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俾斯麦
分类：日韩剧
演员：兰斯·亨利克森,詹姆斯·卡梅隆,Walter,Weintz,科特·罗文斯,WalterWeintz,KarlKuhn,RichardDoyle,HeinzSteeg,KaiWulff,BlakeSutton,DeanJames,ChrisShafer,DavidJ.Bercuson,MikeCameron,HolgerHerwig,DavidLowe
状态：
简介：导演詹姆斯·卡梅隆特别选在俾斯麦号战舰沉没六十一周年当天，邀请当时舰上的生还者、击沉他们的敌舰人员、以及一群专业的探险小组，一同潜入险恶的深海中，再度登上俾斯麦号战舰，以见证这段永恒不朽的历史传奇，同时也藉此机会探索当时战舰沉没的真相。
时间：2023-11-22 03:01:21
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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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Pria
分类：剧情片
演员：,Chicco,Kurniawan,Karlina,Inawati,Jacob,McCarthy
状态：
简介：Pria is a South Asian teenager who is experiencing her first real crush. She has the same problems as any other teenager, but of course in her mind those problems are exaggerated. She is a movie buff and loves to escape into films with her best friend Anita. Pria would like to approach the ob
ject of her affection but is too self-conscious about her heavy South Asian accent. She uses her accent as an excuse to mask her real insecurities. She decides to make a concerted effort to lose her accent by mimicking famous lines spoken by her idols from the silver screen. While it seems like a good plan at first, her family and friends become concerned when they misunderstand the words she’s saying. Along with this confusion, the practicing doesn’t rid Pria of her accent. Finally in an act of desperation she makes a wish, which actually comes true and allows her to speak proper English. After all of her effort, Pria finally must build up the courage to approach the young man she has a crush on, which doesn’t seem very easy even with her new accent-free voice. In the end Pria comes to realize that her differences really don't matter and she had nothing to worry about.Forms: Narrative Fiction, ShortGenres: Family, Comedy, Magical Realism, Romantic Comedy, Dramedy, CultureNiches: Asian, Women, Youth/Teen 时间：2023-11-22 02:11:20
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曾经，以后
分类：剧情片
类型：剧情
演员：Karl,Consiglio
状态：
简介：经过多年的海外生活，卡尔回到了故乡马耳他开始了寻根的历程。时光荏苒，物是人非，他发现再也不是当初的自己了，也不知是否能真正回到那个叫做“家”的地方。直到他遇见了安娜，这边熟悉的土地上陌生的面孔……Karl returns to Malta after many years abroad and seeks a connection to his roots. But he realises he is no longer the person he once was and wonders whether he can truly return to the place he used to called home. Then he meets Anna, an unfamiliar face in a familiar land...
时间：2023-11-22 02:10:42
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一二三
分类：喜剧片
类型：喜剧
演员：詹姆斯·卡格尼,霍斯特·布赫霍尔茨,帕梅拉·蒂芬,艾琳·弗朗西斯,霍华德·圣约翰,HannsLothar,LeonAskin,劳夫·沃尔特,卡尔·莱芬,休伯特·冯·麦瑞肯,LoïsBolton,PeterCapell,TilKiwe,HenningSchlüter,KarlLudwigLindt
状态：
简介：麦克纳马拉（詹姆斯·贾克内 James Cagney 饰）是可口可乐公司西德分部的总经理，长久以来，他默默地为公司辛勤工作，业绩屡创新高，是上司眼中的红人，亦是最有希望获得晋升的职员。某日，上司致电麦克纳马拉，告知他自己的女儿斯嘉丽（帕梅拉·蒂芬 Pamela Tiffin 饰）即将前往西德游玩，希望麦克纳马拉能够成为她的监护人。然而，让麦克纳马拉没有想到的是，斯嘉丽尽管年纪轻轻，个性却极其热情奔放，来西德没多久，便同一位名叫奥托（豪斯特·巴奇霍兹 Horst Buchholz 饰）的男子坠入了爱河，他们不仅结了婚，斯嘉丽的腹中甚至还有了奥托的骨肉，更糟糕的是，奥托来自于东德，是一位根正苗红的社会主义者，鄙视资本主义的一切。就在这个节骨眼上，麦克纳马拉得知上司很快就要前往西德接他的女儿。
时间：2023-11-22 02:08:14
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铁汉斯
分类：科幻片
演员：
状态：
简介：根据格林童话的《铁汉斯》改编。故事讲的是一位小王子，因为对国王父亲从森林里抓来的野人好奇，就偷了皇后母亲枕头下的钥匙，释放了野人，并被野人带到了森林。于是，小王子失去了王宫无忧无虑的生活。在森林中，他受不了金色涌泉中金鱼和自己倒影的诱惑，违背了野人的警告，在趋近看的时候，不小心把自己的头发染成了金黄色，从此他被野人放逐。他只有靠帮人做饭维生，成天脸上沾满煤灰。直到有一天，他结识了另一国的公主，并且蒙面帮助此国的国王击溃了来犯的敌人，又在一次扔苹果招亲的骑马比赛中获胜，顺利地娶了公主为妻。他们举行婚礼的时候，小王子的父母赶来相认他们失去的儿子。正当婚礼达到高潮之际，皇宫大门突然打开，另一位尊贵的国王驾到，原来他就是森林的野人。由于小王子的努力，排除了禁锢在野人身上的魔法，使他还原为国王之身。
时间：2023-11-22 01:55:08