造物的奇迹

1925年的《造物的奇迹》常被误认为早期特效堆砌品，实则是一部以“嵌套叙事”构建的科幻诗篇。如果你喜欢《大都会》《卡里加里博士的小屋》这类默片时代的暗黑寓言，或者想了解早期电影如何用有限手段探讨生命伦理，这部片绝不会让你失望。剧情并不复杂，却用“人造人失控”的老梗拍出了现代工业社会异化人类的寓言味道。导演Kornblum在表现主义美学中注入冷静的观察视角，倾斜构图与强对比光影将实验室塑造成一个既神圣又令人不安的封闭空间——墙壁的阴影与器械的几何线条形成视觉上的“牢笼”，暗示技术理性对人性边界的侵蚀。剧情嘛，讲人类狂妄地想造出生命，最后被自己的造物反噬，放今天看也够劲儿。Margarete Schön的表演不像当时常见的夸张默剧，反而靠眼神和微小的肢体动作传递出造物崩塌时的绝望；而Paul Bildt饰演的科学家在实验室里的踱步，甚至比后来的《弗兰肯斯坦》更接近一个凡人被知识反噬的焦灼。

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special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact.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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