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Sylvester
分类：剧情片
类型：剧情
演员：Eugen,Klöpfer,Edith,Posca,弗里达·李察,Karl,Harbacher,EugenKlöpfer,EdithPosca,KarlHarbacher,尤利乌斯·E·赫尔曼,RudolfBlümner
状态：
简介：Sylvester, by the hugely underrated Lupu Pick is one of the least known films of the silent era, and unjustly so. Pick, the director of the slightly less obscure Scherben (Shattered), is almost as forgotten as this, his masterpiece... a film that without doubt, in it's time, was one of the most important of the German silent era.This great Kammerspiel is the middle entry in a trilogy written by the master screenwriter Carl Mayer (see here for a web resource for Mayer, as well as a writeup on Sylvester), all three of which were intended to fall under the directorial auspices of Pick: the first was Scherben (Shattered), the second was Sylvester (New Years Eve), and the last was Der Letzte Mann (The Last Laugh), which, as the film went into production, shifted directorial hands-- and was ultimately helmed by another of Mayer's ongoing collaborators, the great F. W. Murnau.Much has been made about the supposed innovations of Der Letzte Mann/Last Laugh: that it was the first film to be produced without interti
tles, and that it was the film to "unchain the camera" via the integration of subjective camera movements. Some attribute these innovations to Murnau completely, others give crEdit to Karl Freund for innovating the moving camera. Others suggest that it was within the sc ript for Letzte Mann that instructions for the moving camera can be located, and that this innovation, in this film, rests wth Mayer.As for the interti tle issue, the myth is easy to debunk: in Germany at least, one can, through exploration of chronologically precEding ti tles written by Mayer, see that this screenwriter had been seeking out this kind narrative-pictorial purity for years already by the time Letzte went into production. Hintertreppe (Backstairs, 1921, directed by Leopold Jessner, assisted by Paul Leni), Scherben (Shattered, 1921), Die Strasse (The Street, 1923, directed by Karl Grune), Sylvester (New Years Eve, 1924, Pick) all ran, in initial, domestic German release, with one-to-no interti tles. That makes Der Letzte Mann the fifth film that Mayer sc ripted for execution without interti tles.Putting aside the issue of the precEding use of moving camera by Yevgeni Bauer, Raul Walsh, Giovanni Pastrone, D.W. Griffith, etc-- the issue of who in Germany who first conceived and extensively utilized the subjective moving camera is put to rest with a simple viewing of Sylvester.Like all Carl Mayer tales-- and like Scherben before it-- Sylvester is an exceEdingly simple story... it is New Years Eve, and all levels of the social strata are celebrating. Like a restless deity exploring the substance of his human creations, in all the colliding facets of their existence, the camera comes in out of the rolling waves of the void of nighttime... announcing with a single opening interti tle the insc ription from the Tower of Babel: "Go go let us go down and there confound their language, that they may not understand one another's speech."With this we move in off of the ocean, and into a city-- it is New Year's Eve and the street is a sea of revelers. Here Pick and Mayer's camera lingers for a couple of minutes before picking up the thread that constitutes the "story", to which the rest of the film is oblivious:A small family unit which runs a low-down bar on the main thoroughfare in town constitutes the central zone of the film. A husband and wife are keeping the food and drinks coming to the drunken, lower-working class revelers tossing confetti and streamers for the holiday. A baby sleeps in a carriage. Suddenly an ominous dark silhouette appears on the frosty outer side of the rear kitchen's window, and is sighted by the wife, who instantly deflates-- all her joy and enthusiasm