Schön Ist Die Jugendzeit All Things Fair

Total Page:16

File Type:pdf, Size:1020Kb

Schön Ist Die Jugendzeit All Things Fair Retrospektive Retrospective Schweden Sweden Lust och fägring stor Schön ist die Jugendzeit All Things Fair 1995, 130 Min., 35 mm, Farbe colour, deutsche Unter- titel German subtitles Regie Director Bo Widerberg Drehbuch Screenplay Bo Widerberg Kamera Camera Morten Bruus Schnitt Editing Bo Widerberg Rollen Cast Johan Widerberg (Stig), Marika Lager- crantz (Viola), Tomas von Brömssen (Kjell), Nina Gun- ke (Stigs Mutter), Björn Kjellman (Sigge Produktion Production Per Holst, Per Holst Film- produktion c/o Nordisk Film Production Web www. nordiskfilm.come-mail filmproduction@nordiskfilm. com Bo Widerbergs großes Alterswerk über eine Jugendliebe, Weltvertrieb World Sales Nordisk Film Internati- 1943. Für den Oscar nominiert und bei der Berlinale 1996 onal Sales Web www.nordiskfilmsales.com, e-mail mit einem Silbernen Bären prämiert. Malmö 1943: Der 14- [email protected] jährige Stig beginnt eine heimliche Liebesbeziehung mit seiner Festivalkontakt Festival Contact The Swedish In- Lehrerin. Viola ist 37 und unglücklich verheiratet – mit Kjell, der stitute als Handlungsreisender ziemlich erfolglos Damen-Unterwäsche anbietet und im Alkohol Trost sucht. Über die anfänglich verspiel- Regisseur Bo Widerberg (1930-1997) ist der nach In- te Affäre zwischen Stig und Viola legen sich Schatten, als sich Kjell gmar Bergman wohl bedeutendste schwedische Film- und Stig mehr und mehr anfreunden. Eifersucht und Sticheleien regisseur. Er bewirkte in den sechziger Jahren nach lassen die Situation für Stig immer gefährlicher werden, und er dem Vorbild der französischen Nouvelle Vague eine begreift, dass es nun darauf ankommt, erwachsen zu werden. Mit Erneuerung des erstarrten schwedischen Films der dem dänischen Produzenten Per Holst im Rücken kehrte Bo Wi- Nachkriegszeit. Nach Auseinandersetzungen um sei- derberg kurz vor seinem Tod mit diesem exzellenten Drama auf ne Hamsun-Verfilmung „Victoria“ (1977/79) drehte er die Leinwand zurück. „Mit seinem Gespür für die Möglichkeiten nur noch wenige Filme. Sein letztes Werk „Schön ist die der Filmsprache hat Widerberg kommenden Filmgenerationen Jugendzeit“ wurde für den Oscar nominiert und erhielt noch viel zu lehren“, schrieb die schwedische Kritikerin Mikae- bei der Berlinale 1996 einen Silbernen Bären. Wider- la Kindblom. Selten wurden das Süße und Bittere beim Verlieren berg präsentierte diesen Film und „Victoria“ im Rah- der Unschuld im Kino so überzeugend gezeigt. Mit „Schön ist die men der Hamsun-Retrospektive bei den Nordischen Jugendzeit“ startete der Sohn des Regisseurs, Johan Widerberg, Filmtagen Lübeck 1996 kurz vor seinem Tod. seine Schauspielkarriere. Director Bo Widerberg (1930-1997) is probably the Bo Widerberg‘s grand late work about an early love in most significant Swedish director after Ingmar Berg- 1943. Nominated for an Oscar and awarded a Silver Bear man. Inspired by the French New Wave, he brought at 1996 Berlinale. Malmö 1943: 14-year-old Stig embarks on a about a renewal of Swedish film in the 60s, which had clandestine love affair with his teacher. Viola is 37 and unhappi- fallen into a rut in the postwar era. After the contro- ly married to Kjell, an unsuccessful travelling lingerie salesman versy surrounding his Hamsun adaptation “Victoria“ with a drink problem. What begins as a carefree liaison soon (19977/79), his filmic output declined. His last film, takes a darker turn, as Kjell and Stig get to know each other. “Lust och fägring star“ (“All Things Fair“) was nomi- Jealousy and rivalry make the situation increasingly dangerous nated for an Academy Award and won the Silver Bear for Stig, and he realises that it is time to grow up. Bo Widerberg in Berlin 1996. Shortly before his death, Widerberg pre- returned to the screen shortly before his death, with the backing sented that film as well as „Victoria“ in the Hamsum of Danish producer Per Holst. ”The younger film generation can retrospective at the Nordic Film Days 1996.