富孀钱(qián )夫人有女(🆓)名韵琴(📒)，是一位(🦃)恃财(cá(🛢)i )狂(kuáng )傲(ào )的小姐(jiě )。韵琴的表兄杜(🔍)伯群是(🌀)(shì )一位(Ⓜ)风度(dù(🎊) )翩(piān )翩的美(🌄)少年，钱(🏗)夫人属(🏡)意伯群(😨)(qún )已久，认(rèn )为(wéi )他是自家女婿的(💃)最佳人(🐊)选，伯(bó(😂) )群(qún )的(❔)父亲(qī(🐎)n )也(yě )希望亲上加亲，促成这门婚事(🌕)(shì )。而伯(🧤)群(qún )外(⤵)(wài )出游(🅱)山，遇见采茶(🍔)女鲍素(👡)素心(xī(👾)n )生(shēng )爱(🚟)慕。鲍(bào )父是一位渔民，也很喜欢伯(🍳)群(qún )，每(😘)(měi )逢出(🧛)去(qù )打(👢)鱼必约上伯群，伯群与素素(sù )感(gǎ(🛺)n )情(qíng )日(🕊)笃。一日(🎒)，伯群得(➰)家书，唤(huàn )他(❌)回家为(🐢)(wéi )姑(gū(🧦) )母祝寿(🚻)，伯群人虽回去，但心(xīn )系素素，席(xí(🍩) )间对韵(😅)琴十分(🧕)冷淡，韵(🕗)琴很生(🤗)(shēng )气(qì )，于是(shì )买(mǎi )通了一名季姓(🚆)男子，让(👆)他暗中(😗)(zhōng )侦(zhē(🥦)n )察伯(🍝)群(qún )，不(😖)久，季某(🤱)得到伯(🎙)群寄给(🏾)素素(sù )的(de )信(xìn )，交给(gěi )钱氏母女，她(🍌)们给季(🥛)某一笔(👌)钱(qián )，让(🔄)(ràng )他设法(fǎ )将鲍氏父女迁走，以绝(🌀)伯群之(🎿)(zhī )念(nià(⛑)n )。不料季(➡)某见素素貌(🔠)美，不但(🌷)没(méi )把(👪)他们迁(✝)(qiān )走(zǒu )，反而把他们带到自己家中(🔤)，把鲍父(❗)灌(guàn )醉(🦉)(zuì )后欲(🚖)调戏素(🌜)素，素素打碎玻璃(lí )窗(chuāng )呼救，恰(qià(🈯) )好伯群(🛩)经过，闻(⏭)声相救(🍝)，二人(➰)(rén )逃(tá(📸)o )往城外(📲)(wài )，季某(🔧)带手下(🐓)追来，又将素素劫(jié )走(zǒu )，藏在一(yī(🏡) )座荒庙(🚩)中，被一(⏰)个姓傅(🕜)的小男(nán )孩(hái )发(fā )现，将(jiāng )素素带(Ⓜ)回自己(🖱)家。伯群(🦋)的父亲(🕐)(qīn )需(xū )要(yà(🌜)o )一万元(👻)偿还债(🍍)务，嘱伯(🍸)群往钱(qián )家告贷，钱(qián )夫人以婚事(🏚)要挟，伯(✍)群回家(👵)告(gào )诉(🆖)父亲，父(⬆)(fù )亲希望他答应这门婚事，伯群(qú(🏸)n )踌(chóu )躇(⭐)间与(yǔ(🐤) )素(sù )素(🈴)在郊(🗑)外不期(🧀)而遇，随(🐄)素素来(📽)(lái )到(dà(🥞)o )傅家，将(jiāng )自己的遭遇相告，素素劝(😘)他遵(zū(🙄)n )从(cóng )父(👮)(fù )命，并(📈)(bìng )把自己的照片送给伯群，嘱日(rì(⏳) )后(hòu )勿(🐫)(wù )再相(🔅)见(jiàn )。伯(❗)群回家将此(🔩)事告诉(👾)父亲，不(😦)(bú )料(lià(🏫)o )打开装照片的信封，见到一张(zhāng )一(⬇)万元的(🕖)(de )银(yín )票(🔦)，父子二(🔦)人连忙(👨)赶往傅家。这时，季(jì )某(mǒu )也侦察到(🌹)素素的(🆑)行踪，带(🏜)着鲍(bà(🖱)o )老(lǎ(😢)o )和钱氏(🚳)(shì )母(mǔ(🙅) )女来到(🎸)傅家，鲍(🧤)老很生气地走(zǒu )进(jìn )傅家门(mén )，傅(🌀)家园丁(🔆)疑为盗(😃)匪将他(🚥)打成重(chóng )伤(shāng )，伯群闻(wén )声出来说(⛪)明缘由(💕)，所有的(🥜)人都(dō(🤮)u )被(bèi )邀(yāo )进(👂)傅家(jiā(🍲) )。鲍老垂(🗼)危之际(😔)向众人说明，素(sù )素(sù )非自己亲生(📤)，而是15年(🔇)前遭匪(🌳)乱(luàn )时(🎴)在河边(biān )拾(shí )得的弃婴，还有一块佩玉为(⛪)证(zhèng )。傅(🌳)家小(xiǎ(🔵)o )姐(jiě )见(💧)玉惊(💍)呼“这是(📽)我家祖(🏤)传的佩(📖)(pèi )玉(yù )，是我(wǒ )失(shī )踪多年的妹妹的”。至此(🔣)，素(sù )素(🎐)(sù )方知(👡)自(zì )己(👋)(jǐ )身世。