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Xx:2 Dr. Mabuse 1933
January 19, 2010: XX:2 DAS TESTAMENT DES DR. MABUSE/THE TESTAMENT OF DR. MABUSE 1933 (122 minutes) Directed by Fritz Lang Written by Fritz Lang and Thea von Harbou Produced by Fritz Lanz and Seymour Nebenzal Original music by Hans Erdmann Cinematography by Karl Vash and Fritz Arno Wagner Edited by Conrad von Molo and Lothar Wolff Art direction by Emil Hasler and Karll Vollbrecht Rudolf Klein-Rogge...Dr. Mabuse Gustav Diessl...Thomas Kent Rudolf Schündler...Hardy Oskar Höcker...Bredow Theo Lingen...Karetzky Camilla Spira...Juwelen-Anna Paul Henckels...Lithographraoger Otto Wernicke...Kriminalkomissar Lohmann / Commissioner Lohmann Theodor Loos...Dr. Kramm Hadrian Maria Netto...Nicolai Griforiew Paul Bernd...Erpresser / Blackmailer Henry Pleß...Bulle Adolf E. Licho...Dr. Hauser Oscar Beregi Sr....Prof. Dr. Baum (as Oscar Beregi) Wera Liessem...Lilli FRITZ LANG (5 December 1890, Vienna, Austria—2 August 1976,Beverly Hills, Los Angeles) directed 47 films, from Halbblut (Half-caste) in 1919 to Die Tausend Augen des Dr. Mabuse (The Thousand Eye of Dr. Mabuse) in 1960. Some of the others were Beyond a Reasonable Doubt (1956), The Big Heat (1953), Clash by Night (1952), Rancho Notorious (1952), Cloak and Dagger (1946), Scarlet Street (1945). The Woman in the Window (1944), Ministry of Fear (1944), Western Union (1941), The Return of Frank James (1940), Das Testament des Dr. Mabuse (The Crimes of Dr. Mabuse, Dr. Mabuse's Testament, There's a good deal of Lang material on line at the British Film The Last Will of Dr. Mabuse, 1933), M (1931), Metropolis Institute web site: http://www.bfi.org.uk/features/lang/. -
31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
Michael Powell and Emeric Pressburger, a MATTER of LIFE and DEATH/ STAIRWAY to HEAVEN (1946, 104 Min)
December 8 (XXXI:15) Michael Powell and Emeric Pressburger, A MATTER OF LIFE AND DEATH/ STAIRWAY TO HEAVEN (1946, 104 min) (The version of this handout on the website has color images and hot urls.) Written, Produced and Directed by Michael Powell & Emeric Pressburger Music by Allan Gray Cinematography by Jack Cardiff Film Edited by Reginald Mills Camera Operator...Geoffrey Unsworth David Niven…Peter Carter Kim Hunter…June Robert Coote…Bob Kathleen Byron…An Angel Richard Attenborough…An English Pilot Bonar Colleano…An American Pilot Joan Maude…Chief Recorder Marius Goring…Conductor 71 Roger Livesey…Doctor Reeves Robert Atkins…The Vicar Bob Roberts…Dr. Gaertler Hour of Glory (1949), The Red Shoes (1948), Black Narcissus Edwin Max…Dr. Mc.Ewen (1947), A Matter of Life and Death (1946), 'I Know Where I'm Betty Potter…Mrs. Tucker Going!' (1945), A Canterbury Tale (1944), The Life and Death of Abraham Sofaer…The Judge Colonel Blimp (1943), One of Our Aircraft Is Missing (1942), 49th Raymond Massey…Abraham Farlan Parallel (1941), The Thief of Bagdad (1940), Blackout (1940), The Robert Arden…GI Playing Bottom Lion Has Wings (1939), The Edge of the World (1937), Someday Robert Beatty…US Crewman (1935), Something Always Happens (1934), C.O.D. (1932), Hotel Tommy Duggan…Patrick Aloyusius Mahoney Splendide (1932) and My Friend the King (1932). Erik…Spaniel John Longden…Narrator of introduction Emeric Pressburger (b. December 5, 1902 in Miskolc, Austria- Hungary [now Hungary] —d. February 5, 1988, age 85, in Michael Powell (b. September 30, 1905 in Kent, England—d. Saxstead, Suffolk, England) won the 1943 Oscar for Best Writing, February 19, 1990, age 84, in Gloucestershire, England) was Original Story for 49th Parallel (1941) and was nominated the nominated with Emeric Pressburger for an Oscar in 1943 for Best same year for the Best Screenplay for One of Our Aircraft Is Writing, Original Screenplay for One of Our Aircraft Is Missing Missing (1942) which he shared with Michael Powell and 49th (1942). -
A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris -
Lonely Places, Dangerous Ground