“ still learn a lot from Widerberg with his keen sense of cinematic language”, wrote Swedish critic Mikaela Kindblom. Rarely has Filme Films the bitter-sweet loss of innocence been so persuasively shown 1964: Das Rabenviertel (NFL 1981); 1966: Hallo on film. The director‘s son, Johan Widerberg, began his acting Roland(Heja Roland, NFL 1967); 1967: Das Ende einer career with “All Things Fair“. großen Liebe (NFL 1996); 1968: Der weiße Sport (NFL 1969); 1969: Ådalen 31 (NFL 1970); 1971: Joe Hill (NFL 1971); 1974: Fimpen, der Knirps; 1976: Der Mann auf dem Dach (NFL 1978); 1979: Victoria; 1995: Schön ist So 02. Nov. die Jugendzeit (NFL 1996, 2003, 2008) 19.45 h - CS 2 120 CS = CineStar | FH = Filmhaus 50. Nordische Filmtage Lübeck 2008.
Recommended publications
  • Powers of the Earth Vs. Godby Father Rick Bolte
    May 2012 Powers of the Earth vs. God by Father Rick Bolte “Power corrupts; absolute power corrupts absolutely.” vision of God coming in power as we know it is that these That adage proves itself over and over again throughout predictions began in the Old Testament and applied as history. Even when good people and institutions gain much to Jesus’ first coming as to his second. One of the access to power, corruption comes in. We’ve seen this in reason the Jews missed Jesus as the long awaited Messiah our Catholic Church particularly with the Inquisition and was that his manifestations of power did not fit the earthly the corrupt popes of the Middle Ages. expressions they expected. This could happen to us as well. The Companion Defined in Webster’s, power is “a possession of control, Jesus’ expression of power is vastly different than the is the newsletter of authority, or influence over others.” We normally think of power the world recognizes. 1 John 4:8 tells us that “God St. Timothy Parish power as the ability to get things done regardless of the is love”. Jesus’ power was the power of love. This is not a P.O. Box 120 obstacles that may get in the way. Power comes from power the world gives must attention to. This is not a Union, KY 41091-0120 859.384.1100 leadership roles where we have the influence, authority, power that can force anyone to do anything. This doesn’t and the right connections to make things happen. Power seem to have any power over evil.
    [Show full text]
  • Joe Hill Joe Hill
    politik und mit seinem gesellschaftlichen Engagement. a quiet, clear lake, and in other details such as a garden LEBEN UM JEDEN PREIS ist überhaupt nicht sentimental. Der gate, a door handle, a door to Widerberg's house and a Film wird getragen von Gefühlen des Vermissens und der Liebe. cemetery. He is present through his criticism of film poli• Monika Tunbäck-Hanson, in: Göteborgs Posten, 18.9.1998 tics and through his social commitment. LIFE AT ANY COST is not sentimental at all. The domi• Biofilmographie nant feelings in the film are a sense of loss and of love. Stefan Jarl wurde am 18. März 1941 im südschwedischen Skara Monika Tunbäck-Hanson, in: Göteborgs Posten, Septem• geboren. Ende der sechziger Jahre gründete er eine Gewerkschaft ber 18th, 1998 für Filmarbeiter, einen nicht-kommerziellen Verleih ('Film Cent• rum'), ein Kino ('Folkets Bio' - Volkskino) sowie eine Filmzeit• Biofilmography schrift. Stefan Jarl was born on March 18th, 1941 in Skara (South Stefan Jarl arbeitete außerdem als Produktionsleiter nicht nur für of Sweden). He made his first films in the late sixties. In Bo Widerberg, sondern auch für andere schwedische Regisseure, the seventies he founded a union for filmworkers, a non• wie z.B. Stig Björkman, Mai Zetterling und Arne Sucksdorff. commercial film distribution company, a cinema ('Folkets-Bio'- People's Cinema) and a magazine. Stefan Jarl also worked as a production manager not only JOE HILL for Bo Widerberg, but also for a number of Swedish di• rectors, such as Stig Björkman, Mai Zetterling and Arne Sucksdorff. Land: Schweden 1971. Produktion: Sagittarius. Regie und Buch: Bo Widerberg.
