七次机会

影片刻画了一个傻冒和对傻冒宽容的宇宙。

…

一个男的结婚除了排除黑人外都不挑的吗，原来像他这样的男人不配享有选择权——你看，主角身上显现的低价值和低情商不是取悦人，而是令人观后不适，主角会傻到见一个姑娘就开门见山“想结婚吗”，（告白只有小孩子会做吧，成人世界的语词就是求婚了）像这种唐突行为、问话不胜枚举，且又有另几种不自觉的骚扰不时出现，我一直对此无语反感。

女为财狂也是这宇宙里集体无个性无意识的一部分，人都有安全感的需要，找个有钱人家的想法合情理，故女人态度的前后反差、主角从告白被拒到“被选择”在我眼里没有讽刺社会的功效，而后面追男主的女人这么多、行为这么狂热又是不合理的情节，因为主人公身上并没有什么吸引人的个人魅力，外放出来的也是些弱智举止，钱掩盖不了长期形成的低贱人格和配对思想，暴富的他或许能招蜂引蝶，但可没资格招来全城女子追慕，花钱招妓和吸引中年倒差不多。

影片最大的亮点就是动作戏了，男主逃亡的原因是神父对女人们说的一句“这显然是一次诈骗

”，就逻辑来看，这么多女人因一句无根据的话而认为自己被骗，所以追这么久、这么费力的情节并不现实，她们以为的被骗，也仅是一些时间被浪费掉了，渺茫的希望落空了，对小城女人来说，时间慢而且充裕，本就不认识的人骗感情也骗不到哪去，而且投资和预期根本就不大。

说了这么多，还是以为这是一部反逻辑、乌托邦式的陶醉式电影，唯一可强调的就是——基顿的动作戏份真的很突出啊，给后世提供了样板一个可模仿的对象。

《生活多美好》、《日出》式的圆满结局，不过前面情节和感情都没还铺到位。

哈哈哈哈哈 好搞笑 巴斯特基顿是个杂技演员吧 有跑酷 有漂流 还有热气球 电影分三个故事 1.七次机会 得知有7亿遗产继承，条件是需要27岁前结婚，知道的当天就是他的生日，（对了没人庆祝生日呢），他去找玛丽告白，可是太直男了，说只是要找个人结婚，谁都可以。还好玛丽电话听到了他爱她，除了她谁都不想娶。登报征婚一大群女人那段好搞笑，太会跑了，永远别得罪女人，哈哈哈哈。最后在七点前成功结婚，结束。 2.邻居 我爱你，我也爱你。开头的串场好厉害，一张纸条，挑起多边矛盾。他真的好欠扁，滑头一个，串上串下太厉害了，哈哈哈。头被埋那段很喜欢，笑死了。三人串窗那段也好惊艳。最后男女主在一起，结束。 3.气球 开始没想到怎么跟气球联系上，哈哈哈哈。气球上搓衣板洗衣服觉得好可爱。堵河抓鱼破篓子，边抓边掉。跟女主第一段是女主跳河准备游泳撞上男主，第二段男主脚朝上头朝下闷在船里，女主救他，第三段女主斗牛，男主抖熊。最后在一起，坐船上要掉下去吓到我，船飘在空中还以为变成玄幻片了，结果是气球啊，结束。 好厉害，好多动作也好剧情也好衔接得太厉害了！！

1925年上映，距今95年，腾讯视频，时长1:35:43，豆瓣8.9分

这是我看的第二部默片电影，第一部是《神女》，于1934年上映，距今86年。

顺便把默片的时代背景了解了一下，1925-1930年属于有声电影开启的时代，在此之前，属于默片时代。

我发现默片电影比有声电影更考验演员的演技，需要动作、肢体、神情都到位，才能把剧本的核心内容传达给观众。

反观现在的有声电影，有些演员连台词功底都不及格，吐字不清，真的应该向这些前辈学习一下。

这部片子，有几个情节的设置很“卡位”，第一个是遗嘱揭开，男主发现自己要娶老婆，第二个女友的亲笔信由管家骑马送出去。

片子中有些情节，跟卓别林还挺像的，后来我在弹幕上看到有网友说，他跟卓别林是喜剧片数一数二的开山鼻祖。

jc Tim Halloran

CTVA 310

5th October 2017

The best chasing sequences in 1925--- A short review of Seven Chances

On the last Sunday night in September 2017, Instructor Tim Halloran, holding a representative of Buster Keaton Features, asked, "What brings a large number of people here?”. I looked around and found around a hundred people sitting in the same threat room with me. Then, I had the same question as to the instructor. Three hours later, I figured out the reason: These comedies, "Seven Chances" and "Go West," played at the night, which was produced, acted and directed by Keaton in 1925, are excellent comedies with forward, hilarious, great chasing sequence series and special actions’ effects (Stunts). Particularly, audiences in the Ahman Theatre mostly come for "Seven Chances”; they love the chasing sequences about "Keaton" being chased by thousands of brides. The great impact of the "Seven Chances" on the audience benefits from a proper film pace, the perfect camera works arrangement, and the unforeseen stunts.

