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奈雪影院

盘尼西林1944
大陆国语2008
  无锡城内,月黑风高。游击队员林筱洁和未婚夫阿天护送两箱刚刚从日本鬼子手中夺得的潘尼西林返回组织。不料,途中遇到伪军刘二,一场激战过,阿天为保护筱洁而被捕,两箱潘尼西林也重回伪军手中。  林筱洁忍痛逃出,但在她心中永远忘不了阿天,也忘不了阿天被捕时的嘱托,一定要找到那两箱潘尼西林。  不久之后,林筱洁以学生身份重回无锡,并与姐夫、地下游击队员慕容轩接上了头。但她并不知道自己的孪生姐姐林筱婷,此时已经打入了日军特高科内部,成为课长高家驹的一名得力参谋,而筱婷的任务就是找到那两箱潘尼西林。  但是,此时日军已经察觉到了游击队的动向,两箱潘尼西林始终毫无线索,令筱婷和筱洁万分焦虑。特别是由于筱洁在一时冲动下,刺杀了抓捕阿天的汉奸刘二,使得特高科课长高家驹加紧了对地下游击队员的搜捕。很快,他就找到了线索,一名外号小关东的大学生。  这个时候,林筱洁经过观察发现日军一处兵营布局缜密,根据推断,游击队认定两箱潘尼西林很可能就在其中。于是,一场精心策划的“夺药”计划开始了。经过一系列巧妙的布局,地下游击队员顺利地潜入日军兵营。但当进入库房时却发现,兵营里面根本没有潘尼西林,而是堆满了火药。在千钧一发之际,慕容轩引燃了炸药的导火索。  日军火药库被炸,引起了日军无锡战区最高长官渡边大佐的愤怒,于是,他对高家驹施压,命令其在最短的时间内抓获地下游击队员,并格杀勿论。高家驹受到渡边的催促,心升一计。于是,阿天等一批游击队员处决。林筱雅心知阿天就是妹妹的未婚夫,但在危急时刻,筱雅只好眼睁睁地看着阿天牺牲。但是,另一名游击队员却死里逃生,他叫小郑,其实是高家驹派进地下游击队内部的一名特务汉奸。  但是,此时此刻,游击队员们并没有发现,在几条情报内线的确认下,小郑在已经叛变的小关东的帮助下,很快加入到游击队中。通过小郑的话语,林筱洁意外得知姐姐筱雅竟然已经成了日军特高科的课长,而且未婚夫阿天也已经牺牲了。这一切的打击,令林筱洁痛不欲生。  汉奸小郑开始源源不断向日军发送情报,令地下游击队处处受阻,经过慕容轩的调查,小郑渐渐浮出水面,游击队决定立刻采取行动。当高家驹发现小郑的线索中断以后,失去耐心的他将一切的希望都寄托在了小关东的身上,在严刑逼供下,小关东终于说出了慕容轩的行踪。  在高家驹的命令下,特高科展开了白色恐怖的抓捕活动。慕容轩为了保护林筱洁等人,与几名游击队员纷纷被抓。这些令筱洁十分伤心,在队长老李和父亲老镖师林老爹的帮助下,不久,他们找到了关押慕容轩等人的地方。  于是,经过一场精心策划的营救行动开始了……  在地下游击队的营救下,被捕的队员们顺利逃出监狱,然而却唯独不见慕容轩的身影。面对这次越狱事件,高家驹认定特高科内部出现了内奸,而这个内奸的矛头渐渐指向了林筱雅。  高家驹曾是林筱雅的师哥,一向对筱雅情有独钟。面对筱雅,老谋深算的高家驹打算以感情的力量来驯化筱雅,并且告诉筱雅慕容轩和那两箱潘尼西林就存在自己的密室中,他让筱雅亲手处死慕容轩,以表忠心。  然而,在刑场之上,筱雅却无法对丈夫慕容轩下手。终于,两名地下游击队员纷纷被高家驹捕获。得意的高家驹知道游击队意在那两箱潘尼西林,当他打算转移的时候,没想到身边司机的枪口却对准了他。原来,这名司机就是林筱雅的下线。  经过一场搏斗,司机营救出了筱雅和慕容轩。慕容轩将一支匕首插进了高家驹的身体,三人乔装打扮带着潘尼西林,逃出日军军营。在途中,并通知林老爹和老李、筱洁到城外接应。  可是,高家驹却没有死,他用最后一丝力气按下了警铃。顿时,全城戒备。筱雅等人在出城的一刹那间,被日军拦下,一场恶战……  林筱雅和司机纷纷牺牲,慕容轩带着两箱潘尼西林冲过纷飞的战火,终于与老李、林老爹和林筱洁等地下游击队员汇合。  浩瀚的太湖湖面上,林筱洁和慕容轩像雕塑一般站在船头,一叶扁舟在夕阳余晖下朝太湖深处漂去……

奈雪影院

造物的奇迹
其它其它1925
  Wunder der Schöpfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001: A Space Odyssey.  In the context of Germany's Kulturfilm phenomenon, Wunder der Schöpfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed.  The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.

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