Spies (1928) - News Poster

(1928)

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Fritz Lang: The Silent Films

Hard-media home video is making a comeback, and Kino Lorber shows its faith in the medium with an extravagant collection of its entire silent holdings of the Fritz Lang library. Mythical heroes, sacrificing heroines, criminal madmen and uncontrolled super-science are his themes; it’s a paranoid’s view of the first half of the 20th Century, expressed with fantastic innovations that literally re-write the rules of cinema.

Fritz Lang The Silent Films

Blu-ray

Kino Classics

1919-1929 / B&W / 1:37 Silent Aperture / 1894 min. / Street Date November 21, 2017 / “The Complete Silent Films of German Cinema’s Supreme Stylist” / Available through Kino Lorber / 149.95

Films: The Spiders, Harakiri, The Wandering Shadow, Four Around the Woman, Destiny, Dr. Mabuse The Gambler, Die Nibelungen, Metropolis, Spies, Woman in the Moon, The Plague of Florence.

Directed by Fritz Lang

Kino Lorber has been a happy home for many marvelous discs of silent German classics. Thanks to their ongoing
See full article at Trailers from Hell »

Giveaway – Win Fritz Lang’s Der müde Tod

Eureka Entertainment releases Der müde Tod [a.k.a. Destiny], Fritz Lang’s visually ambitious, cinematic allegory starring Lil Dagover and Bernhard Goetzke, as part of the Masters of Cinema Series in a definitive Dual Format (Blu-ray & DVD) edition on July 24th, and we have three copies to give away. Read on for details of how to enter…

Before directing numerous genre defining masterpieces such as Metropolis, M, and Spione, Fritz Lang was already defying cinematic conventions with Der müde Tod (literally, The Weary Death).

A young woman (Lil Dagover) confronts the personification of Death (Bernhard Goetzke), in an effort to save the life of her fiancé (Walter Janssen). Death weaves three romantic tragedies and offers to unite the girl with her lover, if she can prevent the death of the lovers in at least one of the episodes. Thus begin three exotic scenarios of ill-fated love, in which the woman must somehow reverse the course of destiny: Persia,
See full article at Flickeringmyth »

Western Union

Wow! Fritz Lang's second western is a marvel -- a combo of matinee innocence and that old Germanic edict that character equals fate. It has a master's sense of color and design. Robert Young is an odd fit but Randolph Scott is nothing less than terrific. You'd think Lang was born on the Pecos. Western Union Blu-ray Kl Studio Classics 1941 / Color /1:37 flat Academy / 95 min. / Street Date November 8, 2016 / available through Kino Lorber / 29.95 Starring Randolph Scott, Robert Young, Virginia Gilmore, Dean Jagger, John Carradine, Chill Wills, Slim Summerville, Barton MacLane, Victor Kilian, George Chandler, Chief John Big Tree, Iron Eyes Cody, Jay Silverheels. Cinematography Edward Cronjager, Allen M. Davey Original Music David Buttolph Written by Robert Carson from the novel by Zane Grey Produced by Harry Joe Brown (associate) Directed by Fritz Lang

Reviewed by Glenn Erickson

Darryl Zanuck of 20th Fox treated most writers well, was good for John Ford
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Children at Play: Jacques Rivette's Apprentice Films

  • MUBI
Aux quatre coinsOrigins in art are forever in doubt. Popular culture seems to imagine that what we now call the French New Wave emerged from thin air with François Truffaut's The 400 Blows (1959) and Jean-Luc Godard's Breathless (1960), but that blinkered narrative ignores features ranging from Agnès Varda’s Le pointe courte (1955) and Claude Chabrol’s Le beau Serge (1958) to Alain Resnais and Marguerite Duras’s Hiroshima, mon amour (1959). Even before these, the filmmakers we associate—through later fame, scandal, obscurity, venerability, and legend—with the New Wave made short films, a medium encouraged by the theatrical practice, now long gone in France, of regularly exhibiting dramatic and documentary short films in cinemas. Early shorts by Jacques Demy, Chris Marker, Truffaut, Godard, and others reach back into the mid-50s, but only two of the New Wave’s anointed truly began their filmmaking at the halfway point of the 20th century: Eric Rohmer,
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‘Manchester By The Sea’ Leads The Buzz, And Other Telluride Film Festival Standouts

The Telluride Film Festival is a master class in multitasking. It’s easy to envy people like director Rian Johnson and podcaster Karina Longworth, who are staying with producers (and part-time Telluride residents) Frank Marshall and Kathleen Kennedy; they have the luxury of watching rare classics like Fritz Lang’s “Spies” on the big screen.

