Lesbiennes francaises matures misstic lens

Here you sensed an emotional and intellectual fervour that was quite unique in the cultural life of our city. But as the festival grew in quality, both in terms of the films and the music, the demolition of the theatre was on the horizon. A collection of signatures and various reprieves were to no avail… and so the festival moved to Sacile. Although this was a cause for personal grief, I have to admit that the Sacile editions have been extremely positive occasions, allowing me to become more closely involved with researchers and musicians.

Since I have had a certain project in mind, and last year Elisabetta Pieretto gave me the chance to make it all happen by offering me a film and music course for the pupils of my school. We also involved our colleagues Patrizia Avon and Cinzia Del Col, and, with a group of pupils, worked on the musical accompaniment for two slapstick pieces that are particularly dear to me: The Cook and Pass the Gravy.

The seminar took place from December to June; there was an initial theory part taught by Cinemazero tutors that covered readings and film analysis, and a second part, an instrumental workshop, taught by music teachers. It seemed fitting to reconnect the Giornate with our own city, actively involving our pupils, the audiences of the future.

These were 6 months of intense, hard work, as we had to invent a project that was new, and at the same time had well-established roots. The greatest satisfaction was gained by the young people themselves; they took part with enthusiasm, and developed a much keener awareness of the art of early cinema. Ho sempre cercato di seguire il maggior numero possibile di proiezioni pomeridiane e serali perché il mattino ero a scuola ed il primo amore è stato Lillian Gish.

Nonostante si sia trattato, per me, di un vero e proprio lutto, devo riconoscere che gli anni di Sacile sono stati molto proficui e mi hanno permesso di avvicinarmi maggiormente al mondo degli studiosi e dei musicisti. The Cook e Pass the Gravy. Il seminario si è svolto da dicembre a giugno: Alessandro Foladore, Laura Spezzacatene Violoncello: Naturalmente Spec sceglie Brigham, che viene cucinato e portato in tavola. John, un malvivente che tenta una rapina al locale, si incapriccia della cassiera Alice Lake e la insegue sulle montagne russe, ma Luke, il cane di Fatty, gli dà una caccia spietata e incessante.

I pezzi forti sono rappresentati dalla danza orientale di Fatty — agghindato con gli utensili da cucina, comincia come Salomè non manca nemmeno la testa mozzata e finisce come Cleopatra, uccisa dalle vipere — e da una bella scena improvvisata con Fatty e Buster che ci mostrano i vari modi di mangiare gli spaghetti.

La chiarezza lineare dello script venne tuttavia abbandonata. Immagini la cui potenza espressiva 22 deriva essenzialmente da due fattori: Dal punto di vista formale, il film oppone uno schema ottico bidimensionale, usato soprattutto per la parte ricca della città, a un approccio più tattile e per certi versi simile alla visione in 3-D.

À propos de Nice è un film caotico. Ma al contempo, dai suoi bassifondi popolari emerge una forte carica erotica, la forza della vita in fermento che trasuda dai vicoli fatiscenti e maleodoranti, e che Vigo usa come elemento trainante del suo film. I critici che assistettero alla première del film nel giugno del ne rimasero molto colpiti e il talento di Vigo ottenne un immediato riconoscimento.

His first venture, a silent documentary 25 minutes long, was À propos de Nice, and in it one can see immediately the energy and aptitude of this great talent. But À propos de Nice is far more than a biographical curio; it is one of the last films to come out of the fertile era of the French avant-garde and it remains one of the best examples to illustrate the blending of formal and social impulses in that epoch.

Confined to Nice on account of the tuberculosis both he and his wife were to die of,Vigo worked for a small company as assistant cameraman. In Paris in the summer of he haunted the ciné-club showings at the Vieux Colombier and at the Studio des Ursulines. During the autumn of Kaufman and his wife labored over a script with the Vigos. Originally planned as a variant of the city symphony, broken into its three movements sea, land, and sky À propos de Nice was destined to vibrate with more political energy than did Berlin, Rien que les heures, Manhatta, or any of the other examples of this type.

From the first, Vigo insisted that the travelogue approach be avoided. The clarity of the script was soon abandoned. They were certain that design must emerge in the charged images themselves, which they could juxtapose in editing. The power of the images derives from two sources, their clearcut iconographic significance as social documents, and the high quality they enjoy as photographs, carefully though not artfully composed.

Opposition is the ruling logic behind both these sources as they appear in the finished film, so that pictures of hotels, lounging women, wealthy tourists, and fancy roulette tables are cut against images of tenements, decrepit children, garbage, and local forms of back-street gambling.

Formally the film opposes a two-dimensional optical schema, used primarily for the wealthy parts of town, to a tactile, nearly 3-D approach.

Il 16mm esiste ancora e fa parte della collezione Everson della New York University. Naturally, Spec chooses Brigham, who is roasted and served. At dinner the entire family tries to alert Max to this catastrophe, giving the cast especially Spec delightful opportunities for comic pantomime.

Surowiec fondly remembers him: At that time Nyman was just emerging from 6 years studying in academia: In his own early compositions Nyman pursued an eccentric English equivalent, as in The Otherwise Very Beautiful Blue Danube Waltz, a popular classic deconstructed for massed pianos.

Concert and mixed-media pieces have taken up most of his energies: But film assignments keep coming. Silent cinema — at least its experimental wing — has not been neglected. La sua presenza alle Giornate si deve attribuire pertanto al desiderio di continuare a indirizzare la sua personale ricerca musicale in questa direzione. Nato a Londra nel , Nyman è uno degli autori di musica da film più richiesti, famoso per la collaborazione degli anni Ottanta con Peter Greenaway.

Il massimo successo in questo campo Nyman lo ha ottenuto qualche anno dopo, nel , con la colonna sonora di The Piano Lezioni di piano di Jane Campion. Pure molto apprezzati sono i suoi contributi a Le mari de la coiffeuse Il marito della parrucchiera di Patrice Leconte, a Gattaca di Andrew Niccol e ai film di Michael Winterbottom.

Anche Nanni Moretti ha utilizzato alcune sue musiche per La stanza del figlio. Alberto Degli Abbati; f. Fondazione Cinetcea Italiana, Milano. Maurice Desfassiaux, Alfred Guichard; scg. Scrivendo la musica per questo film ho quindi cercato di evidenziare sostanzialmente due componenti: Biscot, prima di diventare un cantante di music-hall, aveva lavorato come operaio nei laboratori della Pathé e, come proiezionista, al music hall Bobino.

Il film è il più delirante dei vaudeville della serie Belle humeur. Il rispettabile Séraphin, lindo e puntiglioso direttore di una compagnia di assicurazioni, in seguito a una serie di incresciosi incidenti si ritrova senza pantaloni nel bel mezzo della strada.

Writing the music for this film I have therefore sought to bring out two principal elements: I have chosen to use a substantially classical ensemble in order to be able to underline all this musically, as well as numerous other facets of the film.

Ma soprattutto una musica visionaria, in sintonia con le immagini e pure allo stesso tempo autonoma da esse. Quella stessa assoluta autonomia che il musicista rivendica rispetto al lavoro con il regista e che è per lui condizione irrinunciabile di collaborazione artistica. Entranced by Surrealism at the premiere of this film Vigo paid homage to Luis Buñuel , the filmmakers used shock cuts, juxtaposing symbolic images like smokestacks and Baroque cemeteries.

A woman is stripped by a stopaction cut and a man becomes a lobster. Swift tilts topple a grand hotel. As he proclaimed in his address, this was to be a film with a documentary point of view. To him that meant hiding the camera to capture the look of things Kaufman was pushed in a wheelchair along the Promenade cranking away under his blanket , and then editing what they collected to their own designs. À propos de Nice is a messy film.

Full of experimental techniques and frequently clumsy camerawork, it nevertheless exudes the energy of its creators and blares forth a message about social life. The city is built on indolence and gambling and ultimately on death, as its crazy cemetery announces.

But underneath this is an erotic force that comes from the lower class, the force of seething life that one can smell in garbage and that Vigo uses to drive his film.

À propos de Nice advanced the cinema not because it gave Vigo his start and not because it is a thoughtfully made art film. It remains one of those few examples where several powers of the medium as recorder, organizer, clarifier of issues, and proselytizer come together with a strength and ingenuity that are irrespressible. But the film got little distribution; the age of silent films, even experimental ones like this, was coming to an end.

This is too bad. Every director should begin his or her career as Vigo did, with commitment, independence, and a sense of enthusiastic exploration. Una musica che assiste, si sorprende e si diverte. Intendo dedicare la serata alla memoria di Luciano Pavarotti Buona visione, buon divertimento e, last but not least, buon ascolto. Maurice Desfassiaux, Nicolas Roudakoff; scg. Preservation funded by the Cecil B.

Preserved from Cecil B. Laboratory services by Triage Motion Picture Services. Special thanks to Cecilia deMille Presley. Neil Brand piano , Günter A. Accanto a lui, una bottiglia di gin e la pistola di Belva. This had its premiere in Palermo in , and the subsequent production by Giorgio Strehler at the Piccola Scala of Milan ran for three successive seasons.

It is still regularly re-staged in the major Italian opera houses. The film was re-cut by the director more than 50 years after its first release, because effectively it offered some plot problems.

However, the restorers, in their irreproachable philological frenzy, have given the film back to the world in its original form, including the above-mentioned problems. When I was commissioned to write the score, and viewed the film at the Cinémathèque Française along with the clients, I was struck by some rhythmic incongruities; but the amusing action and the succession of coups de théâtre, along with the disquieting strangeness of the incidents, quite buried any perplexity in my amused head, so that I decided to create music which rather than following the rhythms, ordinarily the most important key for the cinema musician, instead follows the pleasures of the happenings, in the same innocence as the audience.

In other words, the music does not comment on the action, but responds to it as a spectator. Music which is present, surprised, and amused. It is a comedy that is practically perfect in its rhythm, its length, and in following the action, so that dealing with absolute virtuosity and having at my disposal an ensemble like the Octuor de France, the Number One group of instrumentalists in France, I have taken advantage of the situation by writing a devilishly difficult score, for the exclusive use and consumption of the finest virtuosi.

So, if it does not please you, feel free to boo me — but clap your hands for the Octuor de France, who, playing it as they do, have achieved a very real artisticprofessional miracle. I would like to dedicate this evening to the memory of Luciano Pavarotti. Enjoy the show, enjoy the fun, and, last but not least, enjoy listening. He was performing a Charlie Chaplin impersonation when he was discovered by Jacques Feyder and put into films in Séraphin ou les jambs nues is the wildest vaudeville from the series.

Following a series of unfortunate accidents, the eminently respectable Séraphin, the meticulous and correct manager in an insurance company, finds himself trouserless in the middle of the street.

DeMille sta dirigendo Chicago … ma il suo nome non sarà probabilmente menzionato sullo schermo … tranne che come supervisore generale. Durante la fase preparatoria egli si è talmente interessato al soggetto che non ha potuto resistere alla tentazione di girarlo lui stesso.

Di certo, poi, Chicago ricorda la mordace comicità delle satire dello stesso DeMille sul matrimonio borghese ed anticipa il profondo interesse sociale espresso in The Godless Girl. Quale che fosse il suo coinvolgimento nel film, DeMille — allora impegnato in prima persona nella promozione di The King of Kings — potrebbe aver comprensibilmente scelto di tenersi a distanza da questa commedia mondana con la sua ostentata esibizione di gambe femminili e i momenti di disinvolte allusioni sessuali.

La copia restaurata, con suoi eleganti credits e le frizzanti didascalie, è stata ricostruita a partire da un negativo nitrato incompleto conservato negli archivi DeMille e da una copia positiva a 16mm.

Maurine Watkins scrisse svariate altre commedie, nessuna delle quali ebbe successo. Nel una versione cinematografica più soft di Chicago, Roxie Hart, fu diretta da William Wellman a partire da un copione di Nunnally Johnson e non citato nei titoli Ben Hecht. Nel è uscita, per la regia di Rob Marshall, la versione cinematografica del musical di Fosse.