    [Show full text]
  • Jul|Aug|Sep 2012
    July/August/September 2012 HIGHLIGHTS A PUBLICATION OF THE PEACE & JUSTICE CENTER PAGE 2 From the Center Bill McKibben to Speak on A little news from the Board. Gus D’Ari, in memorium, creator of the PJC Library. Environmental Cost of War PAGE 3 Vets for Peace President he Peace & Justice Center’s Cost of War Series will host a speaking Leah Bolger, the first female president of the T organization Veterans For Peace will speak in event featuring Bill McKibben on Burlington on October 11. September 22. Our Cost of War Series examines the amount of damage war costs PAGE 4 all countries involved. Besides the Vessells of Change obvious cost in lives and money, war Fair Trade organizations featured: Denur causes a vast amount of environmental Crafts, National Association of Women’s damage, both short term and long term. Organizations in Uganda, and Altiplano. War further deteriorates our planet and our resources. PAGE 5 Bill McKibben is an American environ- Super PAC’s not Quite so Super mentalist, author, and journalist. He is the conceived the 10/10/10 Global Work Because 2012 is an election year, the Schumann Distinguished Scholar at Party, which convened more than 7,000 importance and effects of super PACs are Middlebury College. In 2010, the Boston events in 188 countries as he had told a more prominent now, than ever. Globe called him “probably the nation’s leading environmentalist” and Time large gathering at Warren Wilson College PAGE 6-7 magazine described him as “the world’s shortly before the event. In December 2010, 350.org coordinated a planet-scale Marmete Hayes best green journalist.” art project, with many of the 20 works Longtime PJC member and a founder of Pax In 2009, he led the organization of visible from satellites.
    [Show full text]
  • 89Th Annual Academy Awards® Oscar® Nominations Fact
    ® 89TH ANNUAL ACADEMY AWARDS ® OSCAR NOMINATIONS FACT SHEET Best Motion Picture of the Year: Arrival (Paramount) - Shawn Levy, Dan Levine, Aaron Ryder and David Linde, producers - This is the first nomination for all four. Fences (Paramount) - Scott Rudin, Denzel Washington and Todd Black, producers - This is the eighth nomination for Scott Rudin, who won for No Country for Old Men (2007). His other Best Picture nominations were for The Hours (2002), The Social Network (2010), True Grit (2010), Extremely Loud & Incredibly Close (2011), Captain Phillips (2013) and The Grand Budapest Hotel (2014). This is the first nomination in this category for both Denzel Washington and Todd Black. Hacksaw Ridge (Summit Entertainment) - Bill Mechanic and David Permut, producers - This is the first nomination for both. Hell or High Water (CBS Films and Lionsgate) - Carla Hacken and Julie Yorn, producers - This is the first nomination for both. Hidden Figures (20th Century Fox) - Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi, producers - This is the fourth nomination in this category for Donna Gigliotti, who won for Shakespeare in Love (1998). Her other Best Picture nominations were for The Reader (2008) and Silver Linings Playbook (2012). This is the first nomination in this category for Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi. La La Land (Summit Entertainment) - Fred Berger, Jordan Horowitz and Marc Platt, producers - This is the first nomination for both Fred Berger and Jordan Horowitz. This is the second nomination in this category for Marc Platt. He was nominated last year for Bridge of Spies. Lion (The Weinstein Company) - Emile Sherman, Iain Canning and Angie Fielder, producers - This is the second nomination in this category for both Emile Sherman and Iain Canning, who won for The King's Speech (2010).