For others, it’s a frenetic time.

At the film festival opening day Patron’s Brunch, last year’s tributee Rooney Mara (“Carol”) rubbed elbows with Kenneth Lonergan and this year’s tributee Casey Affleck. Mara is back with acquisition title “Una,” adapted by Australian director Benedict Andrews from the David Harrower play about a woman reconnecting with an older man (Ben Mendelsohn) she had sex with years before. Several distributors are checking out the film, which has found a rapturous reception in its premiere.

Affleck gives the performance of his career in Kenneth Lonergan
See full article at Thompson on Hollywood »

‘Manchester By The Sea’ Leads The Buzz, And Other Telluride Film Festival Standouts

  • Indiewire
The Telluride Film Festival is a master class in multitasking. It’s easy to envy people like director Rian Johnson and podcaster Karina Longworth, who are staying with producers (and part-time Telluride residents) Frank Marshall and Kathleen Kennedy; they have the luxury of watching rare classics like Fritz Lang’s “Spies” on the big screen.

For others, it’s a frenetic time.

At the film festival opening day Patron’s Brunch, last year’s tributee Rooney Mara (“Carol”) rubbed elbows with Kenneth Lonergan and this year’s tributee Casey Affleck. Mara is back with acquisition title “Una,” adapted by Australian director Benedict Andrews from the David Harrower play about a woman reconnecting with an older man (Ben Mendelsohn) she had sex with years before. Several distributors are checking out the film, which has found a rapturous reception in its premiere.

Affleck gives the performance of his career in Kenneth Lonergan
See full article at Indiewire »

Joshua Reviews Fritz Lang’s Destiny [Blu-ray Review]

  • CriterionCast
Few filmmakers have had a decade-long run quite like director Fritz Lang did from 1921-1931. Featuring films like Metropolis, Spies and lest we forget arguably his greatest film, 1931’s M, Lang’s run throughout the ‘20s and into the ‘30s is a collection of films that any director would kill to have listed on his iMDB credits page.

And one of the films that started this series is maybe the director’s most underrated masterpiece, 1921’s silent epic Destiny. One of the “weirder” entries in the filmography of Fritz Lang, this neo-surrealist horror/drama tells the story of a woman as she encounters the physical manifestation of death, a black cloaked-man (Bernhard Goetzke), after he steals away her main squeeze (Walter Janssen). Attempting to get him back at all costs, Death offers the woman three chances to save her lover, tasking the woman (played by Lil Dagover) with saving the
See full article at CriterionCast »

Telluride 2016. Lineup

  • MUBI
Into the InfernoThe lineup for the 2016 Telluride Film Festival (September 2nd - 5th) have been announced:Arrival (Denis Villeneuve, Us)The B-Side: Elsa Dorfman's Portrait Photography (Errol Morris, Us)Bleed For This (Ben Younger, Us)California Typewriter (Doug Nichol, Us)Chasing Trane (John Scheinfeld, Us)The End of Eden (Angus Macqueen, UK)Finding Oscar (Ryan Suffern, Us)Fire at Sea (Gianfranco Rosi, Italy/France)Frantz (François Ozon, France)Gentleman Rissient (Benoît Jacquot, Pascal Mérigeau, Guy Seligmann, France)Graduation (Cristian Mungiu, Romania/France/Belgium)Into the Inferno (Werner Herzog, UK/Austria)The Ivory Game (Kief Davidson, Richard Ladkani, Austria/Us)La La Land (Damien Chazelle, Us)Lost in Paris (d. Fiona Gordon, Dominique Abel, France/Belgium)Manchester by the Sea (Kenneth Lonergan, Us)Maudie (Aisling Walsh, Canada/Ireland)Men: A Love Story (Mimi Chakarova, Us)Moonlight (Barry Jenkins, Us)My Journey through French Cinema (Bertrand Tavernier, France)Neruda (Pablo Larraín,
See full article at MUBI »

Volker Schlöndorff Telluride selection announced by Anne-Katrin Titze - 2016-09-01 21:00:52

On the Return to Montauk set with Volker Schlöndorff, Nina Hoss (his Barefoot Contessa), and Bronagh Gallagher at Lincoln Center Photo: Anne-Katrin Titze