DeMille instantly bought the film rights, and the screen version was completed by the end of Never faltering, Chicago is unquestionably the work of a master — but who was he? The direction is credited to Frank Urson, a former cinematographer who had capably directed a dozen films in the six years before Chicago, including vehicles for Wallace Reid, Mary Miles Minter, and Raymond Griffith.

It is not surprising that he was rewarded with this important directorial assignment. In support, Birchard cites an isolated gossip item by the mother-and-son journalist team of Elza and Edwin Schallert Edwin later became a respected reviewer for the Los Angeles Times: It was the only one of his supervised productions which was listed among his personal productions, and he kept a print of the film at his home.

The Los Angeles Times 6 November cited The long history of Chicago began almost eight decades before its musical screen version.

On 11 March , Walter Law, a year-old automobile salesman, was found shot dead in the car of his year-old lover Belva Gaertner. Belva was found in her apartment, surrounded by her blood-stained clothes and protesting she was too drunk to know what had happened.

Her constantly varied statements in the ensuing investigations included a sympathy-grabbing but unfounded claim of pregnancy. The resulting aura of glamour did no harm to their courtroom pleas: A month later the stories were eclipsed by the arrests of Nathan Leopold and Richard Loeb, for the murder of schoolboy Bobby Franks.

Maurine Watkins began to cover that trial also, but before it was finished left the Tribune to enrol in the first Yale course in dramatic writing. Per il suo esordio teatrale fuse le storie di Beulah e di Belva in una brillante, ironica commedia sulla passione americana per il crimine come intrattenimento — un fenomeno in cui lei aveva giocato un ruolo centrale. La protagonista fu chiamata con il nome di Roxie Hart, una donna che nel fu implicata in un delitto passionale nella città natale della Watkins, in Indiana.

La vita domestica degli Hart è in generale meno sgradevole e sordida che nella pièce teatrale. La Coffee sa peraltro cogliere in modo brillante il tono e il senso del testo della Watkins. Il film abbonda di dettagli, tutti resi perfettamente ed esemplificati nelle suggestive scenografie di Mitchell Leisen e dal guardaroba deliziosamente vistoso di Adrian per Roxie.

La regia è attribuita a Frank Urson, ex-direttore della fotografia che nei sei anni precedenti aveva abilmente diretto una dozzina di film, fra cui alcuni confezionati su misura per Wallace Reid, Mary Miles Minter e Raymond Griffith. Non sorprende dunque che fosse stato ricompensato con questo importante incarico registico. There were subsequent performances of the film at the Giornate and at the Midnight Sun Festival. For Chicago the Club is augmented from five musicians to six, to introduce the for this film indispensable saxophone Stefan Oberländer.

The original members Neil Brand, Günter Buchwald, Denis Biason, Romano Todesco, and Frank Bockius , all well-known to the Giornate audience, have increasingly experimented as duos and trios, and all have worked together in one combination or another. As an improvisational quintet now sextet the Prima Vista Social Club represents, however, an unprecedented phenomenon in silent film music accompaniment.

Pabst, fortunatamente, fece di testa propria. E tale — per Pabst e per il film — doveva soprattutto apparire la sua immagine visiva, e se poi questa visione proveniva da un altro continente, poco importava. Dopo gli inizi come ballerina, a 17 anni, via Broadway e le Follies, era approdata al cinema.

Pabst la chiese in prestito alla Paramount, alla cui scuderia la giovane attrice apparteneva, ma si vide opporre un rifiuto. Secondo la leggenda, proprio nello stesso momento in cui, negli uffici di B. Schulberg, Louise Brooks rifiutava un nuovo contratto con la Paramount, la giovane Marlene Dietrich, a Berlino, fuori della porta di Pabst, aspettava che le fosse offerto il ruolo di protagonista in Die Büchse der Pandora.

Ma non appena Louise Brooks si rese libera, la parte di Lulu fu subito sua. Nel centenario di Louise Brooks, avremo la possibilità di rivedere — in una copia nuova e con una partitura musicale inedita appositamente commissionata — Die Büchse der Pandora e la Lulu che Pabst, contro il parere di tutti, aveva voluto.

Mark Sorkin, Paul Falkenberg; cast: Alcune di queste avevano le physique du rôle ma non sapevano recitare, altre erano molto preparate ma non avevano le caratteristiche fisiche giuste.

Pabst ne vide duemila, eseguendo centinaia di provini. I quotidiani e i settimanali seguirono la vicenda. La ricerca di Lulu divenne un caso di interesse nazionale.

Nel dramma teatrale, che aveva scandalizzato la società fin-de-siècle e procurato al suo autore un breve periodo di detenzione, il personaggio di Lulu, incarnazione della sessualità primitiva e della fantasia di ogni uomo che incontra, semina involontaria devastazione. Più astrazione concettuale che In Berlin in , director Georg Wilhelm Pabst began an obsessive twoyear search for an actress.

Two thousand were seen, many hundreds tested. All were turned down. Newspapers and magazines followed the story. Looking for a Lulu held a national interest. La performance è stata successivamente ripetuta alle Giornate e al Midnight Sun Festival. Whatever the degree of his involvement, moreover, DeMille might understandably have chosen to distance himself from this worldly comedy, with its flagrant display of female legs and flashes of unrestrained sexual suggestiveness, at the moment when he was actively promoting The King of Kings.

Who made Chicago matters less than the rediscovery of an outstanding work offering a ferocious view of American society and the press in the s. The restored print, with its stylish credits and brisk intertitles, has been reconstructed from an incomplete nitrate negative in the DeMille archives and a 16mm positive print. After the trial, Beulah Annan divorced her loyal husband and married a garage owner who turned out to be a bigamist. Beulah suffered a mental breakdown and died of tuberculosis in Belva Gaertner remarried her rich second husband and moved to Europe.

Later she returned to live in California, where she died in at the age of Maurine Watkins wrote a number of other plays, none of which was successful. In the s she worked as a screenwriter in Hollywood. Subsequently Watkins embraced religion, and — perhaps regretting her own role in the original trials — steadfastly refused to permit any production of Chicago. Only after her death in was Bob Fosse able to acquire the rights, which he had sought for several years, to create the musical version, which opened on Broadway on 3 June A film version of the Fosse musical, directed by Rob Marshall, was released in Pabst, Die Büchse der Pandora Lulù , non solo per via dei lavori per la Tv che ho composto, ma perché sapeva che provengo da una famiglia di musicisti per film muti.

Lo incontriamo mentre vaga senza meta nella nebbia londinese: Questa battuta non appare nella nuova copia del BFI — ed è un peccato, perché rivela il suo tormento interiore, in un film noto per essere il primo ad indagare nella mente di un serial killer. Il suo tema spetta al corno inglese ed emerge, come lui, dal vortice della nebbia. Una musica violenta a contrasto si sente ogniqualvolta Jack combatte con la sua sete di sangue: Il privilegio di aggiungere la musica ad uno dei più grandi capolavori del cinema non è una responsabilità da prendere alla leggera.

My violinist mother, recently deceased at 93, her elder brother, and two of her sisters played for silents in South London when they were only 14 and 15; indeed, one of my aunts was musical director at two cinemas, choosing music to fit the films. It is intriguing and somehow poetic therefore that I am thus able to bring the family full circle some 80 years on. I have therefore embarked upon the composing of this score in the only way I know how: So do not expect anything half-hearted and apologetic: This is a score of operatic intensity, though nobody is actually singing.

Neither should you expect period pastiche, except where there is live music in the film, for the impulses of sexual desire and blinding love which drive the action are universal and timeless.

Lulu is no mere s flapper, but a goddess incarnate, apparently blithely innocent but always ready to use to her own ends the seductive charms she knows few can resist. She bestows love like a child — unreservedly, indiscriminately, and upon whim — and she expects to have it returned in the same vein, but instead ultimately receives death at the hands of a homicidal sex maniac.

Although the music is operatic and the melodies full-blooded, I have scored them for a relatively small orchestra, as I believe this gives greater intimacy and a closer connection with the individual characters on screen than might be achieved with a large symphony orchestra. A solo violin is the voice of Lulu, and her theme, though haunting, dances with wayward capriciousness. A variant, marked molto sensuale, accompanies episodes of seduction, suffusing the participants with a shimmering halo of desire.

Pertanto mi sono imbarcato nella composizione di questa partitura nel solo modo che conosco: Lulù concede amore come fa un bambino: Un violino solista è la voce di Lulù, e il suo tema, sebbene ossessionante, danza con ostinata volubilità.

Una variante, contrassegnata come molto sensuale, accompagna gli episodi di seduzione, pervadendo i protagonisti di una luccicante aureola di desiderio.

Il motivo in levare che lo vediamo comporre per il suo spettacolo musicale deriva da questo. Charlotte, la fidanzata del dottor Schön, ha un tema con flauto ed arpa che esprime quieta tristezza e rassegnazione, perché, per quanto bella, è solo una pallida ombra di amabile purezza a fianco della vibrante sessualità di Lulù.

La lesbica contessa Geschwitz ha una valse lente piena di bollenti allusioni. Driven by curiosity and free of moral constraint, she can express herself only through pleasure.

The anarchy and destruction she wreaks — in blissful ignorance — become the redeemers by which society might purge itself of sexual repression. While a foreigner could play her — the Dane Asta Nielsen had starred in two previous filmed versions — some thought only a German could be her, and vice versa. Thankfully Pabst thought otherwise. Their complexities would have to be rendered in silence.

More real than anything else — for Pabst and for film — was her visual image, and if this vision hailed from another continent, then so be it. In September , year-old Louise Brooks, from Cherryvale, Kansas, walked away from Hollywood and toward immortality. Now, as the legend goes, at the very moment Brooks was refusing a new contract in B. Brooks, suddenly free, was given the role. At a time when America was luring many of the best talents from Germany, a Hollywood star was about to travel in the opposite direction.

Bleak at first, it mutates during the scene with the Salvation Army girl to convey the sexual hypnotism he exerts over women. Contrasting violent music is heard whenever Jack is wrestling with his bloodlust: In a stroke of ghastly irony it is by the flickering light of a candle given to him by the Salvation Army girl that he sees the knife with which he kills Lulu in a climax of passion.

Eisner Lo schermo demoniaco , uscito in Francia nel E per lettori appena usciti dalle macerie e dalla distruzione della seconda guerra mondiale aveva senso, sia sul piano emotivo che politico, rileggere la storia del cinema tedesco nei termini di un cinema di paura e follia, di premonizioni e incubi. Ma ora è arrivato il momento di procedere oltre e di fare ulteriori esplorarazioni nei depositi cinetecari: Esprimendosi nei generi più svariati — drammi circensi, prestigiosi adattamenti letterari, commedie piccanti, film smaccatamente sentimentali — ognuno di questi registi rivela elevati standard professionali, uniti a un genuino spirito di ricerca di grande originalità ed inventiva: Questa retrospettiva non sarebbe stata possibile senza il sostegno di istituzioni che da anni si dedicano alla conservazione e al restauro della ricca eredità del cinema tedesco, in particolare il Bundesarchiv-Filmarchiv Berlino , la Deutsche Kinemathek — Museum für Film und Fernsehen Berlino , il Deutsches Filminstitut — DIF Francoforte e il Filmmuseum di Monaco.

La Friedrich-Wilhelm-Murnau-Stiftung Wiesbaden — che detiene i diritti, conserva e distribuisce la maggior parte dei film tedeschi anteriori al — ha svolto un analogo inestimabile lavoro per questo patrimonio cinematografico e prezioso è stato il suo apporto alla nostra rassegna.