    [Show full text]
  • Virginian Writers Fugitive Verse
    VIRGIN IAN WRITERS OF FUGITIVE VERSE VIRGINIAN WRITERS FUGITIVE VERSE we with ARMISTEAD C. GORDON, JR., M. A., PH. D, Assistant Proiesso-r of English Literature. University of Virginia I“ .‘ '. , - IV ' . \ ,- w \ . e. < ~\ ,' ’/I , . xx \ ‘1 ‘ 5:" /« .t {my | ; NC“ ‘.- ‘ '\ ’ 1 I Nor, \‘ /" . -. \\ ' ~. I -. Gil-T 'J 1’: II. D' VI. Doctor: .. _ ‘i 8 » $9793 Copyrighted 1923 by JAMES '1‘. WHITE & C0. :To MY FATHER ARMISTEAD CHURCHILL GORDON, A VIRGINIAN WRITER OF FUGITIVE VERSE. ACKNOWLEDGMENTS. The thanks of the author are due to the following publishers, editors, and individuals for their kind permission to reprint the following selections for which they hold copyright: To Dodd, Mead and Company for “Hold Me Not False” by Katherine Pearson Woods. To The Neale Publishing Company for “1861-1865” by W. Cabell Bruce. To The Times-Dispatch Publishing Company for “The Land of Heart‘s Desire” by Thomas Lomax Hunter. To The Curtis Publishing Company for “The Lane” by Thomas Lomax Hunter (published in The Saturday Eve- ning Post, and copyrighted, 1923, by the Curtis Publishing 00.). To the Johnson Publishing Company for “Desolate” by Fanny Murdaugh Downing (cited from F. V. N. Painter’s Poets of Virginia). To Harper & Brothers for “A Mood” and “A Reed Call” by Charles Washington Coleman. To The Independent for “Life’s Silent Third”: by Charles Washington Coleman. To the Boston Evening Transcript for “Sister Mary Veronica” by Nancy Byrd Turner. To The Century for “Leaves from the Anthology” by Lewis Parke Chamberlayne and “Over the Sea Lies Spain” by Charles Washington Coleman. To Henry Holt and Company for “Mary‘s Dream” by John Lowe and “To Pocahontas” by John Rolfe.
    [Show full text]
  • 10,1 MB | 252 S
    Sekans Sinema Kültürü Dergisi Aralık 2018, Sayı e9, Ankara © Sekans Sinema Grubu Tüm Hakları Saklıdır. Sekans Sinema Kültürü Dergisi ve sekans.org içeriği, Sekans Sinema Grubu ve yazarlardan izin alınmaksızın kullanılamaz. [email protected] http://www.sekans.org Yayın Yönetmeni Ender Bazen Dosya Editörü A. Kadir Güneytepe Kapak Düzenleme ve Tasarım Cem Kayalıgil [email protected] Tansu Ayşe Fıçıcılar [email protected] Web Uygulama Ayhan Yılmaz [email protected] Kapak Fotoğrafı Güz Sonatı (Höstsonaten, Ingmar Bergman, 1978) Katkıda Bulunanlar Natig Ahmedli, Ahmet Akalın, Nurten Bayraktar, Gülizar Çelik, Gizem Çınar, M. Baki Demirtaş, Ekin Eren, Aleksey Fedorchenko, Ulaş Başar Gezgin, Erman Görgü, Dilan İlhan, Erdem İlic, Süheyla Tolunay İşlek, Erbolot Kasymov, Sertaç Koyuncu, Dila Naz Madenoğlu, İlker Mutlu, Yalçın Savuran, Mine Tezgiden, Seda Usubütün, Rukhsora Yusupova Bu elektronik dergi, bir Sekans Sinema Grubu ürünüdür. ÖNSÖZ Bir derginin en iyi yanı bir sayı içerisindeki birçok farklı başlığın sinemanın zengin dünyası içinde sinemanın bambaşka alanlarına sıçramayı sağlayabiliyor olması galiba. Her yeni sayıda yazarlarımızın ilgi alanlarının katkısıyla bu zengin dünyadaki her araştırma, her keşif bir diğer okumayı da besliyor çoğu zaman. Her sayıda olduğu gibi Sekans Sinema Kültürü Dergisi e-9’da da bu amaçla çalışmalara başlanmış, içeriğin ana hatları belirlenmişti. Sinemamızdan ve dünya sinemasından incelemeler, bir yönetmen söyleşisi, belgesel, akım, tür, anısına gibi bölümler, 50 yaşında bir film, bir ülke sinemasını ele alan dosya ile bu sayıda da farklı coğrafyalara, tarihlere, yönetmenlere, ülkelere ve düşüncelere yolculuk etmek için yola çıkılmıştı. Tüm bu çalışmaları okuyucuya ulaştırmanın yoğun çabası içindeyken sinema dünyasından kötü bir haber geldi. İtalyan yönetmen Bernardo Bertolucci, çokça tartışılmış, üzerine defalarca yazılmış, çizilmiş filmlerini ardında bırakarak bu dünyaya gözlerini kapamıştı.