The pace of "Seven Chances" is a solid design. It packs a sluggish momentum with lots of simple, static camera shots at the beginning of the film. Audiences were introduced to a dating series about James and a girl: James wants to make an avowal to the girl, but he never says a word. Keaton used static, long shots at the same angle to establish the dating scene, thus, showing the background surrounding the story, James’ goal, and his irresolute and hesitant characters. The cadence here is kind of slow, but the camera work makes the dating scene look steady. It helps audiences to get into the characters' world. It also implies that James loves the girl and the love never changes. Although it takes forever for James to make an avowal, the magic of comedic arrives, coincidences happen and pushes James out of the predicament: in the following lot, James must get married to a woman to gain his uncle's money, to save his partner and firm; the slow film pace then starts to change.

The film pace gradually increases and the camera works that Keaton chooses to become more complex but brilliant. Audiences were getting caught in hilarious plots where James is seen as a psycho as he proposes to women, especially, after using all seven chances, but finds no bride to marry. He arrives at the church and falls asleep. As he sleeps, the climax approaches and the film pace is reaching to the highest. Keaton used eye-level static shots to shoot the sleeping scene of James and made a great camera work arrangement to shoot sequences of upcoming brides: wide and extremely wide shots with pan and moving movements, changing the camera position from low angle to high angle. One sleeping man, who is in a static shot, will meet thousands of running women who are in wide, moving shot. The sequences are very dramatic, static compared with moving. Brides continue to arrive in their thousands for one slim, short man, who is sleeping and knows nothing. Keaton used a cross-cutting method to show the relationship between the brides and James; it made audiences nervous and curious about what was going to happen. After James wakes up and is found by the thousands of brides, he gets notes from his dream girl's salves, and starts his long-distance running: he must, to escape from thousands of brides and marry his girl in her home. In his "long-distance running" journey, James has to jump from a cliff and survives a rock landslide... The plot has reached its climax and the pace reaches the highest speed. Making audiences laugh at hilarious escape sequences was not the only thing Keaton wanted to reach. In addition, he used stunts to make spectators feel more excited and noxious. Even though it was in 1925, Keaton still made excellent action effects.

In conclusion, the feature "Seven Chances" does not have a sluggish pace. It has a very tide pace with an entertaining drama conflict. However, what blew my imagination was the way that Keaton used cameras and his excellent stunts in 1925. The sequences about James being chased by thousands of brides, that would be one series I would never forget in Keaton’s features. To be honest, I would say it's the best chasing sequence that I have ever seen, the chasing series that involves stunts and the great use of cameras in 1925. It's remarkable, forward and well made. "Seven Chances" is a simple story that might be predictable, but it's an entertaining old comedic feature with exciting twists and stunts, and is filled with surprises.

作为和卓别林齐名同为默片巨匠的基顿 在名气上确实不如卓别林家喻户晓 但两人对于默片时代电影的重要性是其他人无可撼动的！

默片时代的电影 影响了以后的很多作品 上世纪五十年代初默片几乎销声匿迹 60年代一批默片的动画诞生《猫和老鼠》 《大力水手》动画里很多角色的动作和创意都是受到默片所影响。

《七次机会》这部上世纪20年代的电影放在今天依旧有很多让人惊喜的地方 影片唯一的弊端在于电影的故事过于简单 俗套（这是用现在的眼光去看待）电影的配乐延续着默片电影一贯的风格 大气 轻快 俏皮！电影除去开场几分钟吉米追求意中人未果 之后的节奏连贯 一气呵成看的让我大呼过瘾 影片的高潮 吉米被众多应召而来的征婚者追逐的片段 场面一点也不小！在躲避石头那一段时真的为他捏了把汗 虽然知道那是道具 但看见石块滚下来还是忍不住担心。让我意外的是吉米的饰演者巴斯特基顿 基顿长得并不算高大 体型偏瘦弱 在这个片段他小小的身躯迸发出了巨大的能量！各种高难度动作层出不穷（开创了动作喜剧的先河 成龙也在基顿的影片中受到过很多启发）。

电影真的是很奇妙的东西 这部电影上映已经接近百年了 却依旧可以让人开心 快乐 所以好的作品是不会随着时间增长而褪色 反而蕴含了惊人的光彩。