Caligari to the coming of the talkies is one of the most celebrated eras in film history, and an endless source of themes and theses for film studies. Which makes it ironical that it is also the most consistently misrepresented region of cinema history. The generally accepted concept of the cinema of the Weimar period is narrowly blinkered, over-defined by the outlook and parameters of two strongly influential books: German silent cinema, according to this vision, is Caligari, Metropolis, Nosferatu, Waxworks … Expressionism and dark tales of ghosts and shadows and horror … grim 34 35 WEIMAR The upbeat tune we see him composing for his musical show is derived from this.

The lesbian Countess Geschwitz has a valse lente full of simmering innuendo. The ingratiating Schigolch is characterized by the oily screeching of a clarinet. But even Schigolch truly loves Lulu, and a slow version of the klezmer tune later expresses his maudlin sentimentality. As has been observed by other commentators, one can at some stage feel sympathy for every character in the film, even the repulsive Schigolch, and Jack the Ripper himself is no exception.

We encounter him wandering aimlessly in the London fog: His theme is given to the cor anglais, Prog. August Rinaldi, Karl Grune; cast: Una di queste riguardava il periodo trascorso in compagnia di soldati di altre nazioni durante la prima guerra mondiale, quando aveva imparato a capire i loro discorsi dai volti e dai gesti; da qui il suo impulso a sviluppare nel cinema un linguaggio fatto unicamente di immagini.

La vicenda, che narra di un commissario della omicidi e del suo figlio illegittimo perduto da anni — il Mädchenhirt guardiano di fanciulle, ovvero magnaccia del titolo — contiene la sua buona dose di artifizio. Peraltro compensata dai dettagli di vita vissuta di chiara impronta giornalistica che emergono dallo scenario di bar sordidi e di loschi commerci.

Il commissario è invece una figura a noi già familiare: Da notare, inoltre, il nome della co-sceneggiatrice di Grune, Beate Schach — la moglie del suo amico, vicino di casa e futuro produttore Max Schach, le cui alterne fortune industriali in Germania e in Inghilterra, saranno in seguito condivise da Grune.

Già molto prima della morte di Schach, avvenuta nel , Beate era diventata la compagna di Grune. Un triangolo degno di uno dei suoi Kammerspiel — teso, intimo, intessuto di gioia e disperazione.

Grune mantenne costantemente i suoi legami professionali con Schach. E dopo che Schach fu nominato direttore generale degli studi Emelka di Monaco, Grune ne divenne il capo della produzione. Grune diresse tre sontuosi drammi in costume: Grune divenne il direttore artistico della Capitol e assunse la nazionalità inglese. Nel , dietro raccomandazione di Max Schach critico cinematografico e teatrale del Berliner Tageblatt , Grune divenne sceneggiatore per la Berliner Film-Manufaktur di Friedrich Zelnik, passando poi alla regia con Der Mädchenhirt During his life, the director Karl Grune gave various explanations about the birth of his passion for cinema.

These were the films that won critical attention and an export market though not always the home audience. Post-World War I Germany had a flourishing and prolific industry more than 3, feature films were released between and , which fostered the rise of an extensive generation of gifted, original directors, technicians, and actors — many of whom remain to be rediscovered and revalued. A good number of names, of course, became eclipsed by the larger historical cataclysms which followed the end of the Weimar Republic.

A majority of the directors and actors featured in this presentation were Jewish, and forced into exile by the rise of Nazism. In many cases they were unable to pursue careers abroad; and their names and films were simply forgotten. Drawing largely on the explorations undertaken over more than 25 years by the CineGraph group with their publications and Film History Conferences in Hamburg, we have chosen 15 films by directors who for one reason or another we feel have been undeservedly eclipsed, and who are rarely honoured in historical retrospectives.

Working in different genres — the circus drama, the prestige literary adaptation, the spicy comedy, the slice of hokum — all of them reveal high professional skills, coupled with a quest for originality and genuine invention: This retrospective would have been impossible without the support of those institutions that for long years preserved and restored the riches of the German film heritage, in particular the Bundesarchiv-Filmarchiv Berlin , Deutsche Kinemathek — Museum für Film und Fernsehen Berlin , Deutsches Filminstitut — DIF Frankfurt , and Filmmuseum im Münchner Stadtmuseum Munich.

The Friedrich-Wilhelm-Murnau-Stiftung Wiesbaden , as copyright-holder, preserver, and publisher of the majority of pre German films, has also performed invaluable work for this film heritage, and been an equally cherished partner in this series. Grune continued his professional association with Schach. Grune directed three opulent costume dramas: He returned briefly as a producer for the Scottish realist drama The Silver Darlings , but a cherished biblical project, From Beginning to Beginning, stayed in limbo.

Karl Grune Vienna, —, Bournemouth, England Though largely forgotten today, Grune was a notable figure in s German film culture, acclaimed for films that made sparing use of intertitles and dialogue, communicating narrative and atmosphere through the power of camerawork, lighting and visual effects.

His adventurous streak continued with Arabella , an experimental melodrama told from Prog. Günther Krampf, Erich Waschneck; scg. Hermann Warm, Rudolf Bamberger; cost: Karl Töpfer, Otto Schulz; cast: Rientrato in Europa, ottenne un modesto successo di stile trionfalistico con Ich bei Tag und Du bei Nacht , una commedia musicale ambientata in epoca moderna e girata in versione trilingue per la UFA.

I suoi anni da émigré in Olanda furono abbastanza difficili. In retrospettiva, il sentimento predominante riguardo alla sua esperienza cinematografica si esemplifica bene col titolo del relativo capitolo delle sue memorie, redatte nel Estratto da Concise CineGraph.

Benché avesse riscosso i suoi primi successi a teatro, Berger usa il cinema per liberare ed espandere il suo testo teatrale, e non per inchiodarlo al palcoscenico. I risultati raggiunti da Berger ebbero un immediato riconoscimento. The tone of the film was realistic, the mood serious: The plot is taken from the only extended piece of fiction by the Czech writer and journalist Egon Erwin Kisch, published in — a year after Kisch enjoyed his biggest scoop uncovering the scandalous affair of Colonel Redl, the blackmailed Austro-Hungarian officer.

The story of a crime commissioner and his long-lost illegitimate son — the Mädchenhirt shepherd of girls, or pimp of the title — contains its obvious contrivances. Jaroslav the pimp is portrayed by a fresh new face of the time, Dutch actor Henri PetersArnolds. When Schach died, they married; when Grune died, she took her own life.

It was a triangle worth its own Kammerspiel film — taut, intimate, laced with happiness and despair. Le opere gravide di simboli, ombre e miti, non facevano per Harry Piel.

Già a partire dai titoli, i suoi film proclamavano il loro contenuto con la malizia strategica di un romanzo poliziesco da quattro soldi o di un poster di circo. Anche il suo nome si era costantemente anglicizzato: Heinrich Piel divenne Harry Piel, e, in alcune occasioni, o sulle copie destinate al mercato estero, Harry Peel.

Né Fairbanks si fece mai tentare dalla fantascienza, dagli scienziati pazzi e dai robot come questo, peraltro delizioso, film di Piel. In Rivalen e nel suo sequel Der letzte Kampf distribuito a un mese di distanza , Piel fece un notevole sforzo per migliorare gli standard qualitativi dei suoi film.

Questo non significa che Piel avesse accantonato del tutto le banalità. Following his film debut, Der Richter von Zalamea, he made three lavish, all-star pictures for producer Erich Pommer at Decla-Bioscop, crowned by Ein Glas Wasser and a succulent version of the Cinderella story, Der verlorene Schuh Enticed to Hollywood, Berger laboured on five Paramount films, silent and sound: His émigré years, based in the Netherlands, were difficult.

A highly-strung perfectionist, he suffered much interference from producer Alexander Korda on the British-made The Thief of Bagdad — an ignominious experience for Berger he ended up sharing directorial credit with Michael Powell and Tim Whelan. Returning to West Germany in , his most significant work was for television. He became a pioneer of West German television drama, and in produced an outstanding series of Shakespeare comedies; his career had come full circle.

Berghahn Books, 40 figure a noi piacevolmente familiari. La maggior parte dei negativi dei suoi film sono andati distrutti nei bombardamenti della seconda guerra mondiale; e quelli purtroppo, neanche la straordinaria ingegnosità di Harry Piel, ce li potrebbe restituire.

Il film della sua rentrée, Der Tiger Akbar , per adeguarsi allo scorrere del tempo, era impostato su un tragico idillio tra un addestratore di animali e una collega più giovane. From the titles downwards, they spilled their contents with the blunt finesse of a cheap crime novel or a circus poster.

Behind these tags lay boisterous thrills and spills in films packaged for quick consumption and popularity. From the beginning, as actor, producer, and director, Piel used popular cultures beyond Germany as his inspiration and goal.

His name was steadily Anglicized: He fed off Sherlock Holmes and American serials. Piel never leaned towards decorative art, as Fairbanks did in The Thief of Bagdad. In Rivalen and its sequel Der letzte Kampf released one month later , Piel made a determined effort to heighten his cinematic polish. For plot material he drew on one of his early successes, Die grosse Wette , a futuristic adventure set in America in the year Where and when Rivalen takes place is not so immediately obvious.

Plus sturdy Harry, the courageous hero, who undergoes various fates worse than death, topped by underwater suffocation in a glass cage. One of the stunts features a car, tumbling from a bridge into water the location used was Kalksee, east of Berlin. I cui altri ingredienti abituali erano le acrobazie, gli animali selvaggi, i panorami esotici e le trame movimentate — e, naturalmente, lo stesso Piel nelle vesti del protagonista. Attività che, una volta combinate insieme, si rivelarono preziose per la sua carriera.

Alcuni film lo videro impegnato in doppi ruoli, come Sein grösster Bluff , dove era affiancato da una giovane Marlene Dietrich. I film di animali e di circo continuarono negli anni del nazismo, con titoli quali Der Dschungel ruft and Menschen, Tiere e Sensationen.

Nel , il suo Panik, una storia patriottica su un acchiappa-animali, venne proibito perché la censura ritenne che le realistiche scene di raid aerei del film potessero minare il morale del pubblico.

Perhaps at some level it was. But most cinéastes today will be happy to rejoice in the imagination, fantasy, light touch, and musicality Berger brings to the flow of story, character, and imagery in his third feature film. Though Berger achieved his first successes in the theatre, he uses cinema to liberate and expand his stage text, never to nail it to the floor.

Above all, there is Berger, guiding, balancing, and blending, showing how to make an innately musical film through the music of images alone. Other regular ingredients included stunts, wild animals, exotic vistas, and turbulent plots — plus Piel himself in the starring role. Over 40 years and films, through the Wilhelmine,Weimar, Nazi, and post-war periods, he was almost a popular genre in himself.

On leaving school, Piel served as a ship cadet, took a business course, and trained as a stunt pilot. The skills gathered proved invaluable in building his film career.

He began in with Schwarzes Blut, which he produced, directed, and wrote. Die grosse Wette marked his debut in the science-fiction genre; the daring wild-animal stunts first appeared the same year in Unter heisser Zone. After directing 8 detective films in the Joe Deebs series for Joe May, he created his own Harry Piel adventures; he performed most of his own stunts and became an internationally recognized star.

Some films featured him in double roles, as in Sein grösster Bluff , where he was teamed with a young Marlene Dietrich. In Piel moved effortlessly into sound films with the mistaken-identity comedy Er oder Ich. The animal and circus films continued into the Nazi years with films like Der Dschungel ruft and Menschen, Tiere, Sensationen.

In , his patriotic story about an animal-catcher, Panik, was banned because censors believed its realistic air-raid scenes could undermine public morale. In he founded a new company, Ariel-Film, but the clock was ticking.

His brand of popular cinema no longer appealed to audiences; nor could Piel himself, always a bit plump and now visibly ageing, convince them as a daredevil. His comeback film, Der Tiger Akbar , used a tragic romance between an animal trainer and a younger colleague to reflect on the march of time. His last major release was Gesprengte Gitter — Die Elefanten sind los , an edited version of the unreleased Panik. During the s, Piel released a few shorts, before retiring at the end of the decade.

