真人玩偶 (1919)

　　一部給低估了的傑作，鑑於前作被指離經叛道，劉別謙改拍童話式故事，拍出令德國人瞠目結舌的格調與清新幽默感，論者認為它比《卡里加里醫生的密室》更應名垂青史（兩片其實是雙生兒，只是主角一個作惡一個行善）。不肯成長的男孩被叔父強迫娶妻，玩具大王借女兒的模樣造出機械公仔，演出一幕騙婚記，但竟弄假成真。幕開只見我們的導演跑出來，用紙板砌出人與物，接着疊現真實畫面。戲演下去，所有場景透視詭異，道具有時索性繪在牆上。全片優美且自由奔放，活像頑童開心炮製的藝術品。值得一看的還有德國默片女星奧茜奧華黛的傳奇身影。 　　 　　Proceeding The Cabinet of Dr Caligari by one year, this is both vintage early Lubitsch with its sly slapstick and Rabelaisian humour, and the only work that shares the subliminal, hallucinatory style of German expressionism. He exhibits a blinding array of camera effects, like an astounding shot of a dozen images of mouths in one frame. Also ahead of his time is an opening scene with Lubitsch himself constructing a miniature stage contraption that becomes the film set. A Pirandelloesque concept of art and artifice informs the Hoffman-inspired story about a man who purchases a life-sized doll to stand in for a bride. He gets more than he bargained for - the owner's daughter pretending to be doll! 　　 　　Source: 28th HKIFF