“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.
哇我上一次看到这么离谱的电影可能还是赤道吧！鲍起静上一秒还对方中信恨得咬牙切齿下一秒就对乖孙说“你一定要听他话他能救你命”；方中信去竞选办公室找曾志威如入无人之境，健康码都没扫保安就不知道拦一下吗；陈家乐坚持了一小时的正义至上的法律信念在一小时过几分的时候突然变成要接受认罪协议；谭耀文仅凭方中信一个假设问题就能一针见血给出关键建议，这阅读理解能力不拿个高考语文状元说不过去吧；一个张松枝就能只手遮天顶得上一个三合会，曾家这么厉害为啥不直接把三叔推海里呀！讲真，真是糟蹋了演员表里的老人家们！
所有有多重性格的地缚灵那句话是男主第一次进入并留下的，之后的剧情都是男主不断的重复死前的生活。
伪记录加时空交错，外加黑了吧唧的画面，看得云里雾里的，近期能看的鬼片太少了，也得激励一下吧。
噩梦般的三部曲终于结束了，我只想问一句：三池崇史，廉颇老矣尚能饭否？
不适合看鬼片，大早晨心理不适。中心思想：其实你死了，问题你以为你活着。
所有的故事总要有一个结尾，所有的闹剧也要有一个收场，三池我估计是不是自己也没能想到这片能拍到第三部，所以在第二部的时候感觉把这片的热情和灵感都用的差不多了，所以导致在看的过程你一直提着劲在想要来了要来了，无厘头的天马行空要来了，可惜一次次的滑了过去，不能说差，只能说预期太高了
如果我有罪请用法律来制裁我，而不是用这种黑漆漆忽闪忽闪的电影
那些个吻戏是在搞啥！第一部的脑洞多优秀啊，这部全是些超尬的恶俗桥段。也就疯蝶值得看一下了。堤叔和亮平比着压嗓子听着都累。生田斗真一部比一部夸张尬演...
三池崇史。2022 金馬奇幻。宮藤官九郎。鼴鼠三部曲，算是系列高標。廢到笑的美術跟賣弄生田斗真的裸體是基本盤。堤真一跟吹越滿三人組很可愛。一直覺得仲里依紗不是傳統典型正妹，但純奈這個角色真是正正正。尾段在牆壁海報上好像看到三池崇史，不知是否眼花認錯。
好夸张………之前的都没看过但是呢故事也看懂了~~只能说真的豁出去了啊！！
……………我看完这个我承受能力上升了，没有其他的恐怖片那么吓人，更多的都是一惊一乍的感觉。
一如既往的中二恶搞。虽然很沙雕但是有认真。
完成度不够啊，可以看出导演野心很大，各种时空错乱、交叉影响，但从剧本开始，就缺乏强有力的解释。去拿命闯鬼门只为了给去世的老母亲圆梦？最后还把自己作死了，这老母亲的在天之灵要哭死；还有人格分裂的鬼，交代的并不清楚。男主拿的名单，也并不是全部出场，还有些视觉线索，看完感觉都没充分利用。如果多加半小时把细节补全，那应该是很棒的片子。说到这里，每当看到这些掺杂传统驱魔文化的日韩电影面世，我就感觉到遗憾，我们把一类包含大量传统文化信息的电影市场拱手让给了日韩。有时候韩国偷抢某些中国的文化我看了也真是无奈。。
作为智叔最后一部电影，差强人意，本来是一部挺好的犯罪悬疑片，但硬生生被拍成了流水作业式的电影。证据，证人，一切关键要素都进展的太顺利了，而结尾的立意拔高，更是有点刻意为之。香港电影，真没必要为了迎合什么，做自己就好啊。
啊，熟悉的三池恶趣味，日浦匡也才是真主角吧，集黑道、科幻赛博、奇幻驭兽的顶级战力天花板的男人！！！ 这系列就值五六分，但不影响好看好玩，较真的人就别委屈自己看了。
这故事老套和无聊到我怀疑投资方在洗钱…这哪里是法律和正义的胜利，分明是告诉我们，只有钱才能打败权，没钱没权就等着背锅顶罪吧
奶奶与孙子在医院相见那一幕，演技很精彩，很感人。廖启智生前最后一部电影，仍然很帅。
如果我有罪请用法律来制裁我，而不是用这种黑漆漆忽闪忽闪的电影
那些看山还是山的选手任然让人感动
多么豪华的阵容，鲍起静，方中信，廖启智，曾江，谭耀文，以及友情客串廖碧儿，电影级的阵容可惜在了一个非常脆弱的连电视单元剧都不如的剧本里。即便如此，大家的演出仍然稳定之上。多给的两颗星一颗给智叔，一颗是看到曾江带的助听器。港片式微，但是仍要感谢这班演员依旧坚持自己对电影的热爱
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