Berghahn Books, Due poderosi volumi nella prima edizione, pubblicata alla fine del Un totale di pagine. Le dimensioni del primo romanzo di Thomas Mann, Die Buddenbrooks [I Buddenbrooks], pur senza considerare la fama del libro e del suo autore, farebbero tremare i polsi anche a un regista di oggi.

Dal romanzo fiume di Mann, dettagliata cronistoria di una ricca famiglia di mercanti di Lubecca che subisce un lento declino economico, spirituale e fisico nel corso di quattro generazioni, la sceneggiatura estrasse la storia di Thomas Buddenbrook, un esponente della terza generazione.

Mann, cui fu sottoposta la sceneggiatura, dette il suo assenso a tutti cambiamenti, anche là dove Lamprecht aveva segretamente sperato in qualche suo intervento migliorativo.

Nessuno lo ha fatto fino al , con un film televisivo di produzione tedesca. Forse aveva colto la grande attenzione di Lamprecht per i dettagli realistici — qualità che emerge in tutti i suoi film migliori.

Erich Waschneck, Herbert 42 nella splendida cornice anseatica di Lubecca. Ed è questa caratteristica che unisce la borghesia della Lubecca di Mann agli sgambettanti bambini berlinesi di Emil und die Detektive La terribile armata, , il film più famoso di Lamprecht. Un altro grande pregio di Die Buddenbrooks è il suo cast. Peter Esser, che interpreta Thomas, non ebbe una carriera cinematografica di rilievo, ma gli altri interpreti, oltre ad avere dei volti a noi piacevolmente familiari, sono tutti attori di indubbio talento: Loro li cerchereste invano nelle pagine di Mann.

Durante gli anni del nazismo, Lamprecht divenne un pedestre anche se abile regista di film di genere, con occasionali adattamenti da opere letterarie quali Madame Bovary id.

Le opere migliori di quel periodo furono due melodrammi di ambiente operaio: Frau im Strom e Du gehörst zu mir Estratto da Concise CineGraph Two stout volumes in its first printing, published at the end of A total of pages.

Settings were updated from the 19th century. Mann was consulted over the script, and consented to all changes, even in places where Lamprecht secretly hoped for some improving intervention. No-one did until , in a West German TV film. Why was Thomas Mann so pliant over the planning and script of Buddenbrooks?

Gerhard Lamprecht Berlino, , Berlino eccelse nei drammi realistici che riproducevano ambienti e personaggi della vita di tutti i giorni. Il suo talento per il dramma realistico emerse ulteriormente con Die Buddenbrooks , da Thomas Mann. Ewald André Dupont; scen: Alfred Junge, Curt Kahle; cost: Gerhard Lamprecht Berlin, —, West Berlin excelled at realist dramas recreating everyday settings and characters. A part-time cinema projectionist from the age of 12, by 17 he had sold his first script, to Eiko-Film.

Contracted to join Messter-Film as a scenarist in , he was called up to fight and continued working from his military hospital sickbed, writing among others Der Weltspiegel , filmed by Lupu Pick. A talent for realist drama became more evident with his Thomas Mann adaptation, Buddenbrooks Die Verrufen , a collaboration with the illustrator and writer Heinrich Zille, started the trend in German cinema for exposés of urban working-class misery.

Building on his success, for his own company Gerhard Lamprecht-Filmproduktion he made Menschen untereinander, about life in a tenement, and Die Unehelichen, based on reports by the Society for the Prevention of Child Cruelty and Exploitation. When similar product flooded the market, Lamprecht switched to melodrama Der Katzensteg and Prussian military pictures the two-part Der alte Fritz, During the Nazi years Lamprecht became a pedestrian if workmanlike director of genre films, with occasional literary adaptations like Madame Bovary and Der Spieler His best films from this period were two melodramas with working-class protagonists: Frau im Strom and Du gehörst zu mir A collector of film prints and memorabilia since the early s, his 10volume catalogue of German silent films, published between and by the Deutsche Kinemathek, Berlin, an institution he helped to establish, remains a standard reference work.

Ma prima del successo mondiale di Varieté , la produzione artistica e le maniere di Dupont erano state decisamente più terra terra. Die Geier-Wally, primo di una lunga serie di adattamenti cinematografici da un popolare romanzo del filone Heimat, apparve nel Come Varieté, il film è ambientato nel mondo dello spettacolo, anche se qui non assistiamo alle esibizioni di artisti del trapezio, giocolieri o altre attrazioni del vaudeville. Il Lauber cinematografico di Hermann Vallentin ricalca i soliti cliché dello show business: Lo stesso Baruch, in quanto ebreo ortodosso, è un uomo diviso, sempre ai margini della brillante società viennese.

In questo film di svolta, la padronanza tecnica di Dupont non ha ancora acquisito la fluidità di movimento, la profondità psicologica, e la forza propulsiva che troveranno la loro straordinaria compiutezza in Varieté. Ma Dupont e la cinepresa di Sparkuhl gli aprirono una strada diversa, indirizzandolo verso il realismo psicologico e la manifestazione del pensiero, piuttosto che verso gli stati di intensa esaltazione emotiva. Dopo aver ignorato i film polizieschi di Dupont, i critici tedeschi tributarono al regista di Das alte Gesetz una serie di articoli encomiastici, elogiando in modo particolare la sua padronanza delle atmosfere e dei dettagli.

Il cinema e la vita di Dupont non sarebbero mai più stati gli stessi. Tornato in Germania, diresse il melodramma sul circo Salto Mortale id. A questo seguirono solo produzioni di serie B quali The Neanderthal Man.

Dupont became notorious for his lordly caprice, fussing endlessly over the minutiae of lighting, or leaving the technical staff twiddling for hours while the great director waited for inspiration to strike. The situation changed significantly with his association with the leading actress and producer Henny Porten. Die Geier-Wally, first of several film adaptations of a popular Heimat novel, appeared in As portrayed in the film by Hermann Vallentin he follows the usual show business cliché: Nel , Dupont ottenne un successo internazionale con Varieté, prodotto da Erich Pommer per la Ufa.

Only B-movies like The Neanderthal Man followed. Berghahn Books, Prog. Mutz Greenbaum, Emil Schünemann; scg. Hired by the production company Stern-Film, in he began directing his scripts for their detective series starring Max Landa he made twelve entries in two years. Stracci e seta, i poveri e i ricchi. Anche se oggi viene ricordato soprattutto per Es werde Licht!

Stracci e seta si sfiorano con leggerezza in un film concepito unicamente per divertire il grande pubblico e soddisfare le richieste del mercato. Ma perfino i film banali possono dire ancora molte cose: Die letzten Tage vor dem Weltbrand , e Der Hauptmann von Köpenick , basato su una popolare commedia di Carl Zuckmayer, il cui protagonista è un delinquente di mezza tacca che si fa passare per un ufficiale prussiano.

Il figlio di O. Rags and silk; the poor and the rich. Wedding, in the north-west, predominantly working-class and after World War I militantly Communist ; and Grunewald, in the south-west, since the turn of the 20th century the leafy home of mansions for the leisured upper-class. The two worlds collide when Erik Johannes Riemann , the bored husband in a Grunewald mansion, decides to add spice to his life by inviting a Wedding factory girl, Hilde Mary Kid , to take up residence.

Best remembered now for Es werde Licht! But despite the blunt opposites in its title, and its sharp eye for human behaviour, Lumpen und Seide features no shrill exploitation of the social divide. Rags and silk rub against each other lightly in a film devised solely for the pleasure of the mass-market audience. Ma dopo il fallimento della sua società di produzione, avvenuto nel , dovete ripiegare su prodotti popolari a basso costo — utili peraltro a foraggiare la programmazione della sala che gestiva personalmente a Berlino.

Ornstein; Vienna, —, Düsseldorf studied acting from , and subsequently toured as an actor and director. After anti-Semitic attacks in Vienna, he moved to Düsseldorf in , where he acted in two films. Baruch himself, as an orthodox Jew, is a man divided, always on the fringe of glittering Viennese society.

But we can see the Dupont style beginning to grip in the careful image compositions, the concern for the emotional significance of texture, light, and shadow. Instead of consolidating his new standing Dupont took a new position in as manager and director of the Apollotheater, Mannheim, gaining the experience to direct the worldshaking Varieté.

Cinema and life for him would never be the same again. Intorno al , la drammatica crisi economica della Germania ridusse temporaneamente la produzione di lungometraggi, incrementando quella di documentari e film educativi Lehrfilme , che offrivano il vantaggio di una notevole riduzione dei costi.

Questi stilizzati Kulturfilme si rivelarono estremamente redditizi per il conglomerato Ufa. In realtà il film propugna soltanto la ginnastica artistica e lo sport, ma in compenso lo fa senza risparmio di colpi: La mascherata era facile in quanto molti atleti si esibivano completamente nudi. Da un punto di vista Prog. Hans Sohnle, Otto Erdmann; cast: Made with the financial support of the German government, this film circulated in the schools because of what was considered its educational value.

As a matter of fact, the film simply promoted calisthenics and sport. This was done in an omnivorous manner: The masquerade was easy inasmuch as many of the athletes performed stark naked. Of course, this sight offended the prudish, but Ufa held that perfect bodily beauty was bound to evoke joys of a purely aesthetic order, and found its idealism rewarded by good box-office takes. Aesthetically speaking, the reconstructions of antiquity were tasteless, the sport pictures excellent, and the bodily beauties so massed together that they affected one neither sensually nor aesthetically.

I suoi tre lungometraggi di ispirazione fiabesca del , Der kleine Muck, Tischlein deck dich Estratto da CineGraph Wilhelm Prager Augsburg, , Prien am Chiemsee started his career as a stage actor, served in World War I, and began his film career in , initially as an actor and assistant director.

His three fairytale films of , Der kleine Muck, Tischlein deck dich Financial problems intervened, and he abandoned filmmaking.

They were styled Kulturfilme, and became major moneymakers for the Ufa conglomerate. Making a virtue of necessity, an Ufa publicity brochure of the time grandly declared: Further changes, to fit national preferences and needs, were made when the film was released abroad. Siegfried Kracauer wrote in From Caligari to Hitler Joe May, Rolf E. In the following years, he mixed detective films with ambitious projects like the atmospheric Hoffmanns Erzählungen and Das Bildnis des Dorian Gray , adapted from Oscar Wilde.

A brief period of lax censorship after the war encouraged such films to flourish, until the enforcement of new regulations ended the Aufklärungfilme boom. In the early s Oswald filmed ambitious historical epics Lady Hamilton, ; Lucrezia Borgia, But the collapse of his production company in enforced a concentration on cheaper popular fare — useful programming fodder for the cinema he ran in Berlin.

He returned to history for the lavishly-appointed Cagliostro , filmed in France. Berghahn Books, esterni, sulle bellissime coste svedesi. Le difficoltà personali di Joe May probabilmente influirono sulla produzione: Il Georg Kaiser di Kolportage aveva mutato registro rispetto ai drammi espressionisti scritti durante la Grande Guerra; e in Kolportage aveva cinicamente assemblato clichés teatrali e parodia dei generi più popolari.

Gli elementi chiave della trama sono quanto di più stantio si possa immaginare: Ma quello che era piaciuto alle platee teatrali non riscosse altrettanto successo nei cinema tedeschi: Nello stesso tempo, dette la possibilità di emergere a intraprendenti giovani di talento quali Fritz Lang e E.

Prima produzione hollywoodiana il cui cast artistico e tecnico era interamente composto da émigrés dalla Germania nazista, il film fu un sonoro flop, come anche il successivo elegante dramma giudiziario Confession , realizzato per la Warner Brothers. In seguito, May diresse alcune produzioni di serie B per la Universal, che gli procurarono la nomea di regista poco affidabile — gli fu tolta la regia del film antinazista The Strange Death of Adolf Hitler Cinque anni dopo, grazie al finanziamento di alcuni amici, Joe e Mia May aprirono un ristorante viennese a Los Angeles; chiuse i battenti dopo poche settimane.

