(kè(🔛) )莱尔的人(ré(🔒)n )身安全(quán )也(🛎)遭严重(chóng )威(🤔)胁。坚(jiān )信丈(⚪)夫无罪的克(kè )莱(🧛)尔与格(gé )瑞姆斯竭(jié )尽(🧓)全力，却发现(🕛)(xiàn )案件背后(🚘)(hòu )真相的复(📩)(fù )杂度远远超过(🤐)了(le )众人的想(🏜)(xiǎng )象…… Catherine is a servant girl working for the local mayor and victim of the sharp tongues of the mayor's wife and her friends. This is made clear in a first scene where she is asked to get the key of the mayor's desk at a cultural party the wife is attending. She is harassed by the whole elite who dislike the intrusion of the maid. In this scene it's made clear also that the wife has a secret lover who will later challenge the mayor's political career and will use Catherine as a scapegoat for his own ambitions. This role of "bad guy" is played by Renoir himself. The mayor who is fond of Catherine and is afraid that she'll be more victimized by his wife asks his sister to give Catherine a position in her own household. The sister has a son with tuberculosis (role played by Dieudonné(📘)). He's so weak he has no success with women of his class but of course Catherine will like instantly this fragile man. He dies after kissing Catherine while the rest of the town is celebrating carnival. The kissing scene at the window mixed with the fireworks is a brilliant moment of silent melodrama. Catherine is in mourning and because of that driven away by the mayor's wife and her friends. It is indecent that a servant girl is in mourning and shows public affection for someone who is not from her own social status. The emotions of Catherine are the element of disorder in the social ordered world of the rich. Catherine goes away and hides in a cheap hotel in the city where she is also bullied by a local pimp who sees in her an easy target to exploit. By accident Catherine is seen in the hotel window with the pimp, so more reason for gossip by the elite. When she returns to the village looking for a job she is rejected everywhere, even by the local Christian relief organization of which the mayor's wife became president. She meets the mayor again who is shocked by the attitude of the town, takes her in his home again and promotes her to his secretary. The wife is furious of course and leaves her husband to live with her mother. It is start of a slander campaign against the political credibility of the mayor. The lover of the mayor's wife sees what is happening as a golden opportunity and makes a public attack on the moral character of the mayor (what's new under the sun?) Catherine wants to avoid the downfall of her protector and leaves the mayor, explaining herself in a note. She hides in an old tram for the rain while the mayor is driving around in his car frantically looking for the girl. Two vagabonds are thrown out of a pub and out of frustration push the tram car, so it starts a crazy race up and down the hills towards the bridge and the valley abyss. Catherine is already accepting her death but is saved in time by the mayor who has made his choice for the girl. The social implications of his choice are not shown but are clear for all. 