Introduction Nicholas Ray and the Potential of Cinema Culture STEVEN RYBIN AND WILL SCHEIBEL THE DIRECTOR OF CLASSIC FILMS SUCH AS They Live by Night, In a Lonely Place, Johnny Guitar, Rebel Without a Cause, and Bigger Than Life, among others, Nicholas Ray was the “cause célèbre of the auteur theory,” as critic Andrew Sarris once put it (107).1 But unlike his senior colleagues in Hollywood such as Alfred Hitchcock or Howard Hawks, he remained a director at the margins of the American studio system. So too has he remained at the margins of academic film scholarship. Many fine schol‑ arly works on Ray, of course, have been published, ranging from Geoff Andrew’s important auteur study The Films of Nicholas Ray: The Poet of Nightfall and Bernard Eisenschitz’s authoritative biography Nicholas Ray: An American Journey (both first published in English in 1991 and 1993, respectively) to books on individual films by Ray, such as Dana Polan’s 1993 monograph on In a Lonely Place and J. David Slocum’s 2005 col‑ lection of essays on Rebel Without a Cause. In 2011, the year of his centennial, the restoration of his final film,We Can’t Go Home Again, by his widow and collaborator Susan Ray, signaled renewed interest in the director, as did the publication of a new biography, Nicholas Ray: The Glorious Failure of an American Director, by Patrick McGilligan. Yet what Nicholas Ray’s films tell us about Classical Hollywood cinema, what it was and will continue to be, is far from certain. 1 © 2014 State University of New York Press, Albany 2 Steven Rybin and Will Scheibel After all, what most powerfully characterizes Ray’s films is not only what they are—products both of Hollywood’s studio and genre systems—but also what they might be. -
Raoul Walsh to Attend Opening of Retrospective Tribute at Museum
The Museum of Modern Art jl west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 34 FOR IMMEDIATE RELEASE RAOUL WALSH TO ATTEND OPENING OF RETROSPECTIVE TRIBUTE AT MUSEUM Raoul Walsh, 87-year-old film director whose career in motion pictures spanned more than five decades, will come to New York for the opening of a three-month retrospective of his films beginning Thursday, April 18, at The Museum of Modern Art. In a rare public appearance Mr. Walsh will attend the 8 pm screening of "Gentleman Jim," his 1942 film in which Errol Flynn portrays the boxing champion James J. Corbett. One of the giants of American filmdom, Walsh has worked in all genres — Westerns, gangster films, war pictures, adventure films, musicals — and with many of Hollywood's greatest stars — Victor McLaglen, Gloria Swanson, Douglas Fair banks, Mae West, James Cagney, Humphrey Bogart, Marlene Dietrich and Edward G. Robinson, to name just a few. It is ultimately as a director of action pictures that Walsh is best known and a growing body of critical opinion places him in the front rank with directors like Ford, Hawks, Curtiz and Wellman. Richard Schickel has called him "one of the best action directors...we've ever had" and British film critic Julian Fox has written: "Raoul Walsh, more than any other legendary figure from Hollywood's golden past, has truly lived up to the early cinema's reputation for 'action all the way'...." Walsh's penchant for action is not surprising considering he began his career more than 60 years ago as a stunt-rider in early "westerns" filmed in the New Jersey hills. -
TORRANCE HERALD As Accompanied by Lira
THUMPAV. APRIL tt, TOUKANCf HtftALP. Terra MUTE YOUTH of Cagney Stars in NABBED, FOR - Manufacture Canada Air Yarn BURGLARY "Captains of the Clouds brilliant technicolor epic of th Scribbling "I won't steal no RADIOS more If you let me go to Ore-' ALL air, with James Cagney In th starring role, has been booke gon to work In lumber camp," Into the Plaza theatre In Haw Philip Breeze, 18-year-old mute from Paifc Rapids, Mlnn., pro has STOPPED thorne where It starts tonlgh tested he only took James Brenda Marshall and Denn watch chain Morgan head the featured ca Clawson'i) hat and Bo«rd, Hal When he was arrajgned before Order of the War Production which Includes Alan Judge John A. Shldlcr on a Effective April 22) George Tobias, Reginald Oart Denny, a burglary charge laat Saturday Iner and Reginald morning. well as many officers of th of taking Royal Canadian Air Force, wit He was accused cooperation the pictu | food and Clawsorfs overcoat in whose I addition to the hat and Jewelry But was filmed. the deaf-and- In Canada i and police said Made on location dumb youth was nabbed as he under the direction of Mloha was climbing out a window of Curtlz, master of the outdoo near Car You action picture, "Captains of thp the Clawson home seen son st. and Madrid ave. All Clouds" has the superb instructions, questions and com background of one of the mo he picturesque locales In the West ment about his cape had to n hemisphere. written out for Breeze. -