    [Show full text]
  • Wheeler Winston Dixon
    WHEELER WINSTON DIXON Curriculum Vitae EDUCATION: 1980 - 82 Ph.D. Rutgers University, New Brunswick, NJ Major Focus: 20th Century American and British Literature; Film Studies. 1976 - 80 M.A., M.Phil. Rutgers University, New Brunswick, NJ 1969 - 72 A.B. Livingston College, New Brunswick, NJ APPOINTMENTS HELD: 2010 – Present Coordinator, Film Studies Program 2003 – 2005 Coordinator, Film Studies Program 2000 – Present James P. Ryan Endowed Professor of Film Studies 1999 – 2003 Chairperson, Film Studies Program; Professor, English, University of Nebraska, Lincoln. 1997 Visiting Professor, Department of Communications, The New School University, New York, Summer, 1997. 1992 - 1998 Chairperson, Film Studies Minor; Professor, English, University of Nebraska, Lincoln. 1988 - 1992 Chairperson, Film Studies Program; Associate Professor, English, University of Nebraska, Lincoln. 1984 - 1988 Assistant Professor, English and Art, University of Nebraska - Lincoln. 1983 Visiting Professor, Film Studies, The New School for Social Research, New York, NY. 1974 - 1984 Instructor, English, Rutgers University, New Brunswick. 1969 - 1972 Instructor, Film Studies, Department of Art, Livingston College. COURSES TAUGHT: 2013 Film History, Film Genre: Action and Suspense, 1960s Outlaw Cinema 2012 Film History, Film Genre, Contemporary World Cinema, Science Fiction 2011 Film History, Film Genre, Film Theory 2010 Film History, Film Genre: The Musical, Noir Films 2009 Film History, Film Genre: The Western, Science Fiction Films 2008 Film History, Film Genre: Classic
    [Show full text]
  • Edward Lear's Lines of Flight
    Journal of the British Academy, 1, 31–69. DOI 10.5871/jba/001.031 Posted 18 July 2013. © The British Academy 2013 Edward Lear’s lines of flight Chatterton Lecture on Poetry read 1 November 2012 by MATTHEW BEVIS Abstract: ‘Verily I am an odd bird’, Edward Lear wrote in his diary in 1860. This article examines a range of odd encounters between birds and people in Lear’s paint­ ings, illustrations, and poems. It considers how his interest in birds—an interest at once scientific and aesthetic—helped to shape his nonsense writings. I suggest that poetic and pictorial lines of flight became, for Lear, a means of exploring the claims that art might make on our attention. Keywords: Edward Lear, poetry, painting, flight, birds, Charles Darwin, nonsense, evolution, Alfred Tennyson. until now I never knew That fluttering things have so distinct a shade. Wallace Stevens, ‘Le Monocle de Mon Oncle’ (1918) ‘If you cannot tell me how the shadows of the blessed jackdaws will fall I don’t know what I shall do’, wrote Edward Lear to William Holman Hunt in 1852.1 The poet’s feeling for the life of things was often enhanced by his regard for their fleeting effects. ‘Myriads of pigeons!’, he later exclaimed, ‘And when they fly, their shadows on the ground!’2 Notwithstanding the lessons of Plato’s cave, shadows, for Lear, inhabit the realm of the knowable; they are not simply a mistake, or a deception, or a diversion from the real. At once copies and reanimations, shadows may also stand as an analogue for art.
