造物的奇迹

如果你只熟悉《大都会》里那座未来都市，那么1925年的《造物的奇迹》会带来完全不同的体验——它更像一部用胶片写成的科学寓言，没有宏大的垂直城市，而是把镜头对准实验室的瓶瓶罐罐，用遮罩摄影和微缩模型拍出细胞分裂、化学反应的微观奇观。影片的特效（微缩模型、玻璃缸中的水底世界）在今天看来笨拙得可爱，但恰恰是这份朴素让故事更添惊悚。 影片采用德国表现主义特有的高反差布光和歪斜构图，实验室的玻璃器皿与蒸汽在叠印镜头下如梦境般迷离。默片没有台词，全靠演员眉毛一挑、嘴角一抽来传递恐惧与痴迷，Theodor Loos演的那位疯魔教授，眼睛里全是灼热的光，看得人后背发凉。影片用大量定格动画和微缩模型再现了造物的宏大过程，每个场景都像一幅会动的蚀刻版画。如果你痴迷于早期电影特效的粗粝质感，或者想看看1925年的德国电影人如何用有限技术构建壮丽史诗，这部片子能让你体会到手工时代电影人的想象力——每一帧都像精心雕琢的模型，而不是今天用电脑算出来的。

Wunder der Schöpfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001 A Space Odyssey.　　In the context of Germany's Kulturfilm phenomenon, Wunder der Schöpfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed.　　The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.

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