“Sangen Om Den Eldröda Blomman” ( “Song Of The Scarlet Flower” ) was a recent and remarkable silent surprise for this Herr Von; the oeuvre is an excellent Herr Stiller silent film that this German count watched in a newly restored and tinted copy. It combines the well-known aesthetics, technical improvements and artistic merits for which the Nordic director was known and praised since those early silent times till today.
The film tells of the merry and carefree love life of young Olof ( Herr Lars Hanson ) a woodsman who during his search for true love, seduces many frauleins ( just like this German aristocrat… well, not exactly because the purpose of this Herr Von’s seduction of rich fräulein heiresses are their great fortunes… ). He will suffer disappointment and deception, all those problems that turn up in any loving relationship. Finally he will find responsibility and maturity, learning during his particular quest that his actions always have consequences in different degrees to the people around him. This Herr Von can describe “Sangen Om…” as a kind of coming of age film, the special introspective growth toward maturity of a free and easy youngster.
As this German count said before, the film displays Stiller’s characteristic artistic virtues. ; in the first part of the film, we can see elements of comedy, not exactly like the comedy of intrigues in other Stiller films, but humor of a more cheerful sort, highlighting the self-involvement of our hero. Olof ‘s frivolous flirtations with the different girls eventually turn romantic and then turn into drama. There is conflict in the troubled relationship between Olof and his father and later with the father of his beloved. The beautiful and wild natural landscapes of Norrland and northern Sweden lend the tale a certain power and is characteristic of Herr Stiller’s other silents where Nature emerges as an important character in the story. This is strongly reflected throughout the film but especially during the frantic scene wherein Olof descends into the troubled waters of a river, a beautiful metaphor for the hardships that our hero has to endure until he finds himself.
“Sangen Om Den Eldröda Blomman” is an excellent, beautiful film, a solid, technically perfect and intricate production of 1919 that demonstrates once again the importance of Herr Stiller for silent film history.
看了一些讨论 原来男主是一个x功能没有完全发展似乎无x恋的人 有点理解他了
有诚意的剧本，基本能自圆其说，在国产里已经非常难得了
6.5_山村狐妻 The Wicked Wife (2022)，氛围不错，特效可以，故事挺有意思也能自圆其说，寓意也比较深刻，尤其警察杀戏子是说的那一句，“戏子无义” ，如果不是为了广电的审查跟要求应该拍得更精彩最后落入俗套，最后一幕谢景跟他老婆露脸，有点像那女的为眼袋那么大
结尾出来我才知道，阿文的确不是一个正常的男人，他是有缺陷的，但他的爱一直很完整。
有道是：
综合7.5，三星以上，四星未满。网大的粗糙和廉价感对于一个好的故事多少还是会有些影响，这方面略减分，以及没有找准定位，宣发上败好感。Y
好消息：角度不错。比较惊喜，3.5
竟然还挺……好看的
哈哈哈，还行吧，当听个故事了，氛围大于实际。
没什么特色的文艺片 清高不活在世俗规则里的无法成长的脆弱男主 永远不开口解释
《罗生门》式剧情反转 讲真的比上映的好多恐怖片都要好太多了……编剧真的动脑子了 比太多太多国产恐怖片要好 而且男主颜值演技双在线 端着羊肉带着养子出来那一个镜头真的把我有吓到
李相日还是很会拍的，毕竟要把这么长的一本小说概括成1个半小时的电影还是很有难度的。故事大概是讲清楚了，当然遗憾的点肯定也是有的。比如对更纱和文之间的关系，感觉电影里更偏向将它刻画成恋人，但原著明显不是，是互相依赖互相成全，就像小说里说的世界上没有一个词语能够正确形容的关系。还有一个遗憾，更纱身边的那种令人窒息的善意和关怀，这方面的描述感觉明显是不够的。丝丝和桃李演技真的可以了，看到选角时还挺不安的，实际看了感觉很惊喜，很符合小说里的人物形象，虽然总体也就这样了，不如原著深刻，建议还是看原著。
狐妖杀人→人性贪婪，真凶散布谣言。
用讲故事的画面来表现妖孽，用人性来解释真相，编剧确实尽力了。
不同的讲述者，拼凑出一段暗黑历史，拨开鬼怪的外衣，是丑陋的人性……很有想法的一部电影，完成度很高，剧本好，导演的调度，摄影都不错。
开头还是浓浓的网大导演根本无法掌控剧本台词的特点，特效做的精细些，不过后面一通剪辑，你别说，通过这样的努力还真把整体电影的水平拉高了一些的，所以高出网大平均水平。
不，这跟制度有毛关系？
若干年后，半仙被抓，贿赂了两个官差成功脱身，除了瞎子和孩子全部灭口，然后乘船离去，不料船夫是当年坠崖的帮工，引爆炸弹同归于尽。
人们只能看到想看到的东西。善意被曲解成恶意，理解会变成误解。（流星演技进步很大甚至有一点点心理阴影…）
1、人们只愿相信自己想要相信的，真相对于他们来说并不重要。2、即使残缺不堪，总有一个人会爱那个真实的你。3、配乐和摄影真不错，平静而又诡异。4、最后那个抹唇有点多余和不适。5、是个互相救赎的故事。
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