富孀钱夫人(🍿)有女(nǚ )名韵(🆔)琴，是一位(wè(🍸)i )恃(shì )财狂傲的小(🥗)姐。韵琴的表(🏴)兄杜伯(bó )群(😾)(qún )是一位(wè(⛰)i )风度翩翩(piā(🦕)n )的美少年，钱(🍣)夫(fū )人属意伯(bó(📅) )群已久，认为(🛎)他是自家女(📹)(nǚ )婿的最佳(🌔)(jiā )人选，伯群(📯)的父(fù )亲也希望(⏩)(wàng )亲上加亲(qīn )，促成这门(🕖)婚事(shì )。而伯(📖)群(qún )外出游(🛀)山(shān )，遇见采(🍈)茶女鲍(bào )素素心(🗂)生爱慕。鲍(bà(✂)o )父是一位渔(😫)民，也很喜欢(🎺)(huān )伯群，每(mě(🚲)i )逢出去打鱼(💳)必约(yuē )上伯群，伯(🥔)群与(yǔ )素(sù(🎂) )素感情日笃(🍬)。一(yī )日，伯群(🐊)得家书(shū )，唤(🐃)他回(huí )家为(🔘)姑母(mǔ )祝寿，伯群(🔏)人虽(suī )回去(📺)，但(dàn )心系素(📣)素(sù )，席间对(🤽)韵琴十(shí )分(📳)冷淡，韵琴很生气(🧔)，于(yú )是买通了(le )一名季姓(🕓)(xìng )男子，让他(🥊)暗中(zhōng )侦察(🏒)伯群(qún )，不久(🍵)，季某得到伯群寄(🦏)(jì )给素素的(🐰)信，交给(gěi )钱(🦀)氏母女，她们(💟)(men )给季某一(yī(🔥) )笔钱，让(ràng )他(🔆)设法将鲍氏父(fù(🐆) )女迁走，以绝(👆)伯(bó )群(qún )之(🐯)念。不料季某(👟)(mǒu )见素素貌(🍧)美，不(bú )但没(⛩)把他(tā )们迁走，反(😶)而把他们带(❤)到(dào )自己家(🍰)中(zhōng )，把鲍父(🐬)(fù )灌醉后欲(🍸)调戏素(sù )素，素素(⏰)(sù )打碎玻璃窗呼救(jiù )，恰(🈵)好伯(bó )群经(📿)过，闻声相救(🎫)，二人(rén )逃往(⏸)城外(wài )，季某带(dà(💔)i )手下追来，又(🔫)将(jiāng )素素劫(💁)走，藏在一(yī(🌹) )座荒庙中，被(📪)一(yī )个姓傅(🍻)的(de )小男孩发(fā )现(🍤)，将素素带回(💚)(huí )自己家。伯(🈷)群的(de )父(fù )亲(💤)需要一万元(🗂)偿(cháng )还债务(😐)，嘱伯群(qún )往钱家(🍢)告(gào )贷，钱夫(✏)(fū )人以婚事(🎄)要挟，伯群回(🧜)家(jiā )告诉父(📹)亲(qīn )，父亲希望他(🏂)答(dá )应这门婚(hūn )事，伯群(🍐)踌躇间(jiān )与(🚛)素素在(zài )郊(⛸)外不期(qī )而(〽)遇，随素素来(lái )到(🏇)傅家，将自己(🌏)的(de )遭遇相告(🚮)，素素(sù )劝他(🦁)遵从父命，并(🦊)(bìng )把自己的(🎓)照片送(sòng )给伯群(🥍)，嘱日后勿(wù(👂) )再相见。伯群(🥛)回(huí )家将此(📤)事(shì )告诉父(📕)(fù )亲(qīn )，不料打开装照(zhào )片的(➿)信封，见到(dà(💻)o )一张一万(wà(🦒)n )元的银票(pià(♎)o )，父子二人连(🗽)忙(máng )赶往傅家(jiā(🤐) )。这时，季某也侦察到素(sù(㊙) )素的行踪(zō(🙄)ng )，带着鲍老和(🤼)钱(qián )氏母女(💶)来(lái )到傅家，鲍老(😥)很生气地走(♐)(zǒu )进傅家门(🏂)(mén )，傅家园(yuá(😖)n )丁疑为盗匪(🌒)将他(tā )打成(♎)重伤，伯群闻(wén )声(🤛)出来说明缘(🌒)由(yóu )，所有的(♎)(de )人都被邀(yā(🎶)o )进傅家。鲍老(👦)垂(chuí )危之际向(xiàng )众人说(shuō )明(🐑)(míng )，素素非自(🏤)己亲(qīn )生，而(😣)是15年前遭(zā(🏧)o )匪乱时在(zà(🤷)i )河边拾得(dé )的弃(🕍)婴，还有一(yī )块佩玉为(wé(👲)i )证。傅家(jiā )小(🐤)姐见玉惊呼(😳)“这是我家(jiā(📼) )祖传的佩玉，是(shì(📟) )我失踪多(duō(🚼) )年的妹妹(mè(🎋)i )的”。至此，素(sù(💻) )素方知自(zì(🔗) )己身世。伯群(❇)的父亲问傅(fù )小(🎯)姐这一万元(❤)银票(piào )何来(📜)？傅小姐说(🧙)(shuō )“我听到(dà(🛌)o )伯群与素(sù )素交谈后，让小(xiǎo )弟设计掉(dià(🏞)o )取照片(piàn )，只(🗯)想玉成他们(👼)的(de )好事，教训(🈂)一下(xià )那些恃富(🎢)(fù )凌贫，有(yǒu )金钱无公理(♓)的人(rén )，不想(⛔)竟(jìng )帮助了(🖱)自(zì )己的妹(🕋)妹”。众(zhòng )人听后皆(🤕)(jiē )大欢喜，只(➰)有钱(qián )氏母(❇)女悄(qiāo )然离(🔲)去。 本片导演(🏣)拉迪斯(sī )拉(🌈)·斯塔(tǎ )维奇，是(🕊)(shì )世界上少(⚪)数值得(dé )钦(🥟)佩与赞扬的(🚞)伟大(dà )动画(🔍)师，他始终(zhōng )致力于停(tíng )格动画与(yǔ )制作(🥥)出许多具艺(👴)(yì )术性与广(🥥)受欢迎(yíng )的(⛅)(de )动画影片。拉迪(dí(✒) )斯拉·斯塔维奇(qí )最初(🚁)于1909年(nián )在俄(🍉)罗斯(sī )开始(🐋)了他的动画(📺)(huà )事业，但(dàn )是旋(📧)即便(biàn )转往(🔝)法国开始了(🔘)(le )他动画生(shē(📑)ng )涯的高峰直(🚁)到1950年(nián )为止(🔼)他在(zài )那里创作(📓)(zuò )了无数的(🌿) 经典动(dòng )画(😽)片。 Three men in London compete for the love of a dance-hall girl. 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. 德(dé )国默(🏺)片，但具体资(👉)料已不(bú )可考，见： The story is a man who spends the night in a sinister Wax Museum.