AS ARANHAS, PARTE 1: O LAGO DOURADO Die Spinnen, 1. Teil – Der Goldene See Alemanha, 1919, 56 Min

Total Page:16

File Type:pdf, Size:1020Kb

AS ARANHAS, PARTE 1: O LAGO DOURADO Die Spinnen, 1. Teil – Der Goldene See Alemanha, 1919, 56 Min AS ARANHAS, PARTE 1: O LAGO DOURADO Die Spinnen, 1. Teil – Der Goldene See Alemanha, 1919, 56 min. P/B. Silencioso. 16mm. Livre. Direção: Fritz Lang Elenco: Carl de Vogt, Ressel Orla, Georg John, Lil Dagover Em busca de uma cidade inca perdida que esconde um impressionante tesouro, o milionário aventureiro Kay Hoog entra em disputa com a sociedade secreta As Aranhas. HARAKIRI Harakiri Alemanha, 1919, 60 min. P/B. Silencioso. 35mm. Livre. Direção: Fritz Lang Elenco: Lil Dagover, Georg John, Niels Prien O trágico destino da jovem japonesa O-Take-san. Após se recusar a participar de um ritual divino, seu pai, Daimyo Tokugawa, comete haraquiri (forma de suicídio ritual praticada no país). O-Take-san foge e acaba conhecendo o oficial da marinha Olaf J. Anderson, com quem se casa. AS ARANHAS, PARTE 2, O BARCO DE DIAMANTES Die Spinnen, 2. Teil – Das Brillantenschiff Alemanha, 1920, 81 min. P/B. Silencioso. 16mm. Livre. Direção: Fritz Lang Elenco: Carl de Vogt, Ressel Orla, Georg John, Lil Dagover. Segundo e último episódio da série. Desta vez, As Aranhas procuram um diamante com o formato de cabeça de Buda: quem o possuir, é capaz de controlar sozinho todo o continente asiático. Desejando vingança pela perda de sua amada, Kay Hoog persegue incansavelmente o grupo. DEPOIS DA TEMPESTADE Das wandernde Bild Alemanha, 1920, 45 min. P/B. Silencioso. 35mm. 12 anos. Direção: Fritz Lang Elenco: Mia May, Hans Marr, Loni Nest, Rudolf Klein-Rogge Irmgard tem um filho de Georg Vanderheit, mas casa-se com John, seu irmão gêmeo. Ao compreender a situação, Irmgard foge e se esconde no campo, mas John está obcecado em encontrá-la. CORAÇÕES EM LUTA Vier um die Frau/Kämpfende Herzen Alemanha,1921, 56 min. P/B. Silencioso. 35mm. 10 anos. Direção: Fritz Lang Elenco: Carola Toelle, Ludwig Hartau, Anton Edthofer, Rudolf Klein-Rogge Yquem compra uma joia para Florence, sua esposa, num antro de ladrões e receptadores. Lá, depara-se com um rosto familiar: é William Kraft, famoso escroque e irmão gêmeo de Werner, antigo amante de sua esposa. Yquem confunde William com Werner e acredita que ele ainda possa ter um caso com sua mulher. A MORTE CANSADA Der müde Tod Alemanha, 1921, 101 min. P/B. Silencioso. 35mm. 12 anos. Direção: Fritz Lang Elenco: Lil Dagover, Bernhard Goetzke, Walter Janssen, Rudolf Klein-Rogge Num vilarejo, a Morte chega e leva consigo um rapaz. Inconsolável, a jovem viúva pede a ela que lhe conceda uma chance de fazer seu amado retornar ao mundo dos vivos. Para tanto, ela precisa alterar pelo menos um entre três destinos trágicos, ocorridos em épocas e em civilizações diversas. DR. MABUSE, PARTE 1: O JOGADOR Dr. Mabuse, der Spieler – Der Grosse Spieler: Ein Bild der Zeit Alemanha, 1922, 155 min. P/B. Silencioso. 35mm. 12 anos. Direção: Fritz Lang Elenco: Rudolf Klein-Rogge, Aud Egede-Nissen, Gertrude Welcker Dr. Mabuse, doutor em psicologia, tem poderes sobrenaturais no campo da hipnose e do controle da mente. Ele o usa de forma inescrupulosa, para trapacear em jogos de cartas ou manipular o mercado da bolsa de valores. Paralelamente, a polícia inicia uma investigação desses misteriosos eventos. DR. MABUSE, PARTE 2: O INFERNO DO CRIME Dr. Mabuse, der Spieler – Inferno: Ein Spiel von Menschen unserer Zeit Alemanha, 1922, 115 min. P/B. Silencioso. 