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悲情花街 Die Freudlose Gasse (1925)

Die Freudlose Gasse

导演: G·W·帕布斯特
编剧: Hugo Bettauer / Willy Haas
主演: Asta Nielsen / 葛丽泰·嘉宝 / Agnes Esterhazy / Werner Krauß / Karl Etlinger / Valeska Gert
类型: 剧情
制片国家/地区: 德国
语言: 德语
上映日期: 1925
片长: 125 分钟 / France: 94 分钟(1981 restored version) / Germany: 175 分钟(1998 restored version at Berlin Film Festival, 16 fps) / Spain: 109 分钟 / Belgium: 115 分钟(copy with English titles at Brussels Musée du Cinéma) / Germany: 148 分钟(1998 restored version at Arte/ZDF, 19 fps) / 142 分钟(1998 restored version on DVD, 20 fps) / Germany: 151 分钟(2009 DVD, 19 fps)
又名: The Joyless Street / 没有欢乐的街
IMDb链接: tt0015842

豆瓣评分

8.2

5星

32.1%

4星

51.1%

3星

13.8%

2星

1.9%

1星

1.1%

评价:

悲情花街的剧情简介 · · · · · ·

　　Die freudlose Gasse (The Joyless Street), directed Georg Wilhelm Pabst from a script by Willy Haas, based on a novel by Hugo Bettauer, is not only one of the most important films of the Weimar Republic, it is also one of the most spectacular censorship cases of the era. While the film made its director famous, the state institutions of control guaranteed that no one would ever ... (展开全部) 　　Die freudlose Gasse (The Joyless Street), directed Georg Wilhelm Pabst from a script by Willy Haas, based on a novel by Hugo Bettauer, is not only one of the most important films of the Weimar Republic, it is also one of the most spectacular censorship cases of the era. While the film made its director famous, the state institutions of control guaranteed that no one would ever see the film in its original form. The film was considered too much of a provocation. Its story from the inflationary period in Vienna in the years immediately after World War I offered enough dynamite for several muckraking novels: nouveau riches currency and stock market speculators who wallow in Babylonian luxury, homeless and unemployed Lumpenproletariat living in barns, women who sell their souls for a bit of fresh meat at the butcher's, arrogant but impoverished former bureaucrats unaware of their social slide, young social climbers willing to prostitute themselves with high society women, sexual orgies and bordellos, murder out of jealousy, murder out of despair, and, finally, a revolution in the streets.
　　Contemporary film critics, as well as film historians have always recognized The Joyless Street as a seminal film, a film on the border between German Expressionism and Neue Sachlichkeit (new realism). Two quotes from contemporary reviews may illustrate the point: the Berliner Tageblatt wrote: "In terms of its acting, this is a beautiful film with great direction and wonderful actors." In fact, the film starred Asta Nielsen, Werner Kraus, Hertha von Walter, and a young Greta Garbo who would go on to a stellar career in Hollywood. In the Deutsche Allgemeine Zeitung, Otto Friedrich wrote: "He (Pabst) achieves his goal in great style, does not tread on well-worn paths, presents new ideas which are uniquely his own, and with this achievement gives us a new hope. He captures the atmosphere of an idea, keeps redrawing it on the surface in ever more intensive images, in contrasts of action that make an ever stronger impression. He illustrates the down-trodden souls of the era and the manic lust for pleasure of its people who are trying to do nothing more than escape for a few minutes from the terrible truth of the present."
　　Not only was the film cut for political and moral reasons in every country where it was publicly shown, it was also reedited in order to close the huge gaps created by censorship cuts. Thus, in almost every country totally different narratives of The Joyless Street emerged. According to Mark Sorkin, Pabst's editor, he and Pabst had made the first cuts the night before the premiere, because the theatre owner insisted the film be shortened.  While the first version of The Joyless Street still had a length of 3738 meters (only four meters were initially cut by the censorship board on 25 May 1925), the film was back in court on 29 March 1926, because the police had issued a decree calling for a total ban on the film, due to its "lewd" and " seditious" tendencies. Now only 3477 meters remained of the film. None of the later surviving versions ever came close to this length. Neither a German version, nor the original German censorship cards are known to exist.
　　Everyone who has seen the new reconstruction of The Joyless Street agrees that it is a vast improvement over all previously existing versions. Yet it remains only a subjective attempt at a reconstruction. While it is true that the reconstruction team tried to base every one of it decisions on documentary evidence, it must also be admitted that without a surviving original German version, we will never know what the film really looked like. Given the incredible complexity of the narrative, involving at least six different subplots, and the fact that the film is still missing at least 700 meters, this version must be characterized as at attempt at a reconstruction.
　　Jan-Christopher Horak

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我要写短评

悲情花街的短评 · · · · · · ( 全部 135 条 )

热门 / 最新 / 好友

6 有用灰狼看过 2016-11-20

151分钟的德语字幕卡，我竟然看懂情节了……有情人终成眷属，卖身求肉不得的女人怒杀镇关西

2 有用 stknight 看过 2011-12-01

改编自奥地利作家胡果·贝陶尔的同名小说，有多个主人公，也有着不同的命运。这部电影完成了两次告别。德国默片电影在这部标志性作品之后，基本褪去了表现主义的面纱——但并未将其遗忘，和整个德国社会一起，走进了新的时代；而葛丽泰·嘉宝，也在这部影片之后，早早告别了自己的欧洲时光。

1 有用熊猫神菁看过 2011-12-23

那个年代的眼妆未必有点浓得雷人，音乐好恐怖- -，那个年代刚20岁的嘉宝也舍得露嘛

4 有用火娃看过 2013-08-29

7.0/10。明明是爱情片为什么配乐要这么诡异？全色胶片的拍摄使画面呈现统一的红、绿、蓝和黄色，有运用到表现主义（阴晦氛围、扭曲巨大的影子和手的叠印等），和朗一样大量使用到雪茄（夜总会场景），但是叙事太面面俱到搞得人昏昏沉沉，还有结尾你能处理得不那么好莱坞一点吗？房子烧完就直接出字幕。

0 有用神户酩人看过 2018-01-13

早期德国电影一大特点就是用特写或大特写夸大演员夸张的面部表情。

> 更多短评 135条

你关注的人还没写过短评

悲情花街的话题 · · · · · · ( 全部条 )

什么是话题

无论是一部作品、一个人，还是一件事，都往往可以衍生出许多不同的话题。将这些话题细分出来，分别进行讨论，会有更多收获。

我要写影评

悲情花街的影评 · · · · · · ( 全部 2 条 )

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宗黎 2009-02-28 14:04:08

沿用原名的观感：没有欢乐的大街

这篇影评可能有剧透

这是嘉宝唯一一部德国电影，也是最后一部欧洲电影（除德语版《安娜·克里斯蒂》外），很难得有这个英文字幕的版本。看名字就知道是部现实主义题材作品；讲述一战后维也纳某条街道上的人生百态。故事主要定睛在两个家庭的遭遇中。某住宅地下室里住着三口之家，瘸腿的父亲脾气... (展开)

非虚构 2018-02-17 21:56:50

导演说

1924年，随着战后危机年代的过去，德国政治、经济开始进入一个相对稳定的时期。新的政治、经济形势导致德国的精神生活与文化生活产生新的变革，并带来电影题材与内容的变化。摆脱了政治动乱、通货膨胀的威胁与饥寒之苦的德国观众，这时开始寻求一种新的精神食粮。电影制片人也... (展开)

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德国默片葛丽泰·嘉宝德国电影 1920s 1925 G.W.Pabst G·W·派伯斯特

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