National Box Office Digest Annual (1940)
Ho# Ujjfice JbiaeAt Haui: «m JL HE MOST IMPORTANT NEWS of many moons to this industry is the matter-of-fact announcement by Technicolor that it will put into effect a flat reduction of one cent a foot on release prints processed after August 1st. "There is a great industrial story of days and nights and months and years behind the manner in which Dr. Kalmus and his associates have boosted the quality and service of color to the industry, beaten down the price step by step, and maintained a great spirit of cooperation with production and exhibition. TECHNICOLOR MOTION PICTURE CORPORATION HERBERT T. KALMUS, President , 617 North La Brea Avenue, Los Angeles, Subscription Rate, $10.00 Per ■Ml ^Ite. DIGEST ANNUAL *7lie. 1/ea>i WcM. D OMESTIC box office standings take on values in this year of vanished foreign markets that are tremendous in importance. They are the only ratings that mean anything to the producer, director, player, and exhibitor. Gone—at least for years to come—are the days when known box office failures in the American market could be pushed to fabulous income heights and foisted on the suffering American exhibitor because of a shadowy "for¬ eign value.” Gone are the days—and we hope forever—when producers could know¬ ingly, and with "malice aforethought,” set out on the production of top budgetted pictures that would admittedly have no appeal to American mass audiences, earn no dimes for American exhibitors. All because of that same shadowy foreign market. ^ ^ So THE DIGEST ANNUAL comes to you at an opportune time. -
Fritz Lang © 2008 AGI-Information Management Consultants May Be Used for Personal Purporses Only Or by Reihe Filmlibraries 7 Associated to Dandelon.Com Network
Fritz Lang © 2008 AGI-Information Management Consultants May be used for personal purporses only or by Reihe Filmlibraries 7 associated to dandelon.com network. Mit Beiträgen von Frieda Grafe Enno Patalas Hans Helmut Prinzler Peter Syr (Fotos) Carl Hanser Verlag Inhalt Für Fritz Lang Einen Platz, kein Denkmal Von Frieda Grafe 7 Kommentierte Filmografie Von Enno Patalas 83 Halbblut 83 Der Herr der Liebe 83 Der goldene See. (Die Spinnen, Teil 1) 83 Harakiri 84 Das Brillantenschiff. (Die Spinnen, Teil 2) 84 Das wandernde Bild 86 Kämpfende Herzen (Die Vier um die Frau) 86 Der müde Tod 87 Dr. Mabuse, der Spieler 88 Die Nibelungen 91 Metropolis 94 Spione 96 Frau im Mond 98 M 100 Das Testament des Dr. Mabuse 102 Liliom 104 Fury 105 You Only Live Once. Gehetzt 106 You and Me [Du und ich] 108 The Return of Frank James. Rache für Jesse James 110 Western Union. Überfall der Ogalalla 111 Man Hunt. Menschenjagd 112 Hangmen Also Die. Auch Henker sterben 113 Ministry of Fear. Ministerium der Angst 115 The Woman in the Window. Gefährliche Begegnung 117 Scarlet Street. Straße der Versuchung 118 Cloak and Dagger. Im Geheimdienst 120 Secret Beyond the Door. Geheimnis hinter der Tür 121 House by the River [Haus am Fluß] 123 American Guerrilla in the Philippines. Der Held von Mindanao 124 Rancho Notorious. Engel der Gejagten 125 Clash by Night. Vor dem neuen Tag 126 The Blue Gardenia. Gardenia - Eine Frau will vergessen 128 The Big Heat. Heißes Eisen 130 Human Desire. Lebensgier 133 Moonfleet. Das Schloß im Schatten 134 While the City Sleeps. -
Best Picture of the Yeari Best. Rice of the Ear