Konrad Wolf’s I Was Nineteen (Ich War Neunzehn) co-written with Wolfgang Kohlhaase; Marlen Khutsiev’s It Was In May (Byl Mesyats May) starring Pyotr Todorovskiy; Louis Malle's The Fire Within (Le Feu Follet) based on the novel by Pierre Drieu La Rochelle with Maurice Ronet, Jeanne Moreau and Alexandra Stewart; Joseph Mankiewicz’s The Barefoot Contessa starring Ava Gardner and Humphrey Bogart; Jean-Pierre Melville's Les Enfants Terribles, adapted from Jean Cocteau’s novel with Nicole Stéphane and Édouard Dermit; and Fritz Lang's Spies (Spione) featuring Rudolf Klein-Rogge and Gerda Maurus, are the six films selected by Volker Schlöndorff as Guest Director of the 43rd Telluride Film Festival.

Michael Curtiz's The Breaking Point was one of Alexander Payne's picks in 2009 Photo: Anne-Katrin Titze

Alexander Payne,
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La La Land, Sully And Denis Villeneuve’s Arrival Among Stacked Lineup For Telluride 2016

Buoyed by its worldwide premiere at the ongoing Venice Film Festival – early reviews are praising the musical as an audacious, deeply romantic feature – Damien Chazelle’s Whiplash follow-up La La Land has booked its place at Telluride 2016.

The picture, one that stars Emma Stone and Ryan Gosling in central roles, is one of the many soon-to-be-released features to be locked in for the imminent film festival, joining the ranks alongside Manchester By the Sea, Moonlight, Things to Come, Bleed For This and Clint Eastwood’s airborne thriller Sully. It is, without question, a fairly stacked lineup, which only has us all the more excited for the onset of the Toronto International Film Festival later this month.

But over the coming weekend, it is Telluride that will take center stage. Similar to La La Land, today’s unveiling confirms a second festival appearance for Denis Villeneuve’s intriguing sci-fi pic Arrival.
See full article at We Got This Covered »

Telluride 2016 Reveals Line-Up With ‘La La Land,’ Arrival,’ ‘Manchester By the Sea,’ ‘Sully,’ and More

One of the last question marks of the early fall film festival onslaught was Telluride Film Festival, who announces their line-up just a day before the event kicks off. Today now brings the slate for the 43rd edition of the festival, which runs from Friday through Monday.

Featuring the world premiere of Clint Eastwood‘s Sully, there’s also the Venice favorites La La Land and Arrival, as well as past festival highlights and some highly-anticipated dramas headed to Tiff, including Manchester By the Sea, Moonlight, Things to Come, Bleed For This, Toni Erdmann, Una, Neruda, and more. Check out the line-up below, along with links to our reviews where available.

Line-Up

Arrival (d. Denis Villeneuve, U.S., 2016)

The B-side: Elsa Dorfman’S Portrait Photography (d. Errol Morris, U.S., 2016)

Bleed For This (d. Ben Younger, U.S., 2016)

California Typewriter (d. Doug Nichol, U.S., 2016)

Chasing Trane (d. John Scheinfeld,
See full article at The Film Stage »

‘Sully,’ ‘Arrival,’ ‘La La Land’ and More Set for 43rd Annual Telluride Film Festival

‘Sully,’ ‘Arrival,’ ‘La La Land’ and More Set for 43rd Annual Telluride Film Festival
New films from Clint Eastwood (“Sully”), Damien Chazelle (“La La Land”), Denis Villeneuve (“Arrival”) and Ben Younger (“Bleed for This”) are set to screen at this year’s Telluride Film Festival, commencing Friday, Sept. 2.

Sully,” premiering Friday night, marks the first Eastwood film to screen at the fest since 1990’s “White Hunter, Black Heart.” He received a tribute that year as well, and hasn’t been back since he was on hand for Meryl Streep’s tribute in 1998.

The film stars Tom Hanks as commercial pilot Chesley Sullenberger, who miraculously water-landed Us Airways flight 1549 in the Hudson River on January 15, 2009, when a flock of geese struck the aircraft and disabled both engines.