for the coming countdown to midnight are instantly sapped.The intimate Kammerspiel which follows, triggered by the arrival of the wife's mother-in-law, is constantly orbited by the world outside. (As is typical for a Mayer film, the characters are nameless: The husband, The wife, His Mother) The camera continuously places the emotional strife of the trio of the man and his wife, and her terrible feuding with her schizoid mother-in-law, into context of the larger human universe. Intercut with their scenes of impending tragedy and near operatic gloom are shots of the oblivious streets: grand hotels with elegant appointments and well-heeled revelers in tux flowing out of limousines (welcoed through a revolving door operated by Emil Janning's spiritual predecessor), organ grinders and panhandlers with beaten faces crushedby prison time, bawdy bourgoise, flappers, rowdy laborers, streamers and confetti everywhere. Whereas most films place their characters in the center of the human universe, absorbing all the significance and spiritual gravity made available via the story, Sylvester, despite the pathos of the impending tragedy in the tiny family unit's unfolding drama, de-emphasizes the importance of the family... the narrative strains at times to disassociate itself with them, lingering for solid stretches of minutes, tracking up and down the streets, picking out stranger after stranger, settling on no one and everyone.It's via this dis/association that the power of the film multiplies, gathering the force and impact of the cruel reality of existence: a world paying lip service to the rest of itself, even in it's most awful of crises. The world spins; life goes on. I mentioned in my previous essay (li nked above) for Sylvester:I still believe that to be true. What Mayer was attempting to do here is very difficult to articulate in words... thus the opening statement from Babel. This is a film beyond language, beyond a general statement. That barrier that confounds its explanation is the same existential barrier that exists between the family unit and the world outside, which is the barrier that exists between every human heart’s lived life, and the rest of the surrounding world. To paraphrase Tom Regan in Miller’s Crossing: “Nobody really knows anybody—not that well.” 时间：2023-11-22 02:16:58
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KEdi
分类：纪录片
类型：生活
演员：布朗特·乌斯塔曼,本古,德尼兹,杜曼,无忧,小狮子,疯子,橘猫
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简介：伊斯坦布尔的猫并不能简单归类为我们平日所见的家猫或流浪猫，它们自由地出入于人类的生活，亲密但又保有自由，介乎于野生与驯养之间。在伊斯坦布尔，这样的猫成千上万只，它们以这样的方式和伊斯坦布尔共生了数千年。伊斯坦布尔人爱猫，许多人都有自己和猫之间独特的故事，与其说是猫依赖人 ，不如说是人依赖着与猫之间的亲密与羁绊，有人觉得猫是自己和上帝之间的桥梁，有人觉得猫是自己活在世上的一面镜子。伊斯坦布尔的猫之所以特别，因为它们也是这里的居民，伊斯坦布尔是它们的城市。
时间：2023-11-22 02:12:32
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Planet
分类：喜剧片
演员：道恩·强森,杰西卡·贝尔,贾斯汀·朗,加里·奥德曼,西恩·威廉·斯科特,约翰·克立斯,FreddieBenEdict,AlanMarriott,马修·豪勒,詹姆斯·柯登
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简介：在一颗名为51号星球的行星上，居住着一群通体绿色的高智慧生物，他们的文明高度发达，生活安宁幸福。不过他们也有自己的恐慌，那就是远在几百光年之外的地球人，他们生怕会遭到地球人的入侵和杀害。雷（Justin Long 音）是一个热衷星球研究的青年，他和地球上的小青年没什么两样，做实习报告、跟朋友聊天、追女朋友、找工作。这一日，一艘来自地球的宇航飞船降临51号星球，且刚好落在雷的院子里。宇航员查理·T·巴克（“巨石”强森 Dwayne Johnson 音）在当地引起一系列恐慌，自己也受到不小的惊吓。由于长久以来的宣传，51号星球的居民生怕地球人会对自己造成伤害。万般无奈之下，巴克船长找到雷，希望他能帮助自己回到正被当地居民围观的飞船，启程返回地球。而另一方面，当地防卫军也针对“入侵”的地球人展开了行动。巴克船长最终能否回到故乡呢？
时间：2023-11-22 02:12:22
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追击巨怪
分类：恐怖片
演员：OttoJespersen,RobertStoltenberg,奥托·杰斯帕森,格伦·厄兰·托斯特鲁德,Johanna,Mørck,Tomas,Alf,Larsen,JohannaMørck,TomasAlfLarsen,UrmilaBerg-Domaas,HansMortenHansen,罗伯特·施托尔滕贝格,克努特·奈勒姆,EirikBech,IngeErikHenjesand,TomJørgensen,BenEdicteAubertRingnes,MagneSkjævesland,TorunnLød
状态：
简介：影片讲述的是一群挪威大学生用手持摄像机搜寻巨怪（Troll）的足迹，目的就是为了捕捉到这传说中怪物真实存在的影像。这种远古怪物存在的真相一直被挪威政府所掩盖（就像美国政府对外星人和51区的做法一样），在驱车追逐巨怪的过程中，他们更惊人的发现：原来那些跨越在挪威山脉上的高压电线，真实的用途竟是为了阻挡巨怪进入人类的活动区域……
时间：2023-11-22 02:08:14
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