    [Show full text]
  • Thomas Hardy S Epic-Drama: a STUDY of the DYNASTS
    Thomas Hardy s Epic-Drama: A STUDY OF THE DYNASTS by Harold Orel UNIVERSITY OF KANSAS PUBLICATIONS HUMANISTIC STUDIES, NO. 36 LAWRENCE, KANSAS UNIVERSITY OF KANSAS ^PUBLICATIONS HUMANISTIC STUDIES^ NO. 36 THOMAS HARDY'S EPIC-DRAMA: A STUDY OF THE DYNASTS THOMAS HARDY'S EPIC-DRAMA: A STUDY OF THE DYNASTS by Harold Orel UNIVERSITY OF KANSAS PUBLICATIONS LAWRENCE, 1963 © COPYRIGHT 1963 BY THE UNIVERSITY OF KANSAS PRESS L. C. C. C Number 63-63211 PRINTED IN THE U.S.A. BY THE UNIVERSITY OF KANSAS PRESS LAWRENCE, KANSAS TO M. D. W. Preface THIS BOOK was written because of my admiration for Thomas Hardy's The Dynasts, and because of my feeling that the last word has not yet been said about it. What I want to do is reemphasize the meaning behind Hardy's descriptive epithet, "epic-drama," To that end, I have retraced Hardy's career up to the moment he renounced the writing of novels and became a full-time poet. Poetry, for Hardy, was always the highest form of art; it was the kind of literature he wanted most to create. For years he had been contemplating a large work, a poem on the epic scale, which he needed time to write. It may be no exaggeration to say that his entire life led up to The Dynasts, and that for him it represented the supreme artistic work of his career. Since The Dynasts has often been considered primarily in terms of its philosophy, although Hardy declared vehemently on several occasions that his poem should be judged on artistic grounds, it has seemed worthwhile to reexamine the views that Hardy held on the nature of the universe and whatever gods exist.
    [Show full text]
  • SENATE District Office of Civil Defense, and for on Request of Mr
    5238 CONGRESSIONAL RECORD-SENATE MAY 14 By Mr. D'EW ART: Journal of the proceedings of Thursday. ·LEAVES OF ABSENCE H. R. 4069. A bill authorizing the Secretary May 10, 1951, was dispensed with. On request of Mr. McFARLAND, and of the Interior to issue a patent in fee to by unanimous consent, Mr. FREAR was Lucy Yarlott; to the Committee on Interior MESSAGES FROM THE PRESIDENT-AP- and Insular Affairs. PROVAL OF BILL AND JOINT RESOLU­ excus~d from attendance on the sessions H. R. 4070 A bill for the relief of Isabelle TION of the Senate this week because of official F. s.tory; to the Committee on the Judiciary. Messages in writing from the Presi­ committee business. By Mr. HELLER: dent of the United States were commu­ On request of Mr. WHERRY, and by H. R. 4071. A bill for the relief of Demos­ unanimous consent, Mr. NIXON was ex­ thenes J. Dambassis and Mrs. Helen Dam­ nicated to the Senate by Mr. Miller, one of his secretaries, and he announced cused from attendance on the sessions bassis; to the Committee on the Judiciary. of the Senate for 1 week because of his H. R . 4072. A bill for the relief of John D. that the President had approved and Theodoracopoulos, Mando J. Theodoracopou­ signed the following act and joint resolu­ appointment as a member of the .United los, Panagiottis Theodoracopoulos, and Char- tion: States delegation to the World Health Organization, which is meeting in Ge­ 1laos Theodoracopoulos; to the Committee On May 11, 1951: on the Judiciary.
