Electronic Shadows

The only real fantasy film, and the most expensive production of Nazi cinema, was made in 1943 for the 25th anniversary of Ufa. The screenplay, loosely based on stories published in 1786 by the poet Gottfried August Buerger, was written by Erich Kaestner under a pseudonym because the Nazis prohibited him from writing. We have him to thank for the many political gibes in the film and for a hero who is not a leader but rather an individualist, who prefers to conquer women instead of countries – the perfect role for the he-man actor Hans Albers. Hi adventures end with one of the most beautiful declarations of love in the history of the cinema.

纳粹时代耗资最为巨大的幻想电影，摄于1943年，是为了纪念乌发电影制片厂成立25周年而拍。故事根据1786年出版的奥古斯特·布尔格的诗集改编，编剧Erich Kaestner 在纳粹禁止其创作的年月里，用笔名写就了这个剧本。因为他的参与，剧本中对政治着墨较重，故事中的那位英雄并非一位领导者，而更像是一位个人主义者，而且他似乎爱江山更爱美人——这一角色由性格演员Hans Albers得到了完美的演绎。结尾高潮迭起，而且那段荡气回肠的爱情表白也因此永垂影史。

In Max Ophuels’third feature fim (the next to the last one he was allowed to make in Germany) he tells the story of refraining from indulging in pleasure: A young man who is fond of drinking must abstain from alcohol for four weeks if he wants to inherit his uncle’s champagne and wine company. In a wily manner Ophuels unsuspectedly carries out the destruction of the myths surrounding Germany’s Rhine River, while on the surface he tells a humorous story about a small, friendly man about town – a role that was custom tailored to Heinz Ruehmann, who was able to maintain his popularity for many decades more than any other star of German cinema.

马克思·奥菲尔斯的第三部剧情长片（也是他在德国拍摄的倒数第二部影片），本片讲述了一个浪子回头的故事：一个贪杯的年轻人为了进入他叔叔的香槟酒公司工作，4个星期只能滴酒不沾。奥菲尔斯用娴熟的技巧揭示了围绕着德国莱茵河畔的美好神话的破灭，而这些是通过讲述一个小巧友好的男人和小镇的风趣故事而展现出来的——这一角色得到了演员Heinz Ruehmann的完美阐释，能够在德国银幕上几十年永葆活力的人除了他就寥寥无几了。

 

 

comment：个人觉得这两部电影，特别是第一部，对于我们了解纳粹时代的电影有很重要的借鉴意义，而第二部就不用说了，奥菲尔斯的电影值得追着看。