35mm. 12 anos. Direção: Fritz Lang Elenco: Rudolf Klein-Rogge, Aud Egede-Nissen, Gertrude Welcker Continuação de Dr. Mabuse, parte 1. O Conde Told, tendo perdido sua reputação social, assim como sua esposa, a condessa Told, entra em depressão e contrata Dr. Mabuse como seu psicanalista, sem saber foi ele quem armou toda sua desgraça. OS NIBELUNGOS: A MORTE DE SIEGFRIED Die Nibelungen: Siegfried Alemanha, 1924, 149 min. P/B. Silencioso. 35mm. 12 anos. Direção: Fritz Lang Elenco: Paul Richter, Margarete Schön, Theodor Loos, Hanna Ralph O jovem e valente Siegried se torna quase invencível ao se banhar no sangue de um dragão. Ele parte para Worms a fim de conquistar a bela Kriemhild. Baseado em uma lenda medieval germânica. OS NIBELUNGOS: A VINGANÇA DE KRIEMHILD Die Nibelungen: Kriemhilds Rache Alemanha, 1924, 131 min. P/B. Silencioso. 35mm. 12 anos. Direção: Fritz Lang Elenco: Margarete Schön, Theodor Loos, Rudolf Klein-Rogge Continuação de A morte de Siegfried. Kriemhild quer vingar o assassinato de seu amado Siegfried, porém seu irmão, o Rei Gunther, não lhe ajuda. Ela então se casa com Átila, Rei dos Hunos, mesmo o desprezando, pois ele lhe será útil para sua vingança. METRÓPOLIS Metropolis Alemanha, 1927, 153 min. P/B. Silencioso. 35mm. 10 anos. Direção: Fritz Lang Elenco: Gustav Fröhlich, Brigitte Helm, Alfred Abel, Rudolf Klein-Rogge Freder, o filho do fundador da cidade de Metrópolis, descobre as condições de semiescravidão a que os trabalhadores são submetidos na parte subterrânea e industrial da cidade. A classe operária busca esperança nos discursos de Maria, que profetiza um salvador. Enquanto isso, o cientista Rotwang projeta um robô capaz de substituir a raça humana. OS ESPIÕES Spione Alemanha, 1928, 159 min. P/B. Silencioso. 35mm. 10 anos. Direção: Fritz Lang Elenco: Rudolf Klein-Rogge, Gerda Maurus, Willy Fritsch, Fritz Rasp O agente 326 tenta desbaratar uma rede de espionagem responsável pelo roubo de documentos e segredos de Estado. Por trás da rede está Haighi, o dono de um grande banco que colocará a espiã Sonja no caminho de 326 para tentar neutralizá-lo. A MULHER NA LUA Frau im Mond Alemanha, 1929, 169 min. P/B. Silencioso. 35mm. Livre. Direção: Fritz Lang Elenco: Willy Fritsch, Gerda Maurus, Klaus Pohl, Fritz Rasp, Gustl Gstettenbaur Helius é um empresário interessado em viagens espaciais. Ele procura o professor Mannfeldt, que escreveu um tratado sobre a possibilidade real de existência de ouro na Lua. Uma gangue de malfeitores também busca se apropriar das teorias de Mannfeldt. M., O VAMPIRO DE DÜSSELDORF M Alemanha, 1931, 117 min. P/B. Som. 35mm. 12 anos. Direção: Fritz Lang Elenco: Peter Lorre, Otto Wernicke, Gustaf Gründgens Um misterioso assassino de crianças deixa uma cidade inteira em pânico. A polícia segue incansavelmente todas as suas pistas. Quando as investigações começam a atrapalhar os negócios da máfia local, os criminosos se juntam para tentar capturar o assassino antes da polícia. O TESTAMENTO DO DR. MABUSE Das Testament des Dr. Mabuse Alemanha, 1933, 124 min. P/B. Som. 35mm. 12 anos. Direção: Fritz Lang Elenco: Peter Lorre, Otto Wernicke, Oskar Beregi, Gustaf Gründgens O comissário Lohmann investiga uma misteriosa rede terrorista. Por trás dela, está o Professor Baum, que coloca em prática os planos do Dr. Mabuse, gênio do crime internado há anos num hospital psiquiátrico. CORAÇÃO VADIO Liliom França, 1934, 117 min. P/B. Som. 35mm. Livre Direção: Fritz Lang Elenco: Charles Boyer, Madeleine Ozeray, Antonin Artaud Liliom é demitido do parque de diversões onde trabalha ao flertar com a jovem Julie . Mais tarde, eles se casam, porém Liliom leva uma vida ociosa e boêmia, enquanto Julie faz o trabalho pesado da casa. Quando Julie engravida, Liliom decide cometer um roubo que termina em fatalidade. FÚRIA Fury EUA, 1936, 92 min. P/B. Som. 35mm. 12 