除夕夜

• 别名：新年前夜
• 清晰：BD
• 类型：剧情
• 主演：EugenKlöpfer EdithPosca 弗里达·李察 KarlHarbacher 尤利乌斯·E·赫尔曼 RudolfBlümner
• 年代：1924 / 德国 / LupuPick
• 导演：LupuPick
• 国家/地区：德国
• 时长：120分钟
• 语言/字幕：德语
• 年代：1924
• 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： Sylvester,bythehugelyunderratedLupuPickisoneofthel… Sylvester,bythehugelyunderratedLupuPickisoneoftheleastknownfilmsofthesilentera,andunjustlyso.Pick,thedirectoroftheslightlylessobscureScherben,isalmostasforgottenasthis,hismasterpiece...afilmthatwithoutdoubt,init'stime,wasoneofthemostimportantoftheGermansilentera.　　ThisgreatKammerspielisthemiddleentryinatrilogywrittenbythemasterscreenwriterCarlMayer,allthreeofwhichwereintendedtofallunderthedirectorialauspicesofPick:thefirstwasScherben,thesecondwasSylvester,andthelastwasDerLetzteMann,which,asthefilmwentintoproduction,shifteddirectorialhands--andwasultimatelyhelmedbyanotherofMayer'songoingcollaborators,thegreatF.W.Murnau.　　MuchhasbeenmadeaboutthesupposedinnovationsofDerLetzteMann/LastLaugh:thatitwasthefirstfilmtobeproducedwithoutintertitles,andthatitwasthefilmto"unchainthecamera"viatheintegrationofsubjectivecameramovements.SomeattributetheseinnovationstoMurnaucompletely,othersgivecredittoKarlFreundforinnovatingthemovingcamera.OtherssuggestthatitwaswithinthescriptforLetzteMannthatinstructionsforthemovingcameracanbelocated,andthatthisinnovation,inthisfilm,restswthMayer.　　Asfortheintertitleissue,themythiseasytodebunk:inGermanyatleast,onecan,throughexplorationofchronologicallyprecedingtitleswrittenbyMayer,seethatthisscreenwriterhadbeenseekingoutthiskindnarrative-pictorialpurityforyearsalreadybythetimeLetztewentintoproduction.Hintertreppe,Scherben,DieStrasse,Sylvesterallran,ininitial,domesticGermanrelease,withone-to-nointertitles.ThatmakesDerLetzteMannthefifthfilmthatMayerscriptedforexecutionwithoutintertitles.　　PuttingasidetheissueoftheprecedinguseofmovingcamerabyYevgeniBauer,RaulWalsh,GiovanniPastrone,D.W.Griffith,etc--theissueofwhoinGermanywhofirstconceivedandextensivelyutilizedthesubjectivemovingcameraisputtorestwithasimpleviewingofSylvester.　　LikeallCarlMayertales--andlikeScherbenbeforeit--Sylvesterisanexceedinglysimplestory...itisNewYearsEve,andalllevelsofthesocialstrataarecelebrating.Likearestlessdeityexploringthesubstanceofhishumancreations,inallthecollidingfacetsoftheirexistence,thecameracomesinoutoftherollingwavesofthevoidofnighttime...announcingwithasingleopeningintertitletheinscriptionfromtheTowerofBabel:"Gogoletusgodownandthereconfoundtheirlanguage,thattheymaynotunderstandoneanother'sspeech."　　Withthiswemoveinoffoftheocean,andintoacity--itisNewYear'sEveandthestreetisaseaofrevelers.HerePickandMayer'scameralingersforacoupleofminutesbeforepickingupthethreadthatconstitutesthe"story",towhichtherestofthefilmisoblivious:　　Asmallfamilyunitwhichrunsalow-downbaronthemainthoroughfareintownconstitutesthecentralzoneofthefilm.Ahusbandandwifearekeepingthefoodanddrinkscomingtothedrunken,lower-workingclassrevelerstossingconfettiandstreamersfortheholiday.Ababysleepsinacarriage.Suddenlyanominousdarksilhouetteappearsonthefrostyoutersideoftherearkitchen'swindow,andissightedbythewife,whoinstantlydeflates--allherjoyandenthusiasmforthecomingcountdowntomidnightareinstantlysapped.　　TheintimateKammerspielwhichfollows,triggeredbythearrivalofthewife'smother-in-law,isconstantlyorbitedbytheworldoutside.Thecameracontinuouslyplacestheemotionalstrifeofthetrioofthemanandhiswife,andherterriblefeudingwithherschizoidmother-in-law,intocontextofthelargerhumanuniverse.Intercutwiththeirscenesofimpendingtragedyandnearoperaticgloomareshotsoftheobliviousstreets:grandhotelswithelegantappointmentsandwell-heeledrevelersintuxflowingoutoflimousines,organgrindersandpanhandlerswithbeatenfacescrushedbyprisontime,bawdybourgoise,flappers,rowdylaborers,streamersandconfettieverywhere.Whereasmostfilmsplacetheircharactersinthecenterofthehumanuniverse,absorbingallthesignificanceandspiritualgravitymadeavailableviathestory,Sylvester,despitethepathosoftheimpendingtragedyinthetinyfamilyunit'sunfoldingdrama,de-emphasizestheimportanceofthefamily...thenarrativestrainsattimestodisassociateitselfwiththem,lingeringforsolidstretchesofminutes,trackingupanddownthestreets,pickingoutstrangerafterstranger,settlingonnooneandeveryone.　　It'sviathisdis/associationthatthepowerofthefilmmultiplies,gatheringtheforceandimpactofthecruelrealityofexistence:aworldpayinglipservicetotherestofitself,eveninit'smostawfulofcrises.Theworldspins;lifegoeson.ImentionedinmypreviousessayforSylvester:　　Istillbelievethattobetrue.WhatMayerwasattemptingtodohereisverydifficulttoarticulateinwords...thustheopeningstatementfromBabel.Thisisafilmbeyondlanguage,beyondageneralstatement.Thatbarrierthatconfoundsitsexplanationisthesameexistentialbarrierthatexistsbetweenthefamilyunitandtheworldoutside,whichisthebarrierthatexistsbetweeneveryhumanheart’slivedlife,andtherestofthesurroundingworld.ToparaphraseTomReganinMiller’sCrossing:“Nobodyreallyknowsanybody—notthatwell.” 详情