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Lesbiennes francaises matures misstic lens -

The first years of the school have proved triumphant. Erich Waschneck, Herbert 42 nella splendida cornice anseatica di Lubecca. In Rivalen e nel suo sequel Der letzte Kampf distribuito a un mese di distanzaPiel fece un notevole sforzo per migliorare gli standard qualitativi dei suoi film. It was a week we would also remember for other reasons: For practically every one of our 25 years we have managed to find a newly rediscovered Méliès film. Thank you for helping us! Peter Esser, che interpreta Thomas, lesbiennes francaises matures misstic lens, non ebbe una carriera cinematografica di rilievo, ma gli altri interpreti, oltre ad avere dei volti a noi piacevolmente familiari, sono tutti attori di indubbio talento:

It is still regularly re-staged in the major Italian opera houses. The film was re-cut by the director more than 50 years after its first release, because effectively it offered some plot problems. However, the restorers, in their irreproachable philological frenzy, have given the film back to the world in its original form, including the above-mentioned problems.

When I was commissioned to write the score, and viewed the film at the Cinémathèque Française along with the clients, I was struck by some rhythmic incongruities; but the amusing action and the succession of coups de théâtre, along with the disquieting strangeness of the incidents, quite buried any perplexity in my amused head, so that I decided to create music which rather than following the rhythms, ordinarily the most important key for the cinema musician, instead follows the pleasures of the happenings, in the same innocence as the audience.

In other words, the music does not comment on the action, but responds to it as a spectator. Music which is present, surprised, and amused. It is a comedy that is practically perfect in its rhythm, its length, and in following the action, so that dealing with absolute virtuosity and having at my disposal an ensemble like the Octuor de France, the Number One group of instrumentalists in France, I have taken advantage of the situation by writing a devilishly difficult score, for the exclusive use and consumption of the finest virtuosi.

So, if it does not please you, feel free to boo me — but clap your hands for the Octuor de France, who, playing it as they do, have achieved a very real artisticprofessional miracle. I would like to dedicate this evening to the memory of Luciano Pavarotti.

Enjoy the show, enjoy the fun, and, last but not least, enjoy listening. He was performing a Charlie Chaplin impersonation when he was discovered by Jacques Feyder and put into films in Séraphin ou les jambs nues is the wildest vaudeville from the series. Following a series of unfortunate accidents, the eminently respectable Séraphin, the meticulous and correct manager in an insurance company, finds himself trouserless in the middle of the street.

DeMille sta dirigendo Chicago … ma il suo nome non sarà probabilmente menzionato sullo schermo … tranne che come supervisore generale. Durante la fase preparatoria egli si è talmente interessato al soggetto che non ha potuto resistere alla tentazione di girarlo lui stesso. Di certo, poi, Chicago ricorda la mordace comicità delle satire dello stesso DeMille sul matrimonio borghese ed anticipa il profondo interesse sociale espresso in The Godless Girl.

Quale che fosse il suo coinvolgimento nel film, DeMille — allora impegnato in prima persona nella promozione di The King of Kings — potrebbe aver comprensibilmente scelto di tenersi a distanza da questa commedia mondana con la sua ostentata esibizione di gambe femminili e i momenti di disinvolte allusioni sessuali. La copia restaurata, con suoi eleganti credits e le frizzanti didascalie, è stata ricostruita a partire da un negativo nitrato incompleto conservato negli archivi DeMille e da una copia positiva a 16mm.

Maurine Watkins scrisse svariate altre commedie, nessuna delle quali ebbe successo. Nel una versione cinematografica più soft di Chicago, Roxie Hart, fu diretta da William Wellman a partire da un copione di Nunnally Johnson e non citato nei titoli Ben Hecht.

Nel è uscita, per la regia di Rob Marshall, la versione cinematografica del musical di Fosse. DeMille instantly bought the film rights, and the screen version was completed by the end of Never faltering, Chicago is unquestionably the work of a master — but who was he?

The direction is credited to Frank Urson, a former cinematographer who had capably directed a dozen films in the six years before Chicago, including vehicles for Wallace Reid, Mary Miles Minter, and Raymond Griffith.

It is not surprising that he was rewarded with this important directorial assignment. In support, Birchard cites an isolated gossip item by the mother-and-son journalist team of Elza and Edwin Schallert Edwin later became a respected reviewer for the Los Angeles Times: It was the only one of his supervised productions which was listed among his personal productions, and he kept a print of the film at his home. The Los Angeles Times 6 November cited The long history of Chicago began almost eight decades before its musical screen version.

On 11 March , Walter Law, a year-old automobile salesman, was found shot dead in the car of his year-old lover Belva Gaertner. Belva was found in her apartment, surrounded by her blood-stained clothes and protesting she was too drunk to know what had happened.

Her constantly varied statements in the ensuing investigations included a sympathy-grabbing but unfounded claim of pregnancy. The resulting aura of glamour did no harm to their courtroom pleas: A month later the stories were eclipsed by the arrests of Nathan Leopold and Richard Loeb, for the murder of schoolboy Bobby Franks. Maurine Watkins began to cover that trial also, but before it was finished left the Tribune to enrol in the first Yale course in dramatic writing.

Per il suo esordio teatrale fuse le storie di Beulah e di Belva in una brillante, ironica commedia sulla passione americana per il crimine come intrattenimento — un fenomeno in cui lei aveva giocato un ruolo centrale. La protagonista fu chiamata con il nome di Roxie Hart, una donna che nel fu implicata in un delitto passionale nella città natale della Watkins, in Indiana. La vita domestica degli Hart è in generale meno sgradevole e sordida che nella pièce teatrale. La Coffee sa peraltro cogliere in modo brillante il tono e il senso del testo della Watkins.

Il film abbonda di dettagli, tutti resi perfettamente ed esemplificati nelle suggestive scenografie di Mitchell Leisen e dal guardaroba deliziosamente vistoso di Adrian per Roxie.

La regia è attribuita a Frank Urson, ex-direttore della fotografia che nei sei anni precedenti aveva abilmente diretto una dozzina di film, fra cui alcuni confezionati su misura per Wallace Reid, Mary Miles Minter e Raymond Griffith. Non sorprende dunque che fosse stato ricompensato con questo importante incarico registico.

There were subsequent performances of the film at the Giornate and at the Midnight Sun Festival. For Chicago the Club is augmented from five musicians to six, to introduce the for this film indispensable saxophone Stefan Oberländer.

The original members Neil Brand, Günter Buchwald, Denis Biason, Romano Todesco, and Frank Bockius , all well-known to the Giornate audience, have increasingly experimented as duos and trios, and all have worked together in one combination or another. As an improvisational quintet now sextet the Prima Vista Social Club represents, however, an unprecedented phenomenon in silent film music accompaniment.

Pabst, fortunatamente, fece di testa propria. E tale — per Pabst e per il film — doveva soprattutto apparire la sua immagine visiva, e se poi questa visione proveniva da un altro continente, poco importava. Dopo gli inizi come ballerina, a 17 anni, via Broadway e le Follies, era approdata al cinema. Pabst la chiese in prestito alla Paramount, alla cui scuderia la giovane attrice apparteneva, ma si vide opporre un rifiuto.

Secondo la leggenda, proprio nello stesso momento in cui, negli uffici di B. Schulberg, Louise Brooks rifiutava un nuovo contratto con la Paramount, la giovane Marlene Dietrich, a Berlino, fuori della porta di Pabst, aspettava che le fosse offerto il ruolo di protagonista in Die Büchse der Pandora. Ma non appena Louise Brooks si rese libera, la parte di Lulu fu subito sua.

Nel centenario di Louise Brooks, avremo la possibilità di rivedere — in una copia nuova e con una partitura musicale inedita appositamente commissionata — Die Büchse der Pandora e la Lulu che Pabst, contro il parere di tutti, aveva voluto. Mark Sorkin, Paul Falkenberg; cast: Alcune di queste avevano le physique du rôle ma non sapevano recitare, altre erano molto preparate ma non avevano le caratteristiche fisiche giuste.

Pabst ne vide duemila, eseguendo centinaia di provini. I quotidiani e i settimanali seguirono la vicenda. La ricerca di Lulu divenne un caso di interesse nazionale.

Nel dramma teatrale, che aveva scandalizzato la società fin-de-siècle e procurato al suo autore un breve periodo di detenzione, il personaggio di Lulu, incarnazione della sessualità primitiva e della fantasia di ogni uomo che incontra, semina involontaria devastazione.

Più astrazione concettuale che In Berlin in , director Georg Wilhelm Pabst began an obsessive twoyear search for an actress. Two thousand were seen, many hundreds tested. All were turned down. Newspapers and magazines followed the story. Looking for a Lulu held a national interest. La performance è stata successivamente ripetuta alle Giornate e al Midnight Sun Festival. Whatever the degree of his involvement, moreover, DeMille might understandably have chosen to distance himself from this worldly comedy, with its flagrant display of female legs and flashes of unrestrained sexual suggestiveness, at the moment when he was actively promoting The King of Kings.

Who made Chicago matters less than the rediscovery of an outstanding work offering a ferocious view of American society and the press in the s. The restored print, with its stylish credits and brisk intertitles, has been reconstructed from an incomplete nitrate negative in the DeMille archives and a 16mm positive print. After the trial, Beulah Annan divorced her loyal husband and married a garage owner who turned out to be a bigamist.

Beulah suffered a mental breakdown and died of tuberculosis in Belva Gaertner remarried her rich second husband and moved to Europe. Later she returned to live in California, where she died in at the age of Maurine Watkins wrote a number of other plays, none of which was successful.

In the s she worked as a screenwriter in Hollywood. Subsequently Watkins embraced religion, and — perhaps regretting her own role in the original trials — steadfastly refused to permit any production of Chicago.

Only after her death in was Bob Fosse able to acquire the rights, which he had sought for several years, to create the musical version, which opened on Broadway on 3 June A film version of the Fosse musical, directed by Rob Marshall, was released in Pabst, Die Büchse der Pandora Lulù , non solo per via dei lavori per la Tv che ho composto, ma perché sapeva che provengo da una famiglia di musicisti per film muti.

Lo incontriamo mentre vaga senza meta nella nebbia londinese: Questa battuta non appare nella nuova copia del BFI — ed è un peccato, perché rivela il suo tormento interiore, in un film noto per essere il primo ad indagare nella mente di un serial killer. Il suo tema spetta al corno inglese ed emerge, come lui, dal vortice della nebbia. Una musica violenta a contrasto si sente ogniqualvolta Jack combatte con la sua sete di sangue: Il privilegio di aggiungere la musica ad uno dei più grandi capolavori del cinema non è una responsabilità da prendere alla leggera.

My violinist mother, recently deceased at 93, her elder brother, and two of her sisters played for silents in South London when they were only 14 and 15; indeed, one of my aunts was musical director at two cinemas, choosing music to fit the films. It is intriguing and somehow poetic therefore that I am thus able to bring the family full circle some 80 years on. I have therefore embarked upon the composing of this score in the only way I know how: So do not expect anything half-hearted and apologetic: This is a score of operatic intensity, though nobody is actually singing.

Neither should you expect period pastiche, except where there is live music in the film, for the impulses of sexual desire and blinding love which drive the action are universal and timeless. Lulu is no mere s flapper, but a goddess incarnate, apparently blithely innocent but always ready to use to her own ends the seductive charms she knows few can resist.

She bestows love like a child — unreservedly, indiscriminately, and upon whim — and she expects to have it returned in the same vein, but instead ultimately receives death at the hands of a homicidal sex maniac.

Although the music is operatic and the melodies full-blooded, I have scored them for a relatively small orchestra, as I believe this gives greater intimacy and a closer connection with the individual characters on screen than might be achieved with a large symphony orchestra. A solo violin is the voice of Lulu, and her theme, though haunting, dances with wayward capriciousness. A variant, marked molto sensuale, accompanies episodes of seduction, suffusing the participants with a shimmering halo of desire.

