主演:扎苏·皮茨 吉布森·格沃兰德 让·赫肖尔特 戴尔·富勒 坦普·皮戈特 切斯特·康克林 Sylvia Ashton Joan Standing
导演:埃里克·冯·施特罗海姆
简介:埃里克.冯.施特罗海姆导演的此片,在1952年比利时蒙达尔国际电影节评选的电影诞生以来的12部“最佳影片中”名列第七;在1952、1962年英国《画与音响》评选的10部“最佳影片”中,名列第七和第四位;在1958年比利时布鲁塞尔世界博览会评选电影“最佳电影”中,该片名列第六;在1978年《标题》杂志刊登的电影诞生以来的100部“最佳影片”中,名列第18位。故事主要描写麦克.蒂格和马库斯.斯科勒这对好友因五千美元彩券而变得凶残成性,贪婪吝啬,最后引出一系列的悲剧的过程1908 年,约翰·麦克蒂格在加利福尼亚州普莱瑟县的一个金矿工作。一位自称“无痛”波特博士的旅行牙医来到小镇,麦克蒂格的母亲恳求波特收她的儿子当学徒。波特同意了,麦克蒂格最终成为一名牙医,在旧金山的波尔克街执业。马库斯·舒勒 (Marcus Schouler) 将他的表弟兼未婚妻特里娜·西耶普 (Trina Sieppe) 带到麦克蒂格的办公室进行牙科工作。舒勒和麦克蒂格是朋友,麦克蒂格很高兴同意给特丽娜做检查。当他们等待空缺时,她买了一张彩票。麦克蒂格爱上了特丽娜,并请求舒勒允许向她求爱。在看到麦克蒂格的定罪后,舒勒同意了。Trina 最终同意与 McTeague 结婚,不久之后她的彩票赢得了 5,000 美元。[a]舒勒痛苦地声称这笔钱应该是他的,这导致他和麦克蒂格之间产生了裂痕。麦克蒂格和特丽娜结婚后,他们继续住在他们的小公寓里,特丽娜拒绝花她的 5,000 美元。舒勒离开旧金山成为一名牧场主。临行前,他为了毁掉以前的朋友,偷偷举报了麦克蒂格无证行医。麦克蒂格被勒令关闭他的诊所,否则将面临牢狱之灾。尽管除了原来的5000美元彩票之外,她已经存了200多美元,但特丽娜仍然不愿意花她的钱。钱变得越来越稀缺,这对夫妇被迫卖掉他们的财产。麦克蒂格终于在盛怒之下咬住了特丽娜的手指。后来,他用 Trina 的积蓄(现在总计 450 美元)去钓鱼赚钱。特丽娜被咬的手指被感染,不得不被截肢。为了赚钱,她成为一所儿童学校的看门人。她从银行取出 5,000 美元,把它放在身边,最后把它铺在床上,这样她就可以睡在上面了。麦克蒂格花完他拿的钱回来后,向特丽娜要更多的钱。第二天,麦克蒂格在学校与特丽娜对峙。经过一场激烈的争吵,麦克蒂格将特丽娜打死,并偷走了她的 5,000 美元。麦克蒂格现在是一名亡命之徒,他回到普莱瑟县并与一位名叫克里本斯的探矿者合作。他们前往死亡谷,发现大量石英,并计划成为百万富翁。在他们开始采矿之前,麦克蒂格感觉到了危险,并带着一匹马、剩余的钱和一个水壶逃进了死亡谷。几名法警追捕他,舒勒也加入其中。舒勒想亲自抓住麦克蒂格,并独自骑马进入死亡谷。闷热的天气减缓了麦克蒂格的前进速度。当舒勒发现麦克蒂格并前去逮捕他时,他的进步也开始减弱。冲突结束后,麦克蒂格的马逃跑,舒勒开枪射击,刺穿了水容器。水溢出到沙漠地面上。两人最后一次交手,麦克蒂格获胜。然而,舒勒已经将自己铐在了麦克蒂格身上。影片的结尾是麦克蒂格被留在沙漠里,没有马,没有水,手铐在尸体上,无法拿到剩下的钱。
主演:鲁道夫·克里斯提 杜邦小姐 梅·布希 莫德·乔治 埃里克·冯·施特罗海姆 戴尔·富勒 塞萨雷·格拉维纳 马尔维娜·波罗 奈杰尔·德·布鲁里亚 罗伯特·艾德森 哈里森·福德 瓦莱丽·杰曼普莱兹 玛丽·菲尔宾
导演:埃里克·冯·施特罗海姆
简介:德国移民的名导演埃里克.冯.施特罗海姆花费了一百三十万美元和十一个月的时间摄制而成的超级文艺片,原拷贝长达五小时,公开上映时浓缩成三小时半。由于耗资惊人,好莱坞大亨本来对埃里克颇有微词,后因本片获得意外的卖座成功而作罢。故事以1919年的蒙地卡罗为背景。埃里克扮演一个欺骗美国外交官女儿的白俄亲王,靠着剥削他的情妇----一个貌丑的女仆为生。由于性虐待狂的驱使,他强奸了一个不幸的白痴女子。最后,他被人杀死,他的尸首很有象征意义地被扔在臭水沟里。埃里克对自然主义情有独钟,希望把一切情史都在画面中表现出来。他特地在加州海边搭建起蒙地卡罗的赌场和雄伟宫殿的布景,并且在采光上有十分大胆的处理方式。影像上也富于感官刺激的煽情暴力场面,甚至劳烦电检单位剪掉了其中的一些镜头。在片中,埃里克用一种辛酸的悲观主义眼光来观察人类,对上层社会的腐朽和封建作出激烈的抨击,流露出一种愤而感伤的怜悯色彩。而对低下层的人物和被骗上当的女子,则寄予同情的关注,表现出独特的“埃里克式人道主义精神。