Elsewhere, hot off the 2014 Oscar-winning sensation “Whiplash,” Chazelle will transition his vibrant musical to Telluride from an opening night bow at the Venice Film Festival, where it drew raves, before heading to Toronto next week. Also playing the
See full article at Variety - Film News »

Telluride Film Festival Announces Full 2016 Lineup: ‘Arrival,’ ‘Moonlight’ and More

  • Indiewire
The Telluride Film Festival has announced its lineup for the 2016 edition, which begins Friday. As usual, the exclusive Labor Day weekend gathering of industry insiders and midwestern movie buffs will offer a sneak peak at highly anticipated fall films, including several awards season hopefuls, alongside several favorites from the festival circuit, smaller discoveries and classic films.

Damien Chazelle’s vibrant ode to musicals of the past, “La La Land,” will head to Telluride fresh from the Lionsgate release’s successful opening night slot at the Venice Film Festival, while another Venice premiere, Denis Villeneuve’s sci-fi “Arrival,” comes to Telluride courtesy of Paramount alongside a special tribute to star Amy Adams. Another tributee, Casey Affleck, will be in town with Sundance hit “Manchester By the Sea,” which Amazon famously acquired at the Park City gathering for a hefty price tag.

Read More: ‘Manchester By The Sea’ Trailer: Discover Why Kenneth Lonergan
See full article at Indiewire »

Gold (1934)

The Nazis can't even keep the National Socialist propaganda out of a simple science fiction fable. Hans Albers is the Aryan King Midas as a scientist, and gorgeous Brigitte Helm the Englishwoman who thinks he's peachy keen. The climax is pure Sci-Fi heaven, an unstable 'Atomic Fracturing' installation, wa-ay deep down in a mineshaft under the ocean. Gold (1934) Blu-ray Kino Classics 1934 / B&W / 1:33 flat Full Frame / 117 min. / Street Date June 14, 2016 / available through Kino Lorber / 29.95 Starring Hans Albers, Friedrich Kayßler, Brigitte Helm, Michael Bohnen, Ernst Karchow, Lien Deyers, Eberhard Leithoff, Rudolf Platte. Cinematography Otto Baecker, Werner Bohne, Günther Rittau Art Direction Otto Hunte Film Editor Wolfgang Becker Original Music Hans-Otto Borgmann Written by Rolf E. Vanloo Produced by Alfred Zeisler Directed by Karl Hartl