Pertanto mi sono imbarcato nella composizione di questa partitura nel solo modo che conosco: Lulù concede amore come fa un bambino: Un violino solista è la voce di Lulù, e il suo tema, sebbene ossessionante, danza con ostinata volubilità. Una variante, contrassegnata come molto sensuale, accompagna gli episodi di seduzione, pervadendo i protagonisti di una luccicante aureola di desiderio.

Il motivo in levare che lo vediamo comporre per il suo spettacolo musicale deriva da questo. Charlotte, la fidanzata del dottor Schön, ha un tema con flauto ed arpa che esprime quieta tristezza e rassegnazione, perché, per quanto bella, è solo una pallida ombra di amabile purezza a fianco della vibrante sessualità di Lulù.

La lesbica contessa Geschwitz ha una valse lente piena di bollenti allusioni. Driven by curiosity and free of moral constraint, she can express herself only through pleasure. The anarchy and destruction she wreaks — in blissful ignorance — become the redeemers by which society might purge itself of sexual repression.

While a foreigner could play her — the Dane Asta Nielsen had starred in two previous filmed versions — some thought only a German could be her, and vice versa. Thankfully Pabst thought otherwise. Their complexities would have to be rendered in silence. More real than anything else — for Pabst and for film — was her visual image, and if this vision hailed from another continent, then so be it.

In September , year-old Louise Brooks, from Cherryvale, Kansas, walked away from Hollywood and toward immortality. Now, as the legend goes, at the very moment Brooks was refusing a new contract in B.

Brooks, suddenly free, was given the role. At a time when America was luring many of the best talents from Germany, a Hollywood star was about to travel in the opposite direction.

Bleak at first, it mutates during the scene with the Salvation Army girl to convey the sexual hypnotism he exerts over women. Contrasting violent music is heard whenever Jack is wrestling with his bloodlust: In a stroke of ghastly irony it is by the flickering light of a candle given to him by the Salvation Army girl that he sees the knife with which he kills Lulu in a climax of passion. Eisner Lo schermo demoniaco , uscito in Francia nel E per lettori appena usciti dalle macerie e dalla distruzione della seconda guerra mondiale aveva senso, sia sul piano emotivo che politico, rileggere la storia del cinema tedesco nei termini di un cinema di paura e follia, di premonizioni e incubi.

Ma ora è arrivato il momento di procedere oltre e di fare ulteriori esplorarazioni nei depositi cinetecari: Esprimendosi nei generi più svariati — drammi circensi, prestigiosi adattamenti letterari, commedie piccanti, film smaccatamente sentimentali — ognuno di questi registi rivela elevati standard professionali, uniti a un genuino spirito di ricerca di grande originalità ed inventiva: Questa retrospettiva non sarebbe stata possibile senza il sostegno di istituzioni che da anni si dedicano alla conservazione e al restauro della ricca eredità del cinema tedesco, in particolare il Bundesarchiv-Filmarchiv Berlino , la Deutsche Kinemathek — Museum für Film und Fernsehen Berlino , il Deutsches Filminstitut — DIF Francoforte e il Filmmuseum di Monaco.

La Friedrich-Wilhelm-Murnau-Stiftung Wiesbaden — che detiene i diritti, conserva e distribuisce la maggior parte dei film tedeschi anteriori al — ha svolto un analogo inestimabile lavoro per questo patrimonio cinematografico e prezioso è stato il suo apporto alla nostra rassegna.

Caligari to the coming of the talkies is one of the most celebrated eras in film history, and an endless source of themes and theses for film studies. Which makes it ironical that it is also the most consistently misrepresented region of cinema history. The generally accepted concept of the cinema of the Weimar period is narrowly blinkered, over-defined by the outlook and parameters of two strongly influential books: German silent cinema, according to this vision, is Caligari, Metropolis, Nosferatu, Waxworks … Expressionism and dark tales of ghosts and shadows and horror … grim 34 35 WEIMAR The upbeat tune we see him composing for his musical show is derived from this.

The lesbian Countess Geschwitz has a valse lente full of simmering innuendo. The ingratiating Schigolch is characterized by the oily screeching of a clarinet. But even Schigolch truly loves Lulu, and a slow version of the klezmer tune later expresses his maudlin sentimentality. As has been observed by other commentators, one can at some stage feel sympathy for every character in the film, even the repulsive Schigolch, and Jack the Ripper himself is no exception.

We encounter him wandering aimlessly in the London fog: His theme is given to the cor anglais, Prog. August Rinaldi, Karl Grune; cast: Una di queste riguardava il periodo trascorso in compagnia di soldati di altre nazioni durante la prima guerra mondiale, quando aveva imparato a capire i loro discorsi dai volti e dai gesti; da qui il suo impulso a sviluppare nel cinema un linguaggio fatto unicamente di immagini.

La vicenda, che narra di un commissario della omicidi e del suo figlio illegittimo perduto da anni — il Mädchenhirt guardiano di fanciulle, ovvero magnaccia del titolo — contiene la sua buona dose di artifizio. Peraltro compensata dai dettagli di vita vissuta di chiara impronta giornalistica che emergono dallo scenario di bar sordidi e di loschi commerci. Il commissario è invece una figura a noi già familiare: Da notare, inoltre, il nome della co-sceneggiatrice di Grune, Beate Schach — la moglie del suo amico, vicino di casa e futuro produttore Max Schach, le cui alterne fortune industriali in Germania e in Inghilterra, saranno in seguito condivise da Grune.

Già molto prima della morte di Schach, avvenuta nel , Beate era diventata la compagna di Grune. Un triangolo degno di uno dei suoi Kammerspiel — teso, intimo, intessuto di gioia e disperazione. Grune mantenne costantemente i suoi legami professionali con Schach. E dopo che Schach fu nominato direttore generale degli studi Emelka di Monaco, Grune ne divenne il capo della produzione. Grune diresse tre sontuosi drammi in costume: Grune divenne il direttore artistico della Capitol e assunse la nazionalità inglese.

Nel , dietro raccomandazione di Max Schach critico cinematografico e teatrale del Berliner Tageblatt , Grune divenne sceneggiatore per la Berliner Film-Manufaktur di Friedrich Zelnik, passando poi alla regia con Der Mädchenhirt During his life, the director Karl Grune gave various explanations about the birth of his passion for cinema.

These were the films that won critical attention and an export market though not always the home audience. Post-World War I Germany had a flourishing and prolific industry more than 3, feature films were released between and , which fostered the rise of an extensive generation of gifted, original directors, technicians, and actors — many of whom remain to be rediscovered and revalued.

A good number of names, of course, became eclipsed by the larger historical cataclysms which followed the end of the Weimar Republic. A majority of the directors and actors featured in this presentation were Jewish, and forced into exile by the rise of Nazism. In many cases they were unable to pursue careers abroad; and their names and films were simply forgotten. Drawing largely on the explorations undertaken over more than 25 years by the CineGraph group with their publications and Film History Conferences in Hamburg, we have chosen 15 films by directors who for one reason or another we feel have been undeservedly eclipsed, and who are rarely honoured in historical retrospectives.

Working in different genres — the circus drama, the prestige literary adaptation, the spicy comedy, the slice of hokum — all of them reveal high professional skills, coupled with a quest for originality and genuine invention: This retrospective would have been impossible without the support of those institutions that for long years preserved and restored the riches of the German film heritage, in particular the Bundesarchiv-Filmarchiv Berlin , Deutsche Kinemathek — Museum für Film und Fernsehen Berlin , Deutsches Filminstitut — DIF Frankfurt , and Filmmuseum im Münchner Stadtmuseum Munich.

The Friedrich-Wilhelm-Murnau-Stiftung Wiesbaden , as copyright-holder, preserver, and publisher of the majority of pre German films, has also performed invaluable work for this film heritage, and been an equally cherished partner in this series.

Grune continued his professional association with Schach. Grune directed three opulent costume dramas: He returned briefly as a producer for the Scottish realist drama The Silver Darlings , but a cherished biblical project, From Beginning to Beginning, stayed in limbo.

Karl Grune Vienna, —, Bournemouth, England Though largely forgotten today, Grune was a notable figure in s German film culture, acclaimed for films that made sparing use of intertitles and dialogue, communicating narrative and atmosphere through the power of camerawork, lighting and visual effects. His adventurous streak continued with Arabella , an experimental melodrama told from Prog.

Günther Krampf, Erich Waschneck; scg. Hermann Warm, Rudolf Bamberger; cost: Karl Töpfer, Otto Schulz; cast: Rientrato in Europa, ottenne un modesto successo di stile trionfalistico con Ich bei Tag und Du bei Nacht , una commedia musicale ambientata in epoca moderna e girata in versione trilingue per la UFA. I suoi anni da émigré in Olanda furono abbastanza difficili. In retrospettiva, il sentimento predominante riguardo alla sua esperienza cinematografica si esemplifica bene col titolo del relativo capitolo delle sue memorie, redatte nel Estratto da Concise CineGraph.

Benché avesse riscosso i suoi primi successi a teatro, Berger usa il cinema per liberare ed espandere il suo testo teatrale, e non per inchiodarlo al palcoscenico. I risultati raggiunti da Berger ebbero un immediato riconoscimento.

The tone of the film was realistic, the mood serious: The plot is taken from the only extended piece of fiction by the Czech writer and journalist Egon Erwin Kisch, published in — a year after Kisch enjoyed his biggest scoop uncovering the scandalous affair of Colonel Redl, the blackmailed Austro-Hungarian officer. The story of a crime commissioner and his long-lost illegitimate son — the Mädchenhirt shepherd of girls, or pimp of the title — contains its obvious contrivances.

Jaroslav the pimp is portrayed by a fresh new face of the time, Dutch actor Henri PetersArnolds. When Schach died, they married; when Grune died, she took her own life. It was a triangle worth its own Kammerspiel film — taut, intimate, laced with happiness and despair.

Le opere gravide di simboli, ombre e miti, non facevano per Harry Piel. Già a partire dai titoli, i suoi film proclamavano il loro contenuto con la malizia strategica di un romanzo poliziesco da quattro soldi o di un poster di circo. Anche il suo nome si era costantemente anglicizzato: Heinrich Piel divenne Harry Piel, e, in alcune occasioni, o sulle copie destinate al mercato estero, Harry Peel.

Né Fairbanks si fece mai tentare dalla fantascienza, dagli scienziati pazzi e dai robot come questo, peraltro delizioso, film di Piel. In Rivalen e nel suo sequel Der letzte Kampf distribuito a un mese di distanza , Piel fece un notevole sforzo per migliorare gli standard qualitativi dei suoi film. Questo non significa che Piel avesse accantonato del tutto le banalità. Following his film debut, Der Richter von Zalamea, he made three lavish, all-star pictures for producer Erich Pommer at Decla-Bioscop, crowned by Ein Glas Wasser and a succulent version of the Cinderella story, Der verlorene Schuh Enticed to Hollywood, Berger laboured on five Paramount films, silent and sound: His émigré years, based in the Netherlands, were difficult.

A highly-strung perfectionist, he suffered much interference from producer Alexander Korda on the British-made The Thief of Bagdad — an ignominious experience for Berger he ended up sharing directorial credit with Michael Powell and Tim Whelan. Returning to West Germany in , his most significant work was for television. He became a pioneer of West German television drama, and in produced an outstanding series of Shakespeare comedies; his career had come full circle.

Berghahn Books, 40 figure a noi piacevolmente familiari. La maggior parte dei negativi dei suoi film sono andati distrutti nei bombardamenti della seconda guerra mondiale; e quelli purtroppo, neanche la straordinaria ingegnosità di Harry Piel, ce li potrebbe restituire. Il film della sua rentrée, Der Tiger Akbar , per adeguarsi allo scorrere del tempo, era impostato su un tragico idillio tra un addestratore di animali e una collega più giovane.

