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Thomas Graals bästa film（1917）

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◎片名：Thomas Graals bästa film
◎又名：thomas graal's best film
◎年份：1917
◎类型：喜剧
◎导演：MauritzStiller
◎制片人：
◎编剧：古斯塔夫·莫兰德
◎主演：VictorSjöström/KarinMolander
◎制片国家/地区：瑞典
◎IMDB：tt0008672
◎语言：silent
◎片长：59 分钟(16 fps) / 90 分钟(original release)
◎上映时间：1917
◎出品公司：
◎发行公司：
◎全球票房：
◎国内票房：
◎剧情简介：
A masterpiece of comic cinema that shows how the medium can transform and distort, as well as record, reality. Swedish cinema in the period 1917-21 was arguably the most sophisticated in the world, its major figure being the actor-director Victor Sjostrom, whose magnificently downbeat films combined literary adaptation, action, melodrama and astonishing natural backdrops. There are some of us, however, who prefer comedy to action melodramas, Lubitsch to Ford, and for this we turn to Sjostrom's contemporary, Mauritz Stiller, unfairly relegated in history to 'The Man Who Discovered Greta Garbo'. 　　'Thomas Graal's Best Film' is one of the best comedies of the silent era. It works as an adorable romantic comedy about a concupiscent novelist who falls for his secretary; as a startling social tract, with the dessicated aristocracy giving onto the modern world of cinema, entrepreneurs and the New Woman; as one of the first films about filmmaking - there is an exquisite parody of Griffith's monumental 'Intolerance', as the actor playing a hanged criminal complains about the pain of being hoist from a ceiling. 　　As early as 1917, before Hollywood was even heard of, we meet the philistine mogul hurling scripts into a wastepaper basket; the hysterical director; the overwrought, melodramatic actors. There is a wonderful scene where Bessie on horseback sees a man attacking a woman on a country road; coming cracking her whip to the rescue, she notices that a film crew are standing beside the roadside; she has mistaken fantasy for reality. This is the film's main theme, and the longest sequence features the title hero writing a screenplay after his mauling Bessie has forced her to flee; he imagines a desperate background of poverty for her from which he rescues her - this is the Best Film of the title. 　　Stiller's movie shows a thrilling modernity in this sequence as it blurs not only the reality of Graal's writing and the fantasy he imagines, but also intrudes Bessie's own story: she disrupts his narrative just as she disrupts all the forces of (male) power that would try to pin her down. Bessie is one of the great heroines of silent film, permanantly amused by the absurd complacency of the inferiors surrounding her, with a gorgeous, generous grin suggesting both a taste for playfulness, and a voracious sexual appetite. The scene where she flees her father and ritualistically forces him to abandon his paternalistic intentions by destroying the bridge between them is hilarious but provocative. 　　Graal's screenplay is not merely amusing for the gap between his assumptions and the actual truth. The imagined scene where the aristocratic parents become peasants, the father violent and drunk is subversive in itself (gentry reduced to peasants), but is also an apt metaphor for the patriarchal assumptions of the aristocracy. 　　Another aspect of the film's modernity is its narration, expressed through intertitles, sarcastic at the expense of the characters, suggesting melodramatic attitudes appropriate to the plot, than showing a very different reality (eg the despairing lover Graal sunbathing merrily on a country lake). There is a ritualistic sexual content (eg the scene in the boat where Graal blows on the window), and a willingness to sidetrack on 'irrelevant' bits (eg the cigarette tricks) that also excite the viewer; while the Surreal/Magritte/Feuillade-like abduction scene, fragmented and seemingly arbitrary, where bowler-hatted servants wait to pounce on Bessie, is spooky. 　　What makes 'Thomas Graal' a true classic though, and nearer to Sjostrom (who is terrific, his overacting more suited to comedy than drama), is the way the defiant artifice of the drama is shot against natural locations, producing a fruitful, jarring effect - Graal chasing Bessie through a country lane, slipping and losing his hat; a desperate Graal pushing a little old lady and stealing her boat, foreshadowing Seinfeld and a famous loaf of rye. There is a startling scene in a butcher's shop, a gallery of fresh carcass bloating the screen.
◎主题曲：

