Sylvester

1.《Sylvester》讲述的是什么故事？

百度影音 网友：该部电视剧讲述了Sylvester, by the hugely underrated Lupu Pick is one of the least known films of the silent era, and unjustly so. Pick, the director of the slightly less obscure Scherben (Shattered), is almost as forgotten as this, his masterpiece... a film that without doubt, in it's time, was one of the most important of the German silent era.This great Kammerspiel is the middle entry in a trilogy written by the master screenwriter Carl Mayer (see here for a web resource for Mayer, as well as a writeup on Sylvester), all three of which were intended to fall under the directorial auspices of Pick: the first was Scherben (Shattered), the second was Sylvester (New Years Eve), and the last was Der Letzte Mann (The Last Laugh), which, as the film went into production, shifted directorial hands-- and was ultimately helmed by another of Mayer's ongoing collaborators, the great F. W. Murnau.Much has been made about the supposed innovations of Der Letzte Mann/Last Laugh: that it was the first film to be produced without intertitles, and that it was the film to "unchain the camera" via the integration of subjective camera movements. Some attribute these innovations to Murnau completely, others give credit to Karl Freund for innovating the moving camera. Others suggest that it was within the script for Letzte Mann that instructions for the moving camera can be located, and that this innovation, in this film, rests wth Mayer.As for the intertitle issue, the myth is easy to debunk: in Germany at least, one can, through exploration of chronologically preceding titles written by Mayer, see that this screenwriter had been seeking out this kind narrative-pictorial purity for years already by the time Letzte went into production. Hintertreppe (Backstairs, 1921, directed by Leopold Jessner, assisted by Paul Leni), Scherben (Shattered, 1921), Die Strasse (The Street, 1923, directed by Karl Grune), Sylvester (New Years Eve, 1924, Pick) all ran, in initial, domestic German release, with one-to-no intertitles. That makes Der Letzte Mann the fifth film that Mayer scripted for execution without intertitles.Putting aside the issue of the preceding use of moving camera by Yevgeni Bauer, Raul Walsh, Giovanni Pastrone, D.W. Griffith, etc-- the issue of who in Germany who first conceived and extensively utilized the subjective moving camera is put to rest with a simple viewing of Sylvester.Like all Carl Mayer tales-- and like Scherben before it-- Sylvester is an exceedingly simple story... it is New Years Eve, and all levels of the social strata are celebrating. Like a restless deity exploring the substance of his human creations, in all the colliding facets of their existence, the camera comes in out of the rolling waves of the void of nighttime... announcing with a single opening intertitle the inscription from the Tower of Babel: "Go go let us go down and there confound their language, that they may not understand one another's speech."With this we move in off of the ocean, and into a city-- it is New Year's Eve and the street is a sea of revelers. Here Pick and Mayer's camera lingers for a couple of minutes before picking up the thread that constitutes the "story", to which the rest of the film is oblivious:A small family unit which runs a low-down bar on the main thoroughfare in town constitutes the central zone of the film. A husband and wife are keeping the food and drinks coming to the drunken, lower-working class revelers tossing confetti and streamers for the holiday. A baby sleeps in a carriage. Suddenly an ominous dark silhouette appears on the frosty outer side of the rear kitchen's window, and is sighted by the wife, who instantly deflates-- all her joy and enthusiasm for the coming countdown to midnight are instantly sapped.The intimate Kammerspiel which follows, triggered by the arrival of the wife's mother-in-law, is constantly orbited by the world outside. (As is typical for a Mayer film, the characters are nameless: The husband, The wife, His Mother) The camera continuously places the emotional strife of the trio of the man and his wife, and her terrible feuding with her schizoid mother-in-law, into context of the larger human universe. Intercut with their scenes of impending tragedy and near operatic gloom are shots of the oblivious streets: grand hotels with elegant appointments and well-heeled revelers in tux flowing out of limousines (welcoed through a revolving door operated by Emil Janning's spiritual predecessor), organ grinders and panhandlers with beaten faces crushedby prison time, bawdy bourgoise, flappers, rowdy laborers, streamers and confetti everywhere. Whereas most films place their characters in the center of the human universe, absorbing all the significance and spiritual gravity made available via the story, Sylvester, despite the pathos of the impending tragedy in the tiny family unit's unfolding drama, de-emphasizes the importance of the family... the narrative strains at times to disassociate itself with them, lingering for solid stretches of minutes, tracking up and down the streets, picking out stranger after stranger, settling on no one and everyone.It's via this dis/association that the power of the film multiplies, gathering the force and impact of the cruel reality of existence: a world paying lip service to the rest of itself, even in it's most awful of crises. The world spins; life goes on. I mentioned in my previous essay (linked above) for Sylvester:I still believe that to be true. What Mayer was attempting to do here is very difficult to articulate in words... thus the opening statement from Babel. This is a film beyond language, beyond a general statement. That barrier that confounds its explanation is the same existential barrier that exists between the family unit and the world outside, which is the barrier that exists between every human heart’s lived life, and the rest of the surrounding world. To paraphrase Tom Regan in Miller’s Crossing: “Nobody really knows anybody—not that well.”

2.《Sylvester》的主演有谁？

西瓜影音 网友：

3.《Sylvester》上映时间？

光棍影院 网友：上映播出时间1924！

4.《Sylvester》有多少集？

百度云资源 网友： 集数： 每集 45分钟

5.手机哪里可以看《Sylvester》？

万能影视 网友： 神马影视手机版 、 手机电影网80s 、 16影视手机版

6.手机看《Sylvester》需要会员吗？

青苹果影院 网友：请直接在 腾讯视频 、 华安影院 、 爱奇艺 、 优酷视频 搜索栏输入影片名称，点击搜索后将会出现与《Sylvester》相关的所有信息，您也可以知道是否需要开通会员了。

7.如何评价《Sylvester》这部剧情片？

豆瓣电影 丨Ms.Kay评论：《Sylvester》居然是35mm胶片拍摄，喜欢。个人感觉比数码高清电视画面质感还要好。

新浪娱乐点评 丨网友评价：我一直认为所谓的影片是绘声绘色的书比小说更高基于虚拟与幻想回头一想却都是现实的虚幻影子。

大众点评 丨春夏秋冬评论：一直是热爱看剧情片写影评的人，却在大学以后久久不再提笔。可能是因为工作的忙碌，家庭的牵绊，还有世俗了的心。但是这都不影响我和我的另一半每周都会选择一部好片欣赏的好习惯。

丢豆网 丨网友评论：鲁普·皮克导演的作品，有欢笑、有泪水、有喜悦、有悲伤...，虚拟世界中的感情是多彩的，并不同于我们现实中不爽就一直玩的感觉，虚拟感情的交错，当看完之后会觉得更加舒畅。

mtime时光网 丨一梦春秋评论：《Sylvester》不同于其他作品，没有紧迫感、虚浮的情节及杂乱的画面，却在不断教导我们，不像老师家长苦口婆心语重心长的教诲(为遵重在这里我省略掉啰嗦这词)。我们看电影电视剧亦或综艺动漫逗号，往往是融入进去，在不知不觉中去了解这些似乎不容易被我们所发现、所理解的道理。再说近一点，看视频时设身处地会发现这是现实中更近教导的教导！

猫眼电影 丨网友评论：今天又把Sylvester这个剧情片看了一遍，感慨良多。

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