邓咏家
发表于2分钟前
回复
:The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown.Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus ("The Church Is an Old House"), which was distributed to the members of the committee for their comments.In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church.On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast.Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive.The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.
ʯͷ
发表于8分钟前
回复
:1942年,生活在斯德哥尔摩的瑞典籍美国石油商人埃里克•埃里克森突然发现自己上了美国的纳粹合作者黑名单,急于辨白。而这一切是盟军情报机关的安排,意在逼迫埃里克成为间谍,因为他可以方便地进出德国。无奈的埃里克只得就范,他开始公开表现亲近纳粹,甚至不惜伤害最亲密的犹太人朋友坎普尔。朋友和亲人们都疏远了他,但只有坎普尔暗中相信埃里克这样做必有难言的原因。很快,埃里克就和德国人拉上了关系,并将德国石油业巨头格哈德•奥伦道夫爵士、石油商人奥托•豪兹拉下水,组成一个间谍小组,他的代号为“莱德”。同时,埃里克与笃信宗教的德国地下抵抗组织成员玛丽亚娜取得联络,乔装成情人幽会,骗过监视的盖世太保,不断将她提供的情报记忆下来后带回瑞典。埃里克与玛丽亚娜为了事业均是家庭不幸,两个人倾心相恋。埃里克虽是谍海新兵,但他沉着坚毅,多次避过危险。在奥伦道夫的努力下,埃里克获准在瑞典为德国“建设”炼油厂,于是得到了参观德国石油工厂的机会,一次,埃里克与奥伦道夫目睹纳粹绞死罢工工人的场面,被深深触动,开始由被迫工作转向自觉行动。他们的情报使盟军得以准确轰炸,令德国损失惨重。一段时间后,奥托因病去世,由于密信可能泄露,盟军情报机关决定停止埃里克小组的活动。但埃里克惦念玛丽亚娜,同时也为了取回至关重要的纳粹航空燃料生产情报,他毅然再次前往德国。埃里克一到柏林就被关进盖世太保监狱,并亲眼看到因身份暴露被捕的玛丽亚娜殉难。但他强忍悲痛,咬定自己只是玛丽亚娜的情人,盖世太保没有证据只好放人。埃里克从格哈德处拿到情报,又前往汉堡销毁奥托的密信,不料被跟随的盖世太保察觉。埃里克机智逃脱,并与汉堡的盟国谍报网取得联系,在地下组织和丹麦百姓的帮助下,埃里克越过边境,经哥本哈根渡过海峡,安全返回瑞典。