    [Show full text]
  • Poems of John Keats
    Classic Poetry Series John Keats - poems - Publication Date: 2004 Publisher: PoemHunter.Com - The World's Poetry Archive John Keats (1795-1821) John Keats was born on October 31, 1775 in London. His parents were Frances Jennings and Thomas Keats. John Keats was educated at Enfield School, which was known for its liberal education. While at Enfield, Keats was encouraged by Charles Cowden Clarke in his reading and writing. After the death of his parents when he was fourteen, Keats became apprenticed to a surgeon. In 1815 he became a student at Guy's Hospital. However, after qualifying to become an apothecary-surgeon, Keats gave up the practice of Medicine to become a poet. Keats had begun writing as early as 1814 and his first volume of poetry was published in 1817. In 1818 Keats took a long walking tour in the British Isles that led to a prolonged sore throat, which was to become a first symptom of the disease that killed his mother and brother, tuberculosis. After he concluded his walking tour, Keats settled in Hampstead. Here he and Fanny Brawne met and fell in love. However, they were never able to marry because of his health and financial situation. Between the Fall of 1818 and 1820 Keats produces some of his best known works, such as La Belle Dame sans Merci and Lamia. After 1820 Keats' illness became so severe that he had to leave England for the warmer climate of Italy. In 1821 he died of tuberculosis in Rome. He is buried there in the Protestant cemetery.
    [Show full text]
  • FILM#65 / BERLIN SPECIAL ISSUE L1l FILM#65/ Berlin Issue INSIDE
    DENMArK AT WAr SOLIDArITY AND OTHEr SHOOTING STAr 2009 Winning the Blue Angel in 2002, the director-writer EMBArrASSMENTS He has a face that was made for the camera: a burst duo Annette K. Olesen and Kim Fupz Aakeson are Max’ mom is the mother of all embarrassing mothers. of red hair over gorgeous eyes and the jaw-line of a back in Berlin for the fourth time with the drama Little Lotte Svendsen’s family comedy Max Embarrassing and classic screen hero. Cyron Melville is Danish Shooting Soldier, running in Competition. the two shorts The Mouse and Cathrine are selected Star 2009. for the Generation programme. PAGE 3 PAGE 6-9 PAGE 10 l1l FILM IS PUBLISHED BY THE# DANISH FILM INSTITUTE65 / februarY 2009 COMPETITION LITTLE SOLDIER THE MOUSE, MAX EMBARRASSING GENERATION KPLUS CATHRINE GENERATION 14PLUS CYRON MELVILLE SHOOTING STAR PAGE 2 / FILM#65 / BERLIN SPECIAL ISSUE l1l FILM#65/ BERLIN ISSUE INSIDE $%.-!2+ô!4ô7!2 3/,)$!2)49ô!.$ô/4(%2ôô 3(//4).'ô34!2ô 7INNINGôTHEô"LUEô!NGELôINô ôTHEôDIRECTOR WRITERô %-"!22!33-%.43 (EôHASôAôFACEôTHATôWASôMADEôFORôTHEôCAMERAôAôBURSTô DUOô!NNETTEô+ô/LESENôANDô+IMô&UPZô!AKESONôAREô -AXôMOMôISôTHEôMOTHERôOFôALLôEMBARRASSINGôMOTHERSô OFôREDôHAIRôOVERôGORGEOUSôEYESôANDôTHEôJAW LINEôOFôAô BACKôINô"ERLINôFORôTHEôFOURTHôTIMEôWITHôTHEôDRAMAô,ITTLEô ,OTTEô3VENDSENSôFAMILYôCOMEDYô-AXô%MBARRASSINGôANDô CLASSICôSCREENôHEROô#YRONô-ELVILLEôISô$ANISHô3HOOTINGô 3OLDIER ôRUNNINGôINô#OMPETITION THEôTWOôSHORTSô4HEô-OUSEôANDô#ATHRINEôAREôSELECTEDô 3TARô rEAL LIFE IS ALWAYS ANOTHEr STOrY / COMPETITION FORôTHEô'ENERATIONôPROGRAMME 0!'%ô 0!'%ô 0!'%ô Nothing is more inconvenient than realities you would rather forget. Not so for l1l Annette K. Olesen, whose drama Little Soldier brings the war in Afghanistan and &),-ô)3ô05",)3(%$ô"9ô4(%ô$!.)3(ô&),-ô).34)454%ôô#65&%"25!29ô human trafficking to light.
    [Show full text]