From the titles downwards, they spilled their contents with the blunt finesse of a cheap crime novel or a circus poster. Behind these tags lay boisterous thrills and spills in films packaged for quick consumption and popularity. From the beginning, as actor, producer, and director, Piel used popular cultures beyond Germany as his inspiration and goal.

His name was steadily Anglicized: He fed off Sherlock Holmes and American serials. Piel never leaned towards decorative art, as Fairbanks did in The Thief of Bagdad. In Rivalen and its sequel Der letzte Kampf released one month later , Piel made a determined effort to heighten his cinematic polish. For plot material he drew on one of his early successes, Die grosse Wette , a futuristic adventure set in America in the year Where and when Rivalen takes place is not so immediately obvious.

Plus sturdy Harry, the courageous hero, who undergoes various fates worse than death, topped by underwater suffocation in a glass cage. One of the stunts features a car, tumbling from a bridge into water the location used was Kalksee, east of Berlin. I cui altri ingredienti abituali erano le acrobazie, gli animali selvaggi, i panorami esotici e le trame movimentate — e, naturalmente, lo stesso Piel nelle vesti del protagonista.

Attività che, una volta combinate insieme, si rivelarono preziose per la sua carriera. Alcuni film lo videro impegnato in doppi ruoli, come Sein grösster Bluff , dove era affiancato da una giovane Marlene Dietrich. I film di animali e di circo continuarono negli anni del nazismo, con titoli quali Der Dschungel ruft and Menschen, Tiere e Sensationen. Nel , il suo Panik, una storia patriottica su un acchiappa-animali, venne proibito perché la censura ritenne che le realistiche scene di raid aerei del film potessero minare il morale del pubblico.

Perhaps at some level it was. But most cinéastes today will be happy to rejoice in the imagination, fantasy, light touch, and musicality Berger brings to the flow of story, character, and imagery in his third feature film. Though Berger achieved his first successes in the theatre, he uses cinema to liberate and expand his stage text, never to nail it to the floor.

Above all, there is Berger, guiding, balancing, and blending, showing how to make an innately musical film through the music of images alone. Other regular ingredients included stunts, wild animals, exotic vistas, and turbulent plots — plus Piel himself in the starring role.

Over 40 years and films, through the Wilhelmine,Weimar, Nazi, and post-war periods, he was almost a popular genre in himself. On leaving school, Piel served as a ship cadet, took a business course, and trained as a stunt pilot. The skills gathered proved invaluable in building his film career. He began in with Schwarzes Blut, which he produced, directed, and wrote. Die grosse Wette marked his debut in the science-fiction genre; the daring wild-animal stunts first appeared the same year in Unter heisser Zone.

After directing 8 detective films in the Joe Deebs series for Joe May, he created his own Harry Piel adventures; he performed most of his own stunts and became an internationally recognized star. Some films featured him in double roles, as in Sein grösster Bluff , where he was teamed with a young Marlene Dietrich. In Piel moved effortlessly into sound films with the mistaken-identity comedy Er oder Ich.

The animal and circus films continued into the Nazi years with films like Der Dschungel ruft and Menschen, Tiere, Sensationen. In , his patriotic story about an animal-catcher, Panik, was banned because censors believed its realistic air-raid scenes could undermine public morale. In he founded a new company, Ariel-Film, but the clock was ticking. His brand of popular cinema no longer appealed to audiences; nor could Piel himself, always a bit plump and now visibly ageing, convince them as a daredevil.

His comeback film, Der Tiger Akbar , used a tragic romance between an animal trainer and a younger colleague to reflect on the march of time. His last major release was Gesprengte Gitter — Die Elefanten sind los , an edited version of the unreleased Panik.

During the s, Piel released a few shorts, before retiring at the end of the decade. Berghahn Books, Due poderosi volumi nella prima edizione, pubblicata alla fine del Un totale di pagine. Le dimensioni del primo romanzo di Thomas Mann, Die Buddenbrooks [I Buddenbrooks], pur senza considerare la fama del libro e del suo autore, farebbero tremare i polsi anche a un regista di oggi.

Dal romanzo fiume di Mann, dettagliata cronistoria di una ricca famiglia di mercanti di Lubecca che subisce un lento declino economico, spirituale e fisico nel corso di quattro generazioni, la sceneggiatura estrasse la storia di Thomas Buddenbrook, un esponente della terza generazione. Mann, cui fu sottoposta la sceneggiatura, dette il suo assenso a tutti cambiamenti, anche là dove Lamprecht aveva segretamente sperato in qualche suo intervento migliorativo.

Nessuno lo ha fatto fino al , con un film televisivo di produzione tedesca. Forse aveva colto la grande attenzione di Lamprecht per i dettagli realistici — qualità che emerge in tutti i suoi film migliori. Erich Waschneck, Herbert 42 nella splendida cornice anseatica di Lubecca. Ed è questa caratteristica che unisce la borghesia della Lubecca di Mann agli sgambettanti bambini berlinesi di Emil und die Detektive La terribile armata, , il film più famoso di Lamprecht.

Un altro grande pregio di Die Buddenbrooks è il suo cast. Peter Esser, che interpreta Thomas, non ebbe una carriera cinematografica di rilievo, ma gli altri interpreti, oltre ad avere dei volti a noi piacevolmente familiari, sono tutti attori di indubbio talento: Loro li cerchereste invano nelle pagine di Mann. Durante gli anni del nazismo, Lamprecht divenne un pedestre anche se abile regista di film di genere, con occasionali adattamenti da opere letterarie quali Madame Bovary id.

Le opere migliori di quel periodo furono due melodrammi di ambiente operaio: Frau im Strom e Du gehörst zu mir Estratto da Concise CineGraph Two stout volumes in its first printing, published at the end of A total of pages. Settings were updated from the 19th century. Mann was consulted over the script, and consented to all changes, even in places where Lamprecht secretly hoped for some improving intervention.

No-one did until , in a West German TV film. Why was Thomas Mann so pliant over the planning and script of Buddenbrooks? Gerhard Lamprecht Berlino, , Berlino eccelse nei drammi realistici che riproducevano ambienti e personaggi della vita di tutti i giorni. Il suo talento per il dramma realistico emerse ulteriormente con Die Buddenbrooks , da Thomas Mann.

Ewald André Dupont; scen: Alfred Junge, Curt Kahle; cost: Gerhard Lamprecht Berlin, —, West Berlin excelled at realist dramas recreating everyday settings and characters. A part-time cinema projectionist from the age of 12, by 17 he had sold his first script, to Eiko-Film.

Contracted to join Messter-Film as a scenarist in , he was called up to fight and continued working from his military hospital sickbed, writing among others Der Weltspiegel , filmed by Lupu Pick. A talent for realist drama became more evident with his Thomas Mann adaptation, Buddenbrooks Die Verrufen , a collaboration with the illustrator and writer Heinrich Zille, started the trend in German cinema for exposés of urban working-class misery.

Building on his success, for his own company Gerhard Lamprecht-Filmproduktion he made Menschen untereinander, about life in a tenement, and Die Unehelichen, based on reports by the Society for the Prevention of Child Cruelty and Exploitation. When similar product flooded the market, Lamprecht switched to melodrama Der Katzensteg and Prussian military pictures the two-part Der alte Fritz, During the Nazi years Lamprecht became a pedestrian if workmanlike director of genre films, with occasional literary adaptations like Madame Bovary and Der Spieler His best films from this period were two melodramas with working-class protagonists: Frau im Strom and Du gehörst zu mir A collector of film prints and memorabilia since the early s, his 10volume catalogue of German silent films, published between and by the Deutsche Kinemathek, Berlin, an institution he helped to establish, remains a standard reference work.

Ma prima del successo mondiale di Varieté , la produzione artistica e le maniere di Dupont erano state decisamente più terra terra. Die Geier-Wally, primo di una lunga serie di adattamenti cinematografici da un popolare romanzo del filone Heimat, apparve nel Come Varieté, il film è ambientato nel mondo dello spettacolo, anche se qui non assistiamo alle esibizioni di artisti del trapezio, giocolieri o altre attrazioni del vaudeville. Il Lauber cinematografico di Hermann Vallentin ricalca i soliti cliché dello show business: Lo stesso Baruch, in quanto ebreo ortodosso, è un uomo diviso, sempre ai margini della brillante società viennese.

In questo film di svolta, la padronanza tecnica di Dupont non ha ancora acquisito la fluidità di movimento, la profondità psicologica, e la forza propulsiva che troveranno la loro straordinaria compiutezza in Varieté.

Ma Dupont e la cinepresa di Sparkuhl gli aprirono una strada diversa, indirizzandolo verso il realismo psicologico e la manifestazione del pensiero, piuttosto che verso gli stati di intensa esaltazione emotiva.

Dopo aver ignorato i film polizieschi di Dupont, i critici tedeschi tributarono al regista di Das alte Gesetz una serie di articoli encomiastici, elogiando in modo particolare la sua padronanza delle atmosfere e dei dettagli.

Il cinema e la vita di Dupont non sarebbero mai più stati gli stessi. Tornato in Germania, diresse il melodramma sul circo Salto Mortale id. A questo seguirono solo produzioni di serie B quali The Neanderthal Man.

Dupont became notorious for his lordly caprice, fussing endlessly over the minutiae of lighting, or leaving the technical staff twiddling for hours while the great director waited for inspiration to strike.

The situation changed significantly with his association with the leading actress and producer Henny Porten. Die Geier-Wally, first of several film adaptations of a popular Heimat novel, appeared in As portrayed in the film by Hermann Vallentin he follows the usual show business cliché: Nel , Dupont ottenne un successo internazionale con Varieté, prodotto da Erich Pommer per la Ufa.

Only B-movies like The Neanderthal Man followed. Berghahn Books, Prog. Mutz Greenbaum, Emil Schünemann; scg. Hired by the production company Stern-Film, in he began directing his scripts for their detective series starring Max Landa he made twelve entries in two years. Stracci e seta, i poveri e i ricchi. Anche se oggi viene ricordato soprattutto per Es werde Licht!

Stracci e seta si sfiorano con leggerezza in un film concepito unicamente per divertire il grande pubblico e soddisfare le richieste del mercato. Ma perfino i film banali possono dire ancora molte cose: Die letzten Tage vor dem Weltbrand , e Der Hauptmann von Köpenick , basato su una popolare commedia di Carl Zuckmayer, il cui protagonista è un delinquente di mezza tacca che si fa passare per un ufficiale prussiano. Il figlio di O. Rags and silk; the poor and the rich.

Wedding, in the north-west, predominantly working-class and after World War I militantly Communist ; and Grunewald, in the south-west, since the turn of the 20th century the leafy home of mansions for the leisured upper-class. The two worlds collide when Erik Johannes Riemann , the bored husband in a Grunewald mansion, decides to add spice to his life by inviting a Wedding factory girl, Hilde Mary Kid , to take up residence.

Best remembered now for Es werde Licht! But despite the blunt opposites in its title, and its sharp eye for human behaviour, Lumpen und Seide features no shrill exploitation of the social divide.

Rags and silk rub against each other lightly in a film devised solely for the pleasure of the mass-market audience. Ma dopo il fallimento della sua società di produzione, avvenuto nel , dovete ripiegare su prodotti popolari a basso costo — utili peraltro a foraggiare la programmazione della sala che gestiva personalmente a Berlino.

Ornstein; Vienna, —, Düsseldorf studied acting from , and subsequently toured as an actor and director. After anti-Semitic attacks in Vienna, he moved to Düsseldorf in , where he acted in two films.

Baruch himself, as an orthodox Jew, is a man divided, always on the fringe of glittering Viennese society. But we can see the Dupont style beginning to grip in the careful image compositions, the concern for the emotional significance of texture, light, and shadow.

Instead of consolidating his new standing Dupont took a new position in as manager and director of the Apollotheater, Mannheim, gaining the experience to direct the worldshaking Varieté. Cinema and life for him would never be the same again. Intorno al , la drammatica crisi economica della Germania ridusse temporaneamente la produzione di lungometraggi, incrementando quella di documentari e film educativi Lehrfilme , che offrivano il vantaggio di una notevole riduzione dei costi.