Reviewed by Glenn Erickson

The Hardy Encyclopedia of Science Fiction still teases Sci-fi fans that want to see everything listed in its pages. Thankfully, videodisc companies catering to collectors make possible the sale of titles that might never show up on some (authorized) streaming service. Video disc has brought us the original Der Schweigende Stern and Alraune from Germany, and I hope to someday see good copies of Kurt Siodmak and Karl Hartl's F.P. 1 Does Not Answer and the Harry Piel Sci-fi trilogy An Invisible Man Roams the City, The World Unmasked (an X-ray television camera) and Master of the World (a robot with a death ray). I've read about Karl Hartl's 1934 Gold for at least fifty years, since John Baxter's Science Fiction in the Cinema told us (not quite correctly) that its final reel had been borrowed for the conclusion of Ivan Tors' 1953 Sci-fi picture The Magnetic Monster. As it turns out, Kino is releasing both movies in the same week. Sometimes referred to as the Nazi Metropolis, Hartl's Gold is a follow-up to the director's very successful F.P.1. Does Not Answer, a spy thriller about a fantastic airport in the mid-Atlantic called Floating Platform One. Both pictures were filmed in simultaneous foreign versions to maximize the box office take. The German original of F.P. 1 starred matinee idol Hans Albers (The Blue Angel) Sybille Schmitz (Vampyr) and Peter Lorre, while a concurrent French version used Charles Boyer, Danièle Parola and Pierre Brasseur. A third English version starred Conrad Veidt, Jill Esmond and Donald Calthrop. The French version starred Brigitte Helm in the same role, but star Hans Albers reportedly rebelled at making two movies for the price of one. According to reports, the exceedingly expensive Gold was in production for fifteen months. We can see the cost immediately in the enormous main set for the 'atomic fracturing' machine built to transmute lead into gold. Otto Hunte and Günther Rittau designed and filmed special effects for Metropolis and the impressive set is very much in the same style. Off the top of my head I can't think of any technical apparatus quite so elaborate (and solid-looking) built for a film until the 1960s and Ken Adam's outlandish settings for UA's James Bond films. Writer Rolf E. Vanloo had worked on the silent classic Asphalt and is the sole writer credited on the popular Marlene Dietrich vehicle I Kiss Your Hand, Madame. His screenplay for Gold is tight and credible, even if its theme is even more simplistic than -- and somewhat similar to -- that of Thea von Harbou for Metropolis. Scientist Werner Holk (Hans Albers) aids the visionary Professor Achenbach (Friedrich Kayßler) in testing what looks like an electric atom smasher. The experiment: to turn lead into gold. The 'Atomic Fracturer' explodes, killing the old genius, whose work is discredited. Holk barely survives, thanks to a blood transfusion from his faithful girlfriend Margit Moller (Lien Deyers). When agents for the fabulously wealthy Englishman John Wills (Michael Bohnen) contact Holk, he realizes that the experiment was sabotaged. Werner allows himself to be taken to a fabulous yacht and from there to a Scottish castle, where, hundreds of feet under the ocean, Wills has constructed his own, far larger atom smasher with plans stolen from Achenbach. Split between his need for revenge and a desire to prove the dead Achenbach's theories, Holk goes through with the experiment. Wills' daughter Florence (Brigitte Helm), a gorgeous playgirl, is attracted to the German visitor, Holk finds that the workers' foreman, Schwarz (Rudolf Platte) is of a like mind on economic issues. But Wills' engineer Harris (Eberhard Leithoff) is jealous of Holk's talent, and cannot be trusted. Gold begins by repeating the 'big money hostile takeover of science' theme from Fritz Lang's Frau im mond: a pioneering German scientific exploit is siezed by an unscrupulous international business entity. The unspoken message is that the weakened Germany is being cheated in the world economy because it lacks the resources to exploit its superior technology. The avaricious John Wills makes big financial decisions all day long. There's no gray area in this conflict, as Wells murders, steals and spies on people to get what he wants. We've seen his ruthless agents wreck Achenbach's original, modest experiment. This 'England plays dirty' theme mirrors Germany's bitterness toward England for at least the better part of a century of colonial, naval and financial competition. Versailles and WW1 aren't mentioned, but that had to be on the minds of the audience as well: Germany innovates and works hard, but is consistently handed a raw deal. The scenes with the sleek, fascinating Brigitte Helm would be better if they went somewhere; her Florence does what she can to entice Herr Holk but withdraws when he declares his love for his faithful girl back home, the one whose life blood now flows in his veins. 'Das Blut' cannot be dishonored, even if Holk is half convinced that Wills is going to have him murdered after the giant machine starts turning out Gold by the ton. Act Two instead becomes a conflict between Big Capitalism and the lowly-but-virtuous Working Man. Down in the underground warren of tunnels (another Metropolis parallel) Wills' Scottish workforce of sandhogs and technicians side with Holk against their boss. After a preliminary test yields a tiny bit of gold, we get the expected montages of worldwide economic panic, standard material in socially oriented sci-fi as diverse as La fin du monde and Red Planet Mars. Wells plans to grow rich by flooding the world with his artificially produced gold, a strategy that will have to be explained to me. Gold is the world's standard of value precisely because it's rare; it can't be printed up like money. Thirty years later, the surprisingly sophisticated scheme of Auric Goldfinger is to increase the value of his stash of gold bullion by rendering America's gold reserves radioactive, and therefore worthless. If scarcity raises the value of the element, making more should do the opposite. (On the other hand, what about artificial diamonds? Is there any correspondence there?) [I'm acutely aware that discussing the subject matter of movies mainly points up how much I don't know, about anything but movies.] The Incredible Holk convinces the mob of workers that he represents their interests better than the greedy John Wills. The idea that rich English capitalists need to be rejected in favor of honest German morality is the only real message here. It's as simple as the 'heart mediating between the hands and the brain' slogan of Metropolis, but with a slightly arrogant nationalism added. The lavishly produced Gold was filmed on a series of truly impressive sets, including Wills' enormous Scottish mansion. But the giant setting for the climax, deep in a mine under the ocean floor, is the stuff of core Sci-fi. Millions of volts of electricity are harnessed to transmute lead into Gold. That's got to be a heck of an electricity bill; factor in the other enormous overhead costs and we wonder if Wills will ever turn a profit. The special effects for this sequence are sensational. The enormous apparatus is suspended on huge oversized porcelain insulators. The giant glass tubes atop the specimen stage are apparently visualized with mattes and foreground miniatures. But the camera pans and trucks all over the hangar-sized set; it all looks real, with bolts of electricity flashing like crazy. It's a dynamic special effect highlight of the 1930s. The actors sell the conflict well. Beefy Hans Albers sometimes looks like George C. Scott. He exudes personal integrity and a calm force of will. Lien Dyers is as wholesome here as she was wantonly sexualized six years earlier in Fritz Lang's Spies. Michael Bohnen is more than convincing as a powerful man trying to corner all business on an international scale. Although mostly in for decoration, Brigitte Helm is a sophisticated dazzler. Those penciled eyebrows remind us that she had become the Marlene Dietrich that didn't go to Hollywood. Although she did have offers, Helm wanted to stay in Germany. The Nazification of the film industry and the appalling political climate motivated her to leave for Switzerland in 1935, abandoning her career. Although the gist of Gold fits in with Josef Goebbels' National Socialist propaganda aims, the movie doesn't attack England directly. Ufa may have held hopes of foreign distribution. The one man in Scotland that Holk knows he can trust is the captain of Wills' yacht, a fellow German. Nine years later, Josef Goebbels' anti-British version of Titanic would make a German the single ethical person in authority on the doomed ocean liner. The fellow is constantly badmouthing the craven captain and the venal English ship owner. When Hans Albers finishes this movie with a ten-cent moral about love being the only real treasure, the show seems plenty dumb. But that amazing special effect set piece is too good to dismiss so easily. Gold is a classic of giddy '30s science fiction. The Kino Classics Blu-ray of Gold (1934) is a good encoding of the Wilhelm Murnau Stiftung's best copy of this once-rare item. The print we see is intact and with has good audio, but the contrast is rough. It shifts and flutters a bit, especially in some scenes in the middle. I did notice that the final special effects sequences looked better than much of the rest of this surviving print. But the parts of the movie repurposed for The Magnetic Monster look better on that 1953 science fiction film than they do here. In his book Film in the Third Reich David Stewart Hull explains that when the occupation forces reviewed the recovered German films, they ordered this one destroyed. They were concerned that the Alchemy / Atomic Fracturing machine might have some connection to Germany's wartime nuclear program. So how could Ivan Tors have bought the footage from Ufa, if the U.S. Army had seized it? I have a feeling - just idle speculation -- that it might have been obtained in a special deal made through government connections. Since the image looks much better on The Magnetic Monster, Ivan Tors might even have cut up Gold's only existing printing element to make his movie. After finally seeing Gold, one more thing impresses me besides the grandiose special effects. It's sort of a 'brain-drain' movie. In the '30s, Germany had a reputation for the best precision engineering in the world. Werner Holk is semi-kidnapped to serve John Wills' greedy science project, which was pirated from Germany in the first place. Also in awe of German scientific prowess is Brigitte Helm's Florence. The playgirl finds Werner Wolk's brilliance and clarity of mission irresistible. He's both smarter and more ethical than her father. Holk just stands there looking like he's posing for a statue, and Florence is carried away. Ms. Helm is terrific, but it would be nice if her character had a more central role to play in the story. On a scale of Excellent, Good, Fair, and Poor, Gold (1934) Blu-ray rates: Movie: Very Good Video: Fair + This may be a rare surviving print. Sound: Good - Minus Supplements: none Deaf and Hearing Impaired Friendly? Yes; Subtitles: English Packaging: Keep case Reviewed: June 10, 2016 (5137)

Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com

Text © Copyright 2016 Glenn Erickson
See full article at Trailers from Hell »

Weekly Rushes. 30 March 2016

  • MUBI
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.News"Once upon a time, two people met.A woman, a man… Their memory has almost been erased.All that’s left is a picture… torn, faded, almost gone.Cinema is not eternal but it does sometimes escape oblivion. And it is possible to restore a picture.And what will there be then between these two characters who perhaps stepped out of an English or Italian comedy or an Éric Rohmer film?When you see a poster like this, your imagination fills in the blanks, just like it does at the movies."—Édouard Waintrop, Artistic Director of the Directors’ Fortnight, about its 2016 posterSpeaking of Cannes, the festival has revealed its Opening Night Film, Woody Allen's Café Society, starring Jesse Eisenberg and Kristen Stewart, and shot by the great Vittorio Storaro.
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Karloff Enters! The Black Cat (1934)

By 1934 Boris Karloff was certainly no stranger to great movie entrances. In 1931, under the direction of James Whale, he seared his image, and that of the monstrous creation of Dr. Henry Frankenstein, into the collective consciousness by shuffling on screen and staring down his creator, and of course the terrified audience, embodying and fulfilling unspeakable nightmares. Frankenstein, an instant phenomenon, was one of 16 pictures Karloff made that were released in 1931.

