帕拉塞尔苏斯 / Paracelsus (1943)
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tt0036249
制片国家/地区：
德国上映日期：
剧情简介：
1943德国剧情传记片《帕拉塞尔苏斯》由G·W·帕布斯特导演，维尔纳·克劳斯主演，影片讲述的是：
Paracelsus which was shown at the First Avenue Screening Room last Sunday and will be repeated there at noon and midnight today and tomorrow is a very special footnote to film and political history Never before released in New York it is the second film made by the great supposedly leftwing German director G W Pabst after he returned to Nazi Germany just in time for World War II
Pabst who died at the age of 82 in 1967 is a fascinating character known as the red Pabst Papst means pope in German until he went back to Hitlers new German empire His best films including the silent Joyless Street with Greta Garbo and The Threepenny Opera 1931 are rather uproarious amalgams of stark realism wild melodrama and pure poetry Lots of elements in his films look dated today but also there is usually something that looks totally new and surprising
Paracelsus considering when it was made 1943 and under what conditions is a remarkably interesting film though full of not especially well disguised propaganda Its the story of Paracelsus the 16thcentury Swiss healer whose reputation took on a new vogue in the Germany of the early nineteenforties Nazi writers and intellectuals began to attribute all sorts of Nazi ideals to the mystic healer who had been ridiculed and oppressed for choosing to write in German instead of Latin and who had challenged the authority of vested feudal interests
With the exception of Werner Krauss who plays Paracelsus as a sort of medieval Dr Gillespie crusty but kind the acting is operatic The screenplay is full of noble opinions about the German character and its ability to triumph over the ignorance of its enemies
The physical production however is astonishingly handsome In addition the movie contains one of Pabsts most magical scenes in which Death in the person of a juggler enters a town in the siege of plague and invites the citizens to join him in a celebratory dance Realism moves into fantasy and back again with less awkwardness than most other directors display when making a simple cut between two scenes in the same style
A further footnote to this footnote to history after the war Pabst went on to make other films including The Trial 1949 about antiSemitism in Hungary in 1882 but Werner Krauss was blacklisted largely for his participation in the notorious Jud Süss
Paracelsus which was shown at the First Avenue Screening Room last Sunday and will be repeated there at noon and midnight today and tomorrow is a very special footnote to film and political history Never before released in New York it is the second film made by the great supposedly leftwing German director G W Pabst after he returned to Nazi Germany just in time for World War II
Pabst who died at the age of 82 in 1967 is a fascinating character known as the red Pabst Papst means pope in German until he went back to Hitlers new German empire His best films including the silent Joyless Street with Greta Garbo and The Threepenny Opera 1931 are rather uproarious amalgams of stark realism wild melodrama and pure poetry Lots of elements in his films look dated today but also there is usually something that looks totally new and surprising
Paracelsus considering when it was made 1943 and under what conditions is a remarkably interesting film though full of not especially well disguised propaganda Its the story of Paracelsus the 16thcentury Swiss healer whose reputation took on a new vogue in the Germany of the early nineteenforties Nazi writers and intellectuals began to attribute all sorts of Nazi ideals to the mystic healer who had been ridiculed and oppressed for choosing to write in German instead of Latin and who had challenged the authority of vested feudal interests
With the exception of Werner Krauss who plays Paracelsus as a sort of medieval Dr Gillespie crusty but kind the acting is operatic The screenplay is full of noble opinions about the German character and its ability to triumph over the ignorance of its enemies
The physical production however is astonishingly handsome In addition the movie contains one of Pabsts most magical scenes in which Death in the person of a juggler enters a town in the siege of plague and invites the citizens to join him in a celebratory dance Realism moves into fantasy and back again with less awkwardness than most other directors display when making a simple cut between two scenes in the same style
A further footnote to this footnote to history after the war Pabst went on to make other films including The Trial 1949 about antiSemitism in Hungary in 1882 but Werner Krauss was blacklisted largely for his participation in the notorious Jud Süss