歌曲		歌手	在线试听

◎获奖情况：

标签

缩略图

片名

Thomas Graals bästa film

又名

thomas graal's best film

年份

1917

导演

MauritzStiller

编剧

古斯塔夫·莫兰德

主演

VictorSjöström/KarinMolander

剧情简介

A masterpiece of comic cinema that shows how the medium can transform and distort, as well as record, reality. Swedish cinema in the period 1917-21 was arguably the most sophisticated in the world, its major figure being the actor-director Victor Sjostrom, whose magnificently downbeat films combined literary adaptation, action, melodrama and astonishing natural backdrops. There are some of us, however, who prefer comedy to action melodramas, Lubitsch to Ford, and for this we turn to Sjostrom's contemporary, Mauritz Stiller, unfairly relegated in history to 'The Man Who Discovered Greta Garbo'. 　　'Thomas Graal's Best Film' is one of the best comedies of the silent era. It works as an adorable romantic comedy about a concupiscent novelist who falls for his secretary; as a startling social tract, with the dessicated aristocracy giving onto the modern world of cinema, entrepreneurs and the New Woman; as one of the first films about filmmaking - there is an exquisite parody of Griffith's monumental 'Intolerance', as the actor playing a hanged criminal complains about the pain of being hoist from a ceiling. 　　As early as 1917, before Hollywood was even heard of, we meet the philistine mogul hurling scripts into a wastepaper basket; the hysterical director; the overwrought, melodramatic actors. There is a wonderful scene where Bessie on horseback sees a man attacking a woman on a country road; coming cracking her whip to the rescue, she notices that a film crew are standing beside the roadside; she has mistaken fantasy for reality. This is the film's main theme, and the longest sequence features the title hero writing a screenplay after his mauling Bessie has forced her to flee; he imagines a desperate background of poverty for her from which he rescues her - this is the Best Film of the title. 　　Stiller's movie shows a thrilling modernity in this sequence as it blurs not only the reality of Graal's writing and the fantasy he imagines, but also intrudes Bessie's own story: she disrupts his narrative just as she disrupts all the forces of (male) power that would try to pin her down. Bessie is one of the great heroines of silent film, permanantly amused by the absurd complacency of the inferiors surrounding her, with a gorgeous, generous grin suggesting both a taste for playfulness, and a voracious sexual appetite. The scene where she flees her father and ritualistically forces him to abandon his paternalistic intentions by destroying the bridge between them is hilarious but provocative. 　　Graal's screenplay is not merely amusing for the gap between his assumptions and the actual truth. The imagined scene where the aristocratic parents become peasants, the father violent and drunk is subversive in itself (gentry reduced to peasants), but is also an apt metaphor for the patriarchal assumptions of the aristocracy. 　　Another aspect of the film's modernity is its narration, expressed through intertitles, sarcastic at the expense of the characters, suggesting melodramatic attitudes appropriate to the plot, than showing a very different reality (eg the despairing lover Graal sunbathing merrily on a country lake). There is a ritualistic sexual content (eg the scene in the boat where Graal blows on the window), and a willingness to sidetrack on 'irrelevant' bits (eg the cigarette tricks) that also excite the viewer; while the Surreal/Magritte/Feuillade-like abduction scene, fragmented and seemingly arbitrary, where bowler-hatted servants wait to pounce on Bessie, is spooky. 　　What makes 'Thomas Graal' a true classic though, and nearer to Sjostrom (who is terrific, his overacting more suited to comedy than drama), is the way the defiant artifice of the drama is shot against natural locations, producing a fruitful, jarring effect - Graal chasing Bessie through a country lane, slipping and losing his hat; a desperate Graal pushing a little old lady and stealing her boat, foreshadowing Seinfeld and a famous loaf of rye. There is a startling scene in a butcher's shop, a gallery of fresh carcass bloating the screen.

上映时间

1917

影片类型

喜剧

内地上映时间

出品国家/地区

瑞典

首映日期

首映地区

语言

silent

时长

59 分钟(16 fps) / 90 分钟(original release)

色彩

版本

声效

评分

制作机构

出品机构

发行机构

获奖信息

拍摄地

票房成绩

国内票房

制片人

其他机构

幕后花絮

演职人员

导赏

集数

单集片长

分集剧情

IMDb

tt0008672

海报

剧照

档案影像

主题曲

歌曲		歌手	在线试听

原著

基本信息

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