伯群的父亲问傅小姐这(zhè(🔑) )一(yī )万(🚅)(wàn )元银(🍧)票(piào )何(⛳)来？傅小姐(🥚)说“我听(👧)到伯群(🎞)(qún )与(yǔ(🎪) )素(sù )素交谈(tán )后，让小弟设计掉取(🚴)照片，只(🏃)想(xiǎng )玉(🚆)(yù )成他(😌)们的好事，教训一下那些(xiē )恃富凌贫(pín )，有(👴)金钱无(🛷)公理的(🍿)人，不想竟帮(🎯)(bāng )助了(🗨)自己(jǐ(💰) )的(de )妹妹(🌜)”。众人听后皆大欢喜，只(zhī )有钱氏(shì )母(mǔ )女(🌸)悄然离(🦄)去。
A secret society holds a meeting to determine what to do about a powerful and dangerous man whom they have been studying closely for the past three months. They all agree that he deserves to die. Two of the members, Farallone and Forrest, are both in love with Lilith, the group's only female member. But Lilith accepts neither of them, preferring to devote herself to the group's cause. When the group meets again and deals cards to all the members, Forrest draws the ace of hearts, meaning that he will be the one to carry out the assassination. Lilith then suddenly agrees to marry him, in order to give him courage. But after their first night together, both of them begin to feel differently about what they have planned.
这套(🕋)由路易(🌠)斯·弗(fú )伊拉德(dé )自(zì )编自导的(🌟)法国片(🥜)，可以说(🌝)是电(dià(🕳)n )影(yǐng )史(shǐ )上(🌺)最早(zǎ(🤒)o )的一套(🕳)犯罪片(🔡)集，自1915年至1916年推(tuī )出(chū )，一共发(fā )行(🐀)了十集(🏄)，共七小(💈)时。所谓(🥐)“吸(xī )血(xuè )鬼”，指的是一群珠宝窃匪，他们自(👺)成(chéng )一(🌕)(yī )党，成(🎮)员包括：经(💭)常意图(🎏)不轨(guǐ(⌛) )的女侍(🔄)应(yīng )；专门窃玉偷香的绅士；没落王(wá(🚐)ng )孙(sūn )公(📡)子以(yǐ(🕛) )及(jí )一(🌨)个经常能在关键地方变换工(gōng )作(🥍)(zuò )岗位(🍙)的(de )女(nǚ(🥟) )子（如(🛅)为偷窃需要(🌶)充任银(🐨)行职(zhí(🍄) )员(yuán )或(📖)(huò )饭店的(de )电话接线生等）。追捕这(🚲)个“吸(xī(🤫) )血(xuè )鬼(🚱)党”的，主(🧣)要是一位热心的青年报纸(zhǐ )编(biān )辑，和一(🎶)个改邪(💷)归正的(🕉)罪犯，这个罪(📨)犯(fàn )能(🏐)(néng )在观(♒)众一霎(🚿)眼之间就将偷窃阴(yīn )谋导向一(yī )个(gè )新(👧)发展。同(🐳)时，“吸血(🚴)鬼”还(há(🏵)i )要(yào )对抗一(yī )个(gè )同行的组织，而(📖)一位迷(🚁)恋没落(👶)(luò )王(wá(🍔)ng )孙公子(zǐ )的(💽)(de )女恶棍(🗿)则经常(⏬)向他们(🕛)通风报信(xìn )。
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.
Vladimir’s dealings are rather obscure, he is in constant need of money.
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.