从清晨到午夜

• 别名：从早到晚,FromMorntoMidnight
• 清晰：BD
• 类型：
• 主演：厄恩斯特·多伊奇 Erna Morena Hans Heinrich von Twardowski Eberhard
• 年代：1920 / 德国 / 卡尔·海因茨·马丁
• 导演：卡尔·海因茨·马丁
• 国家/地区：德国
• 时长：120分钟
• 语言/字幕：国语对白 中文字幕
• 年代：1920
• 更新时间：2024-04-18 22:33:08
• 影视/评论：当前有0条评论，
• 详细介绍： GeorgKaiserdecribesinhisExpressionisttheaterplayth… GeorgKaiserdecribesinhisExpressionisttheaterplaytheattemptofabankcashiertoescapehismiddleclassdailylife.DirectorKarlheinzMartin'sadaptationtransfersKaiser'splayintoanExpressionistfilmofradicalstylization.TheGermanfilmindustrywassoirritatedbytheresultthatthefilmneverfoundadistributionandwasnevershowninGermancinemas.TheonlyexistingprintofthisclassicsurvivedinJapanwherethefilmreceivedacinemareleaseandwaspreservedbytheNationalFilmCenter. ThematerialworldofVonmorgensbismitternachtsseemslikeahallucinationandassuchischaracterizedasdeliberatelybanalaswellasfragile,unfinishedandunstable.ThearchitectRobertNeppachusedthedazzlingsimplicityofthepainteddécortoillustratethenatureofthings,socialandhumanrelationships.Here,thebankrevealsitselfasalife-suckingdungeon,thefenceatthecashier'shouseaccentuatesaprison,itselftrappedinitsownlocation.Theunreal,paintedraysoflightonthehotelstaircaseleadingtothelady'sroomsimultaneouslyillustratedesireandtheabsenceofanykindofbasisforit.Strongcontrasts,distortedformsandperspectivesindicatestructuresofrealitywithoutdepictingadifferent,fantasticnature,andcondensethemtosuchanextentthat"thefabricoftheouterworld"becomesdiscernible. Light,costumeandmakeupdesigncorrespondedtothegraphicconceptandthesharplycontrastingemphasisonlightanddarkness.Alsothecashier'sclothes,contouredwithstripesofwhitepaint,seemtorn,appearingtomirrorhismentalconstitution.Evenifthecharactershavenotquitediscardedtheir"organicform"completely,producerRudolfKurtzhadapoint:they"areparts,formalelementsofadecorativethoughtprocess,theyarepartofathree-dimensionalimage,aretornbyflecksoflightandstripeswhichhavebeenpaintedontothem."Thecashier'smakeupcomplieswiththegraphicblackandwhitecontrasts.Hiswhiteface,hispandaeyes,theblackcontourlinesalonghisbrowandthebridgeofhisnoseandarampantmoustachecharacterizeapersonwhoissociallydeformedandyetthirstyforlife.Theremainingcharactersalsohavetheirrespectivesocialcharacteristicspaintedontheirfacesindrasticallyemphaticandexaggeratedphysiognomicdetail.Eventhemostdazzlinglighteffectsarenotusedtoformthree-dimensionalspacebutaccentuatelinesanddetailsofgraphicimagecompositioninaccordancewiththedécoroftheset. Themainstylisticprobleminalmostallexplicitlyantinaturalisticfilmsishowtheactor,whocanonlyartificiallyexaggeratehisnaturalphysiognomictraitstoacertainextent,canbeintegratedintotheimagecomposition.InnootherfilminthetraditionofnarrativecinemaoutsidethefantasygenrehasthisbeendonesoobviouslyasinVonmorgensbismitternachts,wheretheactorshavealsoformallybecomepartoftheconceptofdécorandimage.ErnstDeutschintheroleofthecashierdissolveshismovementsintotenseandthensuddenlyexplosivegestures;heemphasizes,lengthens,oracceleratessingledetailsandneverpresentsanorganic,overallsequenceofmovements.Theblack,mimiclinesonhisface,mainlyhischeekbonesandhiseyesockets,whichessentiallycharacterizethegauntfaceoftheactor,arepaintedontoachalkywhiteface,givinghimtheappearanceofawoodcut.Theambivalentroleofthecashier;thechangefromaninitiallygeriatricappearance,fullofburninginnerintensityinthefirstpartofthefilm,toayoungerexteriorfilledbytheadvancingsenilityofthedesiredinnerfulfillment,wasportrayedtoitsfullestextentbyErnstDeutsch.Hisamazingabilityto"agesosuddenlyandterribly"hadalreadybeennotedinhisrebelliousyouthfulrolesinexpressionistplays. KarlheinzMartinalsousedimagescomposedwiththehelpofcinematechnologytoagreatextent,whenevertheycouldbeintegratedintotheartificialstyleconcept,suchasthefootageofthesixdayrace,withtherushandecstasyofthespectatorsaddictedtoentertainment.Differentcameraperspectivesshowseveralterracedrowsofseatsinhistoricalstructure,wherethesocialstratumoftheprivilegedclass,thebourgeoisie,thepettybourgeoisie,andtheproletariatisillustratedandtheacceleratedrhythmofthemovementofthecamerasuddenlybecomesavertiginousrideinapaternoster.Theraceitselfhasanaccentuatedcinematicform.ThecashiersaysinKaiser'sdrama:"Iseeacircleandagaudywavyline."Itisdisplayedinatotallydarkenedroomwhichillustratesanabstractionofaracetrackasanellipticalwarpedstripofdazzlinglight.Thecyclistsappearracingthroughthissetinlap-likeinternals.Thewholescenewasfilmedthroughamirrororaconvexlens,givinganunreal,distortedimpressionoftherace.LotteEisnerdescribedthissceneasfollows:"Thecyclistsaretransformedintoananamorphosis,theyarestretchedandthroughthemagicoflightandwiththehelpofadistortinglenstheybecomesparklingfacets." Vonmorgensbismitternachtsmayhaveenrichedthedevelopmentofcinema-aesthetics,neverthelessapublicshowingnevertookplaceinGermanyinthe1920s.ProducerRudolfKurtzblamedtheradicaluseofrealhumanbeingsasadesignelementintheconstructionofthefilmimageforthereluctanceofcinemaownerstoshowVonmorgensbismitternachts:"Thismovingaroundofhumanbeingswhichonlyserveasformalelements,obstructsanyaccesstothefilm."Theeffectofcoldnessandstrangenessresultingfromtheunusual,artificialformalrestrictions,thedenialofthree-dimensionalityandobjectarrangementaswellasthesimilarlyinorganicandrhythmic-mechanicalactingstylewasadeliberatecalculation.Itsumsupratherpreciselytheintentionsofthisproduction:toilluminatefrozenandgrotesqueimagesofsocietywiththesamedazzlinglightasdesperate,andhenceequallydistorted,attemptstobreakoutofaworldwhichisunwillingtochange.Thefactthatthefilmwasignoredbycommercialdistributorsandcinemassetanearlylimitonthemarketabilityofrigorouslyabstracttendenciesinnarrativecinema. JürgenKasten 详情