电影名：Bring 'Em Back Alive，1932年的电影，全片64分钟。
Ajungle adventure documentary filmed in Malaya. Frank Buck, Americanhunter/collector/trader of wild animals, travels with Dahlam Ali, “his numberone boy”, on an expedition into the Malayan jungle. From their jungleheadquarters just north of Singapore, Frank, Ali and a team of native helpersroam the area from Northern Johore to Perak in search of interesting wildanimals, reptiles and birds.
在马来半岛拍摄的丛林冒险纪录片。Frank Buck，针对野生动物的美国猎人/收藏家/贸易商，和Dahlam Ali的旅行，探险队远征马来亚丛林。Frank，Ali和他们团队从柔佛州北部到霹雳州寻找野生动物、爬行动物和鸟类。

The three Frank Buck expedition films were predominantly shot inthe Malayan jungles in Johore, some of which were part of the estates belongingto Sultan Ibrahim. Though he would claim otherwise to advance the film’s authenticity,I would like to think that Frank Buck might have shot some of the footage inlocal zoos or animal enclosures (in Johore and Singapore), where conditions aremore conducive for filming the (staged?) clashes between the supposedly wildanimals that appeared frequently in the films. In other words, Frank Buck andthe film directors could have been “making things up” to heighten theentertainment value of the (mock) documentary. A Straits Times review (18 May1933) would agree with me as it opined that “even when apparently actual junglefights are shown, though, there is an artificiality about the scenes, asuggestion that they have been deliberately staged.”
Besides footage shot in the Malayan jungle, andwhat-I-believe-to-be footage shot in zoos/animal enclosures, Frank Buck alsopresented footage of the Singapore harbour where he loaded up his prize catchesonto shipping vessels destined for zoos and circuses all over the world.
Singapore was where Frank Buck was based in. Jan Uhde and YvonneNg wrote, in “Latent Images: Film in Singapore”(2010), that he “lived in ahouse in Katong from where he commuted to the city by automobile. His businessheadquarters was the Raffles Hotel bar, from where he conducted hisanimal-collecting operations spanning the jungles of Malaya, Sumatra, Borneo,and India, and where he congregated with his friends.”
The Singapore Free Press (10 Feb 1923) also reported that“gradually (Buck’s animal) collection grows as one by one the animals arriveand are taken up to the compound offthe Orchard Road, to await the arrival of many specimens, (…) whenall are placed on board ship at Singapore and taken to America.” The SingaporeFree Press would also publish some of Frank Buck’s writings, from where we canknow that he had maintained an animal compound “on the outskirts of Singaporein the small town ofKatong” (10 February 1931).
Buck eventually admitted to a Straits Times reporter that theclose-up scenes in “Bring ‘Em Back Alive” “were made in Jurong Road;other shots were made up-country”(Straits Times, 5 April 1933). This wasin response to charges of “fake” scenes in “Bring ‘Em Back Alive” and directorClyde Elliot coming clean with the film-makers’ ploy to fool the audience —that 90% of the film was shot in Singapore, a scene with elephants was shot inReformatory Road [now ClementiRoad] and the animal fight scenes were not real fights at all(Singapore Free Press, 14 December 1932).
三部曲Frank Buck探险队拍摄的电影（都在二十世纪，本帖的主角是三部曲的第一部），主要是在柔佛州的马来亚丛林中。

