In San Francisco, the sportsman Kay Hoog tells to the members of a club that he has found a message in a bottle with a map from a Harvard's missing professor telling about a treasure of an Inca lost civilization still alive. He decides to go to Peru to seek the gold. However, members of the secret criminal organization "The Spiders" leaded by Lio Sha break in Kay's mansion duri...
19/12/19
弗里茨朗成天就拍这种逗逼片
6/10。朗充分调动了20世纪早期的旅游资源,比如体育竞赛、热气球和洞穴探险,转化为一种欧洲文化中向东方探宝的殖民心态。《蜘蛛》是一个向原始部落掠宝的神话,以运动员胡凯格和黑社会首领里奥夏为线索,构成夺宝/反夺宝的冲突:凯胡格捡到了一个带有藏宝图的漂流瓶,慷慨地在宴会上分享,却被里奥夏派人窃取。高潮部分,原始的部落首领准备在太阳祭典上将娜拉杀死,全景拍摄了部落礼堂中土著人具有压力的残忍仪式,接着分别用中近景拍摄了被抓获的躺在地上挣扎的里奥夏,以及寻找入口的胡凯格,下一组全景,胡凯格和蜘蛛集团在同一个镜头中闯入仪式,现场一片混乱,这样的结构交代了同一个时空下多线索的发展,并汇合于大厅交锋,最终海水吞噬了岛屿,成为富翁的胡凯格和娜拉相恋,但向胡凯格示爱未果的胡里奥杀死了娜拉,引出续集的复仇故事。
adventure/crime serial similar to Les Vampires or Pearl White's American serials. lots cross-cutting(uncommon at the times in Germany), a few pans, spectacles (Inca sulptures, temples, shot in birdeye's view; western cowboys), ballon, snakes.
朗早期的电影以“异域奇观”为特色,对于仪式感的痴迷已经显现,太阳祭祀的段落尽管有些寒酸,但对称构图和大场面调度已经有了些后面《尼伯龙根之歌》的感觉。更难得的是一部贩卖奇观的电影没有倒向居高临下的东方主义,反而集中展现了殖民者的丑陋,结尾的反转竟然还有点女性觉醒的味道,这创作理念可比《夺宝奇兵》强多了。
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