SUMMER 1984 SUP~LEMENT I WORLD'S GREATEST SELECTION OF THINGS TO SHOW Best picture of the yeari Best. rice of the ear. TERMS OF ENDEARMENT (1983) SHIRLEY MacLAINE, DEBRA WINGER Story of a mother and daughter and their evolving relationship. Winner of 5 Academy Awards! 30B-837650-Beta 30H-837650-VHS .............. $39.95 JUNE CATALOG SPECIAL! Buy any 3 videocassette non-sale titles on the same order with "Terms" and pay ONLY $30 for "Terms". Limit 1 per family. OFFER EXPIRES JUNE 30, 1984. Blackhawk&;, SUMMER 1984 Vol. 374 © 1984 Blackhawk Films, Inc., One Old Eagle Brewery, Davenport, Iowa 52802 Regular Prices good thru June 30, 1984 VIDEOCASSETTE Kew ReleMe WORLDS GREATEST SHE Cl ION Of THINGS TO SHOW TUMBLEWEEDS ( 1925) WILLIAMS. HART William S. Hart came to the movies in 1914 from a long line of theatrical ex perience, mostly Shakespearean and while to many he is the strong, silent Western hero of film he is also the peer of John Ford as a major force in shaping and developing this genre we enjoy, the Western. In 1889 in what is to become Oklahoma Territory the Cherokee Strip is just a graz ing area owned by Indians and worked day and night be the itinerant cowboys called 'tumbleweeds'. Alas, it is the end of the old West as the homesteaders are moving in . Hart becomes involved with a homesteader's daughter and her evil brother who has a scheme to jump the line as "sooners". The scenes of the gigantic land rush is one of the most noted action sequences in film history. -
Sundayiournal
STANDING STRONG FOR 1,459 DAYS — THE FIGHT'S NOT OVER YET JULY 11-17, 1999 THE DETROIT VOL. 4 NO. 34 75 CENTS S u n d a yIo u r n a l PUBLISHED BY LOCKED-OUT DETROIT NEWSPAPER WORKERS ©TDSJ JIM WEST/Special to the Journal Nicholle Murphy’s support for her grandmother, Teamster Meka Murphy, has been unflagging. Marching fourward Come Tuesday, it will be four yearsstrong and determined. In this editionOwens’ editorial points out the facthave shown up. We hope that we will since the day in July of 1995 that ofour the Sunday Journal, co-editor Susanthat the workers are in this strugglehave contracts before we have to put Detroit newspaper unions were forcedWatson muses on the times of happiuntil the end and we are not goingtogether any another anniversary edition. to go on strike. Although the companess and joy, in her Strike Diarywhere. on On Pages 19-22 we show offBut four years or 40, with your help, nies tried mightily, they never Pagedid 3. Starting on Page 4, we putmembers the in our annual Family Albumsolidarity and support, we will be here, break us. Four years after pickingevents up of the struggle on the record.and also give you a glimpse of somestanding of strong. our first picket signs, we remainOn Page 10, locked-out worker Keiththe far-flung places where lawn signs— Sunday Journal staff PAGE 10 JULY 11 1999 Co-editors:Susan Watson, Jim McFarlin --------------------- Managing Editor: Emily Everett General Manager: Tom Schram Published by Detroit Sunday Journal Inc. -
PRISCO Everyone to Do His Or Her Part to Prevent the Fires and BIDSJMMS Thompson Is Now Assistant from Mr
Let us all make Christmas Eve a "Night of Light." than have men of other countries and other continents. "As America's answer to the black-out threatening Democratic institutions, and would re-charge our de- No-where else in the world can the people feel more Let us proclaim our solemn intention of continuing the world—a black-out of freedom as well as of light termination to keep America beyond the reach of closely the spirit of Christmas. We have been spared these honorable .pursuits by sending forth a blaze of —will you proclaim Christmas Eve a 'Night of Light,' dictatorship. the horrors of dictatorships and of wars. There are light, symbolic of the light which shown over Bethle- calling on citizens to keep every room of every home "I believe that citizens will spontaneously respond no threats of enemy airplanes and their death-dealing hem. and building fully lighted, with blinds wide open, and that America's 'Night of Light' will be bigger, bombs. There is no cause for us to huddle in our cell- Mayors August F. Greiner and Walter C. Christen- from dusk to midnight? more significant news—in nations where news can ars, the windows of our homes covered in blackness sen today officially proclaimed, in response to a re- "I believe this symbolic action, making this night* still be circulated—than any black-out has been." to blot out a target for sky raiders. quest by Bernarr Macfadden, publisher, Christmas brighter than any we have ever experienced, would In urging the response of the people of this com- We have been blessed many times over for our Eve as a "Night of Light." Hi*.