目前狀態:HD更新時間:2023-10-23 03:43:54
主演:VictorSjöström KarinMolander
簡介:A masterpiece of comic cinema that shows how the m...詳情
關鍵詞:艾拉[最新電影 艾拉 reality. sophisticated most arguably was
A masterpiece of comic cinema that shows how the medium can transform and distort, as well as record, reality. Swedish cinema in the period 1917-21 was arguably the most sophisticated in the world, its major figure being the actor-director Victor Sjostrom, whose magnificently downbeat films combinedA masterpiece of comic cinema that shows how the medium can transform and distort, as well as record, reality. Swedish cinema in the period 1917-21 was arguably the most sophisticated in the world, its major figure being the actor-director Victor Sjostrom, whose magnificently downbeat films combined literary adaptation, action, melodrama and astonishing natural backdrops. There are some of us, however, who prefer comedy to action melodramas, Lubitsch to Ford, and for this we turn to Sjostrom's contemporary, Mauritz Stiller, unfairly relegated in history to 'The Man Who Discovered Greta Garbo'.\n \n 'Thomas Graal's Best Film' is one of the best comedies of the silent era. It works as an adorable romantic comedy about a concupiscent novelist who falls for his secretary; as a startling social tract, with the dessicated aristocracy giving onto the modern world of cinema, entrepreneurs and the New Woman; as one of the first films about filmmaking - there is an exquisite parody of Griffith's monumental 'Intolerance', as the actor playing a hanged criminal complains about the pain of being hoist from a ceiling.\n \n As early as 1917, before Hollywood was even heard of, we meet the philistine mogul hurling scripts into a wastepaper basket; the hysterical director; the overwrought, melodramatic actors. There is a wonderful scene where Bessie on horseback sees a man attacking a woman on a country road; coming cracking her whip to the rescue, she notices that a film crew are standing beside the roadside; she has mistaken fantasy for reality. This is the film's main theme, and the longest sequence features the title hero writing a screenplay after his mauling Bessie has forced her to flee; he imagines a desperate background of poverty for her from which he rescues her - this is the Best Film of the title.\n \n Stiller's movie shows a thrilling modernity in this sequence as it blurs not only the reality of Graal's writing and the fantasy he imagines, but also intrudes Bessie's own story: she disrupts his narrative just as she disrupts all the forces of (male) power that would try to pin her down. Bessie is one of the great heroines of silent film, permanantly amused by the absurd complacency of the inferiors surrounding her, with a gorgeous, generous grin suggesting both a taste for playfulness, and a voracious sexual appetite. The scene where she flees her father and ritualistically forces him to abandon his paternalistic intentions by destroying the bridge between them is hilarious but provocative.\n \n Graal's screenplay is not merely amusing for the gap between his assumptions and the actual truth. The imagined scene where the aristocratic parents become peasants, the father violent and drunk is subversive in itself (gentry reduced to peasants), but is also an apt metaphor for the patriarchal assumptions of the aristocracy.\n \n Another aspect of the film's modernity is its narration, expressed through intertitles, sarcastic at the expense of the characters, suggesting melodramatic attitudes appropriate to the plot, than showing a very different reality (eg the despairing lover Graal sunbathing merrily on a country lake). There is a ritualistic sexual content (eg the scene in the boat where Graal blows on the window), and a willingness to sidetrack on 'irrelevant' bits (eg the cigarette tricks) that also excite the viewer; while the Surreal\/Magritte\/Feuillade-like abduction scene, fragmented and seemingly arbitrary, where bowler-hatted servants wait to pounce on Bessie, is spooky.\n \n What makes 'Thomas Graal' a true classic though, and nearer to Sjostrom (who is terrific, his overacting more suited to comedy than drama), is the way the defiant artifice of the drama is shot against natural locations, producing a fruitful, jarring effect - Graal chasing Bessie through a country lane, slipping and losing his hat; a desperate Graal pushing a little old lady and stealing her boat, foreshadowing Seinfeld and a famous loaf of rye. There is a startling scene in a butcher's shop, a gallery of fresh carcass bloating the screen.詳情保羅·路德 麥肯娜·格瑞絲 菲恩·伍法德
森田亞紀 栗林裡莉 川上奈奈美 伊東紅 住吉真理子
肖恩·比格斯代夫 艾米莉婭·福克斯 邁克爾·迪克森 肖恩·埃文斯
反町隆史 松島菜菜子 岡崎紗繪 小手伸也 八木莉可子 畑芽育 日向亙 鈴木浩介 池內博之 山崎裕太 窪冢洋介 德山秀典 小栗旬 藤木直人
吳鎮宇 古天樂 袁詠儀 張達明
李銘順 游安順 薛仕凌 柯叔元 苗可麗 曾珮瑜 方宥心
吳肇軒 楊懿軒 郭文頤 曾珮瑜 莊承梅 李千那 馬念先 納豆 陳冠廷
劉昊然 劉浩存 沈騰 尹正 周奇 張宥浩 喬杉 馮紹峰
第二十條
黎耀祥 張慧儀
秦嵐 王冠逸 施予斐 楊樹林 鄭嘉穎 應采兒 甘薇 尹藝夫
VictorSjöström KarinMolander
VictorSjöström KarinMolander
查理·卓別林 艾德娜·珀薇安絲 埃裡克·坎貝爾 法蘭克科爾曼 William Gillespie 傑姆斯-凱利 Charlotte Mineau 洛亞爾·安德伍德 埃裡希·馮·施特羅海姆 約翰蘭德 李奧·懷特 艾伯特·奧斯汀 勞埃德·培根 亨利·伯格曼 Tom Wood