Questi stilizzati Kulturfilme si rivelarono estremamente redditizi per il conglomerato Ufa. In realtà il film propugna soltanto la ginnastica artistica e lo sport, ma in compenso lo fa senza risparmio di colpi: La mascherata era facile in quanto molti atleti si esibivano completamente nudi. Da un punto di vista Prog. Hans Sohnle, Otto Erdmann; cast: Made with the financial support of the German government, this film circulated in the schools because of what was considered its educational value.

As a matter of fact, the film simply promoted calisthenics and sport. This was done in an omnivorous manner: The masquerade was easy inasmuch as many of the athletes performed stark naked. Of course, this sight offended the prudish, but Ufa held that perfect bodily beauty was bound to evoke joys of a purely aesthetic order, and found its idealism rewarded by good box-office takes. Aesthetically speaking, the reconstructions of antiquity were tasteless, the sport pictures excellent, and the bodily beauties so massed together that they affected one neither sensually nor aesthetically.

I suoi tre lungometraggi di ispirazione fiabesca del , Der kleine Muck, Tischlein deck dich Estratto da CineGraph Wilhelm Prager Augsburg, , Prien am Chiemsee started his career as a stage actor, served in World War I, and began his film career in , initially as an actor and assistant director.

His three fairytale films of , Der kleine Muck, Tischlein deck dich Financial problems intervened, and he abandoned filmmaking. They were styled Kulturfilme, and became major moneymakers for the Ufa conglomerate. Making a virtue of necessity, an Ufa publicity brochure of the time grandly declared: Further changes, to fit national preferences and needs, were made when the film was released abroad.

Siegfried Kracauer wrote in From Caligari to Hitler Joe May, Rolf E. In the following years, he mixed detective films with ambitious projects like the atmospheric Hoffmanns Erzählungen and Das Bildnis des Dorian Gray , adapted from Oscar Wilde. A brief period of lax censorship after the war encouraged such films to flourish, until the enforcement of new regulations ended the Aufklärungfilme boom.

In the early s Oswald filmed ambitious historical epics Lady Hamilton, ; Lucrezia Borgia, But the collapse of his production company in enforced a concentration on cheaper popular fare — useful programming fodder for the cinema he ran in Berlin. He returned to history for the lavishly-appointed Cagliostro , filmed in France.

Berghahn Books, esterni, sulle bellissime coste svedesi. Le difficoltà personali di Joe May probabilmente influirono sulla produzione: Il Georg Kaiser di Kolportage aveva mutato registro rispetto ai drammi espressionisti scritti durante la Grande Guerra; e in Kolportage aveva cinicamente assemblato clichés teatrali e parodia dei generi più popolari.

Gli elementi chiave della trama sono quanto di più stantio si possa immaginare: Ma quello che era piaciuto alle platee teatrali non riscosse altrettanto successo nei cinema tedeschi: Nello stesso tempo, dette la possibilità di emergere a intraprendenti giovani di talento quali Fritz Lang e E. Prima produzione hollywoodiana il cui cast artistico e tecnico era interamente composto da émigrés dalla Germania nazista, il film fu un sonoro flop, come anche il successivo elegante dramma giudiziario Confession , realizzato per la Warner Brothers.

In seguito, May diresse alcune produzioni di serie B per la Universal, che gli procurarono la nomea di regista poco affidabile — gli fu tolta la regia del film antinazista The Strange Death of Adolf Hitler Cinque anni dopo, grazie al finanziamento di alcuni amici, Joe e Mia May aprirono un ristorante viennese a Los Angeles; chiuse i battenti dopo poche settimane. Estratto da Concise CineGraph offspring Akke: But there should be no clouds for us now.

Simultaneously he gave chances to up-and-coming talent like Fritz Lang and E. A rocky period followed: The first Hollywood production whose cast and crew was chiefly composed of émigrés from Nazi Germany, the film flopped badly, as did his stylish courtroom drama Confession , made at Warner Bros. Five years later, with backing from friends, Joe and Mia May opened a Viennese restaurant in Los Angeles; it closed down after a few weeks.

America, one way or another, occupied many minds. The mighty conglomerate Ufa risked inflating production costs by purposefully increasing spectacle levels to attract the American boxoffice. Outside the cinemas, in theatres and hotels American jazz and dance music intoxicated the crowds; while to leftist writers like Brecht, America served as both awful warning and fatal attraction.

The title, the subject, the studio artifice, the picturesque exteriors, the roster of American and English players, all point to hopes for an international hit. The Georg Kaiser of Kolportage had moved on from his Expressionist dramas of World War I; in Kolportage he was cynically assembling theatre clichés and parodying popular taste.

What pleased German theatre audiences so much found less success in the cinemas: I critici berlinesi furono fortemente divisi nei loro giudizi. Per Steinhoff fu solo un impegno di routine da portare a termine con il solido professionismo che aveva sempre caratterizzato la sua opera. Hans Theyer,Willibald Gaebel; scg. Der Herr des Todes tit. Preoccupata per la propria onorabilità, la famiglia di Peter lo esilia a New York, dove il giovane affronta una vita assai grama fino a che un ex artista di circo non lo aiuta a diventare un abile trapezista e acrobata di fama mondiale.

Per poter riabbracciare la fanciulla che ama, Peter dovrà prima sopravvivere a un atto di sabotaggio di un rivale geloso. Grazie al progetto Steinhoff del Bundesarchiv-Filmarchiv di Berlino, gli habitués delle Giornate hanno già qualche familiarità con i film muti di questo regista dimenticato.

Steinhoff crebbe a Lipsia. A questa esperienza ne seguirono molte altre: La sua abilità nel lavorare con budget di modesta entità lo rese particolarmente popolare presso le case di produzione più piccole. It also contains a fine example of the practice of productplacement: For Steinhoff it was a routine assignment he carried out with the professionalism characteristic of his work.

Steinhoff grew up in Leipzig. He joined a local theatre company at Schön ; he sang, and directed, operetta. With the decline of traditional variety theatres after World War I, Steinhoff founded his own film company in For the Gloria company in Berlin he made the historical epic Der Falsche Dimitry The False Dimitri, , and built a reputation as an efficient and versatile director for the mass market.

His ability to work within modest budgets made him especially popular with smaller companies. In , contracted to a B-movie production unit at Ufa, Steinhoff made Hitlerjunge Quex, which established his reputation as a Nazi propagandist. His standing as one of the leading and best Third Reich directors rests mainly on biopics like Ohm Krüger and Rembrandt But Steinhoff was also responsible for Die Geier Wally , one of the most influential examples of the Heimatfilm genre, and the ambiguous Tanz auf dem Vulkan , in which Gustaf Gründgens seems to incite resistance to dictatorship.

Steinhoff died in the last days of the war, when a plane taking him back to Prague — where he was filming a Hans Albers vehicle — was shot down southeast of Berlin by Russian anti-aircraft fire. Concerned about their honour, his family bans him to New York, where he falls on hard times until a former circus performer helps him to become a world-renowned trapeze and aerial artiste. Before he is reunited with the girl he loves, he has to survive an act of sabotage by a jealous lover.

Bellmann, il probo, intollerante e proibizionista consigliere municipale la cui irreprensibile moralità viene messa a repentaglio quando il suo defunto fratello gli lascia in eredità Per ottemperare alle clausole testamentarie del fratello — che ne sarebbe delle farse senza i testamenti?

Da qui il parossismo del suo imbarazzo e disdegno. Schünzel, di sessualità incerta lui stesso, probabilmente se ne compiacque parecchio. Dal dito sollevato alle sopracciglia inarcate, il repertorio corporeo della sua comicità appare inesauribile. Schünzel non fu il regista ufficiale di Der Himmel auf Erden; ma essendone stato supervisore artistico, produttore, co-sceneggiatore, e protagonista, non restano molti dubbi su chi abbia retto le fila — e, soprattutto, su chi si concentrerà la nostra attenzione.

Mentre per Lubitsch, fu un losco e ombroso aristocratico in Madame Dubarry id. Dopo gli inizi da indipendente, nel venne scritturato dalla Ufa, dirigendo e interpretando popolari commedie slapstick, tra cui Halloh — Caesar! Anche i boia muoiono, di Lang. Estratto da Concise CineGraph faced Prussians, hooked on pleasure and capitalism, drinking the dregs of the night. The source material, the theatrical farce Der Doppelmensch, gave him a perfect Weimar character: Hence his paroxysms of embarrassment and disdain.

Hence his desperate appearance in drag, dancing festooned with jewellery, quite the belle of the ball. Schünzel, of undecided sexuality himself, probably enjoyed that. From the raised finger to the arched eyebrow, his command of comic body language seems endless. For Lubitsch, he portrayed a louche and shady aristocrat in Madame Dubarry A director from , he concentrated on comedies, but also showed a talent for historical spectacle in Katharina die Grosse Initially working independently, Schünzel was contracted to Ufa in , producing and starring in popular slapstick comedies, including Halloh — Caesar!

He made a smooth transition to sound films, exploiting music, dialogue, and sound to great comic effect. He also maintained his sense for irony and erotically risqué subjects, as in his masterpiece Viktor und Viktoria , a musical comedy about a young woman who pretends to be a female impersonator. At the same time, Schünzel continued to act for other directors: Increasingly in the s, he flipped over the coin from drama to comedy, though in the hilarious Der Himmel auf Erden, Halloh — Caesar!

Anche se a suggellare il divertimento generale fu piuttosto Werner Krauss, nel ruolo del marito piccolo borghese della Jugo — punto focale della satira sociale e politica contenuta nella pièce di Sternheim. Theobald Maske è il tipico burocrate di mezza tacca di un piccolo principato tedesco.

Sequenza dopo sequenza, si definisce la vuota routine della sua giornata. Le abluzioni del mattino. Cerimonia di scartamento e consumo del pranzo preconfezionato. E di nuovo la totale inattività Il piccolo burocrate delineato con grande meticolosità da Krauss, diversissimo qui dalla sua incarnazione del Dr. Il sapiente controllo della gestualità e del ritmo da parte di Behrendt sono alla base del successo di Die Hose. Ma lo champagne non sarebbe stato altrettanto frizzante senza il lavoro di Franz Schulz, il futuro scrittore dei film operetta sonori della Ufa.

Siegfried Kracauer, nel suo From Caligari to Hitler [ed. In he started writing film scripts for Joe May. From the early s he dabbled in direction as well. In the s Schirokauer moved to Berlin, where he collaborated on a series of films with the multi-talented Reinhold Schünzel, and wrote scripts for directors Georg Jacoby, Max Mack, Erich Waschneck, and others.

When the Nazis took over in Germany he emigrated to the Netherlands and then to Vienna. Adapted from CineGraph Prog. Heinrich Richter, Franz Schroedter; cast: Hans Behrendt Berlino, ? In collaborazione con Bobby E. Lüthge, scrisse sceneggiature per Schünzel e Urban Gad; e, per Arsen von Cserépy, le quattro parti di Fridericus Rex — il primo di una lunga serie di film tedeschi con Otto Gebühr nel ruolo del re prussiano, molto popolari presso i partiti di destra e nei circoli antirepubblicani.

E quello champagne piacque molto anche alle platee tedesche: Il titolo fa riferimento al capo di biancheria intima indossato e perduto da una pudica mogliettina interpretata da 56 Hans Behrendt Berlin, ? In partnership with Bobby E. Following his popular heimatfilm, Grün ist die Heide, Behrendt completed two more films before the Nazis forced his emigration to Spain. One Spanish film resulted — a version of the popular zarzuela Doña Francisquita Bad fortune multiplied after he retreated to Vienna in just before the Spanish Civil War.

In Brussels when the German army invaded Austria in , he stayed put, only to be arrested by the Belgian police in when the city was bombed by the Germans. Attempts to procure an American visa for him came too late: His arrival is not recorded.

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