宣传是很*，号称一只孟加拉虎和一个30英尺（9米）的蟒蛇之间壮观的战斗，记得还说这是成年雄虎，其实是不是这么回事，稍微扒一下就知道了。



最明显的特点就是那巨大的耳朵，并且很有可能还是亚成年的马来虎。
下图是成年马来虎



这是幼年马来虎，年纪越小，耳朵越大。

疑点就在于是否成年。

那条蟒蛇自然是网纹蟒毫无疑问，这是绞死黑豹的那段




很有可能就是这条
At 23 feet in length and over 200 pounds, Diablo the Indian python was a major attraction for the newly founded San Diego Zoo.
Diablo, so named for his feisty personality, was acquired in 1920 from Frank Buck, then Zoo director, as part of an animal shipment from Asia. Keepers were new to this type of snake at the time, so when he stopped eating for five months, the staff was concerned he would starve. They intervened and force-fed him ground up meat.
Because he was so large, several people lined up to hold him for this procedure, and the sight always drew a crowd. As a ZOONOOZ article recalling those days stated: “From a most necessary but unpublicized procedure the feeding grew into an institution attended by every San Diegan in a position to do so.” Just goes to show how much the times and attitudes have changed over 100 years!
号称23英尺200磅（7米90kg）的“暗黑破坏神”，因它好斗的个性而命名，于1920从Frank Buck处取得。时间基本对得上，虽然Frank这货野兽存货一大堆，但是那么大的网纹想同时拥有两条这可能性几乎可以忽略不计了。

有人认为西方观念里蛇是恶魔，所以电影一定不会偏向蛇。可惜这部电影，目的还真是吹蛇的（其实从宣传的9米就能看出），并且和所有黑白老电影一样，黑了一票虎
提到蛇因为和鳄鱼搏斗时消耗了体力所以输给了老虎，否则是蛇胜利。也说了鳄鱼不是蛇的对手，蛇弄死鳄鱼很简单。

说老虎很容易就赢了，只是受了一点轻伤，并且说老虎是赢了才走了，否则会一直打下去（蛇败了因为蛇是车轮战）。

By the way, if you are in any doubt that the fight scenesbetween the animals are “fake” and not at all shot in the wild jungles, aperiodical called “Modern Mechanix and Inventions” had kindly published anarticle “How Frank Buck Filmed His Tiger-Python Battle”, written by AlfredAlbelli, to dispel all suspicions over the scenes’ authenticity. I found a copyof the article online:
顺便说一下，如果你有任何怀疑动物之间的打斗场面是“假”或怀疑不是在原始森林中拍摄，“现代机械和发明”期刊发表了一篇文章“Frank Buck拍摄的虎蟒战斗”，Alfred Albelli写的，消除对场景真实性的所有怀疑。
当然这些打斗肯定是真的，俩野兽扔一块儿激斗如果不偷鸡打麻醉那自然是没法控制，但是给上场的动物选手缺斤少两白猴子那还是玩得很6的，小亚种虎还弄了个疑似亚成年，所以前边没拿下黑豹那也情有可原
其实不少老外都质疑虎蛇斗的真实性，怀疑老虎没有犬齿。这书是后来出的，也许正是太多人质疑虎被扒犬齿才没咬伤蛇，所以导演在书中提到蛇其实受了重伤。
不过换位一下，如果是一只牙还稚嫩的亚成虎，那也就可以理解。

那条鳄鱼确定是亚成年湾鳄，看颈鳞特征就能分辨。而且马来半岛，湾鳄是最好的选择。
和网纹蟒激斗，不知道最后鳄挂了没，整场戏打完了还在扑腾。（没准镜头刚一切掉这俩货就被工作人员拉开了...）

总体事件前后应该是这样：
马来虎攻击黑豹，没杀成
黑豹遇到网纹蟒，被杀了
马来虎遇到小湾鳄，被咬住一通翻滚
小湾鳄遇到了网纹蟒，被绞死？
马来虎遇到了网纹蟒，大打出手，最后因为蛇体力不支而虎取得胜利，成功从网纹蟒绞杀下脱身
有趣的是，里面说因为网纹蟒跟鳄鱼打架消耗了太多体力而不敌虎，那么起码说明鳄没被蛇吞，不然后边就没法打，事件也不会是连续的，不会出现因果关系。那要么就是网纹蟒杀了小鳄没吞（why？），然后马上就爬上岸去遇到了虎（逻辑完全不通）；要么就是鳄跑了，蛇捕猎失败爬上岸去休息被虎攻击，后者可能性大得多。