Wunder der Schöpf ung is an extraordinar y, fascinat ing Kulturfilm trying to explain the whole human knowledge of the 1 920s about the world and the uni verse. 15 special effects experts and 9 camera men were involved in the production of t his film w hich combines d ocumentary scenes, his torical documents , fi ctio n elements, animation scenes and educationa l impact. It its beauti fully colored, using tinting and toning in a very elaborate d way. S ome visual ide as in the sequences with a space shu ttle visiting different planets in the univ erse seem t o have to be the inspi ration for Stanley Kubrick's 2001 A Space Odyssey. In the co ntext of Germany's K ulturfilm phenom enon, Wunder der Schöpfung was a mong the greatest achievem ents of the 1920s. The production was co nstructed, rehearsed, and shot over a p eriod of tw o and a hal f years, unde r the supervisio n of Hanns Walter Kornblum. The idea to descr ibe the universe and man's place in i t well suited UFA's Grossfilm m entality, one y ear before the Metropolis ca tastrophe. Hundr eds of skilled cr aftsmen participated i n the project, build ing props and constructing s cale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical , documenta ry, fictio n, animation, and science-fiction sequences. Without star roles or ev en protagonists, the film's plot is crowded with met iculously s tructure d an d skillfully acte d single scenes an artful mosaic of small vignettes. No less than fo ur credited university pro fessors ensure d the f actual backg round behind the scien tific and historica l events portrayed. The film's s ymbo l of progress an d the new sc ientific era is a spacecra ft, travelling through the Milky Way, making all the plan ets and their i nspiring worlds familiar to us, wit h the extr avaga nza of t heir distinc tive feature s. The film's educ ational intentions, however, beco me steadily more obscure, humor ous, or even campy as this popularizatio n project proceeds. With the excuse of presenting the end of the world a not-so-n ew concep t as a new, undeniabl y scientifi c truth, the film veers happily along a n ew path, d isplaying d etailed apocalyptic scenes of the end of mankind. Fo r today's audiences, this amazing film demonstrat es how the u niver se w as com prehended in t he 1920s, and how that vie w was s old to contempora ry audiences.
精彩剧情/对白：“多意要是懒， 能赚到银子起房子？多意要 是懒，能带着村里人做头花的生意？多意要是懒，能带着一家人种 草药？你是那里比得上多意一根手指头吗，就敢在这 里编排人？你要是敢再编排多意，我陆轻寒可没有不打女饶习惯， 谁欺负多意，我都揍！”
“我不想提到师父，只是因为不想仗着师父的名义来 欺负人。她可不是什么好人，没多久就能抹黑咱们师父的。反正玄乙门的考核，我是要自己考的，我也相信自己可以考 过去，所以也就没有什么必要和她争吵了，到时候 凭实力就是了。”
“你为了这破 房子公然把你婆婆打成那样，你知道现在邻里邻居都怎 么指着我们老沈家的 脊梁骨说闲话吗？说 我阮爱香不会教女儿， 教出一个大逆不道 的恶妇来，这以后让你妹妹怎么嫁人，他们会都以为 小玉跟你一样有娘生没娘养，简直泼妇一个。 赶紧的，跟
“我始终相信人之初性本 恶，从得 知我怀孕开始，我就 发觉娇兰看 我的眼神就变了，你可 以认为我 是在臆想，但我就是 明明白白感觉到了这一点，你试想想 ，她曾经才是爸妈眼里的焦点，突然我变成了爸妈重点保护的对象，你觉得她心理会平衡吗
“而我得负责去管理育红班和小学的事宜 ，我得保证大队和社员们对学校对教育充满信心，我还得负责日 常调解妇女之间的矛 盾，除此之外，我得照顾我 自己的小家，照顾我的两个孩子，我这么忙，怎么会有空去针对一个距离我千里之外的女人呢？”
