基恩

亚历山大·沃尔科夫在《基恩》中展现了对戏剧与电影边界的敏锐探索。这片子没有一句台词，全靠演员的脸和身体讲故事——莫兹尤辛演那个天才又疯癫的莎士比亚演员，眼珠子一转你就知道他在想什么，喝醉那段简直了，手抖、踉跄、摔酒杯，比现在好多有声片还带劲。导演沃尔科夫用了不少舞台化的光影对比，把台前幕后的撕裂感放大到极致。导演亚历山大·沃尔科夫没有滥用当时流行的夸张字幕，而是让摄影机贴着莫兹尤辛的脸——他饰演的基恩从舞台上的倨傲到情场失意后的踉跄，全靠微微颤抖的嘴角和手指的细微动作来传递情绪，那种“演着演着突然忘记自己是谁”的恍惚感，比后来的有声片更直击人心。本片适合对默片表意体系、早期心理现实主义感兴趣的影迷，尤其推荐那些想观察1920年代如何用视觉修辞解构戏剧传统的观众。本片尤其适合对默片修辞、早期电影叙事实验以及戏剧改编形式感兴趣的观众，它拒绝廉价的抒情，而是用冷静的镜头解剖一个天才的自我毁灭。

By 1820, Edmund Kean is the most admired Shakespearan actor. But if his art is peerless, his free lifestyle is ill thought of, particularly by the high society. Kean has fallen passionately in love with Countess Elena de Koefeld, the wife of the ambassador of Denmark. Elena loves him too but hesitates to give up her rank in society and follow Kean. On the other hand, Anna, a rich heiress who refuses to marry Lord Mewill, the husband chosen by her parents, confesses her love for Kean and decides to become an actress like him... The aristocrats, outraged by Edmund's profligate ways, decide to boycott his performances and his career is broken. Kean does not recover from such a blow and, on a stormy night, dies in Elena's arms.

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