And in the following year, 1932, in addition of Howard HawksScarface, Whale’s The Old Dark House and Charles Brabin’s The Mask of Fu Manchu, Karloff had another terrifying entrance in cinematographer-turned-director Karl Freund’s horror landmark The Mummy. As the title fiend, Imhotep, Karloff is first glimpsed in full bandage, sarcophagus laid open behind an unfortunate archaeologist who, engrossed in the parchments he’s discovered, doesn’t notice the mummy’s arm slide down from its bound position.
See full article at Trailers from Hell »

Spies (Spione)

Guns! Bombs! Assassinations! Blackmail! Fritz Lang invents the escapist super-spy thriller! To seize a set of political documents the evil Haghi dispatches the seductive agents Kitty and Sonya to neutralize a Japanese security man and our own top spy No. 236. (that's 007 x 33,714.2857!) It's a top-rank silent winner from the maker of Metropolis. Spies (Spione) Blu-ray Kino Classics 1928 / B&W /1:33 Silent Aperture / 150 min. / Street Date February 23, 2016 / available through Kino Lorber / 29.95 Starring Rudolf Klein-Rogge, Gerda Maurus, Lien Deyers, Willy Fritsch, Lupu Pick, Hertha von Walther, Fritz Rasp, Craighall Sherry, Hans Heinrich von Twardowsky, Gustl Gstettenbaur. Cinematography Fritz Arno Wagner Art Directors Otto Hunte, Karl Vollbrecht Set Designer Edgar G. Ulmer (reported) Original Music Werner R. Heymann (original) Neil Brand piano score on this disc. Written by Fritz Lang and Thea von Harbou from her novel Produced by Erich Pommer Directed by Fritz Lang

Reviewed by Glenn Erickson

How did Fritz Lang
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New on Video: ‘Diary of a Lost Girl’

  • SoundOnSight
Diary of a Lost Girl

Written by Rudolf Leonhardt

Directed by Georg Wilhelm Pabst

Germany, 1929

In just two collaborations, the German director Georg Wilhelm Pabst and the Kansas-born Louise Brooks created a screen personality that left a permanent mark on the history of film. The iconic Brooks—impeccably dressed, seductively smirking, short, jet-black hair—had been seen in films prior, most notably in Howard HawksA Girl in Every Port (1928), but it was in Pabst’s Pandora’s Box and Diary of a Lost Girl (both released in 1929) that this embodiment of tumultuous 1920s mores struck a strong and enduring chord.

Brooks in these two Pabst features could not be more dissimilar, however. Lulu, the freewheeling temptress of Pandora’s Box, is miles away from Thymian, the young, naive innocent of Diary of a Lost Girl. As this latter feature begins, Thymian enters the picture all in white, in accordance with her recent confirmation.
See full article at SoundOnSight »

Daily | [in]Transition, Oppenheimer, Lang

  • Keyframe
The first peer-reviewed issue of [in]Transition features the likes of Adrian Martin and Kevin B. Lee on a total of four outstanding audiovisual essays on cinema. Also in today’s roundup of news and views: a guide to Stanley Kubrick’s lenses, a forthcoming book on The Shining, Jonathan Rosenbaum on Fritz Lang’s Spies, Colin Beckett’s critique of the work of Joshua Oppenheimer, Errol Morris and Jill Godmilow; interviews with Alex Gibney and Charles Grodin; and remembering Gene Saks, cinematographer Miroslav Ondrícek and Italian actor Rik Battaglia. » - David Hudson
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Viennale 2012. The Unseen Guerilla

  • MUBI
For reasons not clear to me, Fritz Lang's an American Guerilla in the Philippines is almost totally unknown, at least in America, and most existent awareness is tainted by it having the worst reputation of the director's already generally undervalued (but superior) American period. I got a rare chance to see the film on 35mm at the Viennale and was unexpectedly moved by its vivid adventure. I feel like I've read for years that Lang loved adventure stories, and while he made many that were artificially constructed, I think one can sense in their ambition and grandeur a desire, in his focus on science and exoticism, to make a “real” one. (Perhaps much like how Alain Resnais has always giddily wanted to make a comic book movie.) What was so moving for me was the realization that this 1950 film seems to be the first and only time Fritz Lang
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