这部无声剧讲述了一个男人冒用弗拉迪斯瓦夫·塞尔吉乌斯·卡拉姆津伯爵(冯·斯特罗海姆饰)的名字和头衔来引诱富有的女人并向她们勒索钱财的故事。他在蒙特卡洛开设了商店,他的犯罪伙伴(以及可能的情人)是他的表兄弟:“公主”维拉·佩奇尼科夫(布希)和“殿下”奥尔加·佩奇尼科夫(乔治)。卡拉姆津伯爵开始了他对美国特使海伦休斯(杜邦公司饰)的超凡脱俗的妻子的最新骗局,尽管她的丈夫就在附近。他试图迷惑她,并计划最终骗取她的钱。她很容易被他假装的贵族魅力所打动,这让她那迟钝但真诚的丈夫懊恼不已。卡拉姆津还关注着另外两名女性,即酒店女佣马鲁什卡(富勒饰)和他的一名犯罪同伙(格拉维纳饰)的智障女儿玛丽埃塔(波罗饰),他认为她们都很容易成为性猎物。在电影《Maruschka》的高潮部分,他引诱并抛弃的女仆发疯并放火烧毁了卡拉姆津和休斯夫人被困的建筑物。为了自救,卡拉姆津跳了下去,使休斯夫人陷入危险。她得到了她忠诚的丈夫的拯救和照顾。卡拉姆津在公开场合表现出的自私和怯懦使得他受到上流社会的回避,而他渴望得到上流社会的认可。受到羞辱的他试图通过引诱智障女孩玛丽埃塔来恢复自己的自尊。她的父亲杀死了他,并将他的尸体扔进下水道。卡拉姆津的“表兄弟”因冒名顶替和骗子而被捕。
主演:埃里克·冯·施特罗海姆 菲伊·雷 扎苏·皮茨
导演:埃里克·冯·施特罗海姆
简介:故事背景是1914年战争爆发前的维也纳。贵族气派、有些疲惫的尼基王子受到所有女士的追求,他开始与米兹调情,米兹是一位在郊区葡萄酒花园工作的残疾竖琴师,而米兹又受到粗鲁、嫉妒心极强的屠夫沙尼的崇拜。他们的第一次重要相遇发生在圣约翰教堂前。科珀斯克里斯蒂日的圣斯蒂芬大教堂,尼基在皇帝的骑兵团中。后来,在酒园里苹果花飘落的折射光下——酿酒厂的景象,空灵的美丽——尼基逐渐赢得了她的信任和爱。与此同时,在奢华而腐败的家族宫殿中,尼基被迫卷入了违背自己意愿的同谋之中,因为他肆无忌惮的母亲告诉他,为了重振家族财富,他必须娶一个富有平民的女儿塞西莉亚为妻。米兹看到了钢铁侠(哈布斯堡王朝权力和地位衰落的象征)的幻象,恐惧地倒在十字架前;但她的爱依然坚定,尽管受到母亲和沙尼的虐待,她仍依赖自己的信仰。沙尼对她的拒绝感到愤怒,威胁要在尼基婚礼当天杀死尼基,除非米兹同意嫁给他。在大教堂婚礼的盛大游行结束后,沙尼似乎要兑现他的威胁,但米兹及时赶到阻止了他;透过倾盆大雨,尼基带着新娘开车离开,悲伤地看着人群中的真爱。《婚礼进行曲》是一部1928年上映的德国默片,由埃里克·冯·施特罗海姆执导和主演。影片讲述了一个爱情悲剧的故事,背景设定在19世纪末的奥地利帝国。主人公是一个贵族的儿子,他被父亲安排与一个富有的女继承人订婚。然而,他却深爱着一个贫穷的咖啡店女招待。面对社会阶级和金钱的约束,主人公陷入了内心的挣扎。《婚礼进行曲》以其细腻而深刻的描绘情感和社会观察而闻名。埃里克·冯·施特罗海姆通过精湛的导演技巧和演员表演,表达了对社会等级制度和强制婚姻的批评,同时揭示了爱情和自由的价值。影片的摄影和艺术指导也备受赞誉,通过精心布置的场景和华丽的服装,再现了19世纪末奥地利社交圈的奢华和细节。《婚礼进行曲》被认为是默片时代的经典之作,它通过无声的影像语言传达情感和思想,展现了导演的才华和艺术创新。影片成功地揭示了爱情与权力、自由与责任之间的冲突,引起观众对人性和社会问题的思考。尽管《婚礼进行曲》上映时并没有取得商业上的成功,但它被视为默片时代的杰作,并对后来的电影制作产生了重要影响。如果你对经典默片和浪漫爱情故事感兴趣,那么《婚礼进行曲》将是一部不容错过的电影。
主演:萨姆·德·格拉斯 Francelia Billington 埃里克·冯·施特罗海姆 Fay Holderness Richard Cumming
导演:埃里克·冯·施特罗海姆
简介: 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"? The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
主演:萨姆·德·格拉斯 Francelia Billington 埃里克·冯·施特罗海姆 Fay Holderness Richard Cumming
导演:埃里克·冯·施特罗海姆
简介: 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"? The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
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