anos. Direção: Fritz Lang Elenco: Spencer Tracy, Sylvia Sidney, Bruce Cabot Joe Wilson viaja de carro para encontrar sua noiva Katherine. Na estrada, ele é parado e acaba detido, suspeito pelo sequestro de uma criança. Ao saber da prisão de Joe, a população local se junta para linchá-lo. VIVE-SE UMA SÓ VEZ You Only Live Once EUA, 1937, 87 min. P/B. Som. 35mm. 12 anos. Direção: Fritz Lang Elenco: Henry Fonda, Sylvia Sidney Eddie Taylor acaba de ser libertado da prisão. Ao lado de sua esposa Joan, ele tenta levar uma vida longe do crime, mas não demora para que as dificuldades apareçam. Quando um assalto a banco ocorre, Eddie é imediatamente incriminado. CASAMENTO PROIBIDO You and Me EUA, 1938, 90 min. P/B. Som. 35mm. 10 anos. Direção: Fritz Lang Elenco: George Raft, Sylvia Sidney, Harry Carey Os apaixonados Joe Dennis e Helen trabalham na mesma loja de departamentos. Eles escondem um do outro seu passado de ex-presidiários, o que impossibilita o matrimônio entre os dois. Joe guarda também antigas amizades e promessas com seus colegas gângsteres. O RETORNO DE FRANK JAMES The Return of Frank James EUA, 1940, 92 min. Cor. Som. 35mm. 10 anos. Direção: Fritz Lang Elenco: Henry Fonda, John Carradine, Gene Tierney, Donald Meek Após a morte do lendário fora da lei Jesse James, seu irmão, Frank James, mesmo querendo sair da vida do crime, decide ir atrás do assassino. Porém, ele terá de permanecer no anonimato e na clandestinidade para não voltar a ser procurado pela justiça. OS CONQUISTADORES Western Union EUA, 1941, 95 min. Cor. Som. 16mm. 12 anos. Direção: Fritz Lang Elenco: Randolph Scott, Dean Jagger, Virginia Gilmore, Robert Young A empresa de telégrafos Western Union deseja estender suas linhas de Omaha até Salt Lake City. O experiente rancheiro Vance Shaw é contratado para chefiar a caravana. Durante a empreitada, um grupo supostamente de índios rouba cavalos e cabeças de gado. Shaw conhece a real identidade deste grupo, porém não pode revelá-la à Western Union. O HOMEM QUE QUIS MATAR HITLER Man Hunt EUA, 1941, 102 min. P/B. Som. 16mm. 12 anos. Direção: Fritz Lang Elenco: Walter Pidgeon, George Sanders, John Carradine, Joan Bennett Em Berchtesgaden, próximo à casa de Hitler, o capitão inglês Alan Thorndike tem o Führer em sua mira, mas falha no tiro. Ele é capturado pelos nazistas, que desejam que Thorndike assine um documento afirmando que trabalha a serviço da majestade britânica, mas o capitão inglês se recusa a fazê-lo. OS CARRASCOS TAMBÉM MORREM Hangmen Also Die! EUA, 1943, 131 min.
Recommended publications
  • Berkeley Art Museum·Pacific Film Archive W Inte R 2 0 18 – 19
    WINTER 2018–19 BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE 100 YEARS OF COLLECTING JAPANESE ART ARTHUR JAFA MASAKO MIKI HANS HOFMANN FRITZ LANG & GERMAN EXPRESSIONISM INGMAR BERGMAN JIŘÍ TRNKA MIA HANSEN-LØVE JIA ZHANGKE JAMES IVORY JAPANESE FILM CLASSICS DOCUMENTARY VOICES OUT OF THE VAULT IN FOCUS: WRITING FOR CINEMA 1 / 2 / 3 / 4 CALENDAR DEC 9/SUN 21/FRI JAN 2:00 A Midsummer Night’s Dream 4:00 The Price of Everything P. 15 Introduction by Jan Pinkava 7:00 Fanny and Alexander BERGMAN P. 15 1/SAT TRNKA P. 12 3/THU 7:00 Full: Home Again—Tapestry 1:00 Making a Performance 1:15 Exhibition Highlights Tour P. 6 4:30 The Cabinet of Dr. Caligari P. 5 WORKSHOP P. 6 Reimagined Judith Rosenberg on piano 4–7 Five Tables of the Sea P. 4 5:30 The Good Soldier Švejk TRNKA P. 12 LANG & EXPRESSIONISM P. 16 22/SAT Free First Thursday: Galleries Free All Day 7:30 Persona BERGMAN P. 14 7:00 The Price of Everything P. 15 6:00 The Firemen’s Ball P. 29 5/SAT 2/SUN 12/WED 8:00 The Apartment P. 19 6:00 Future Landscapes WORKSHOP P. 6 12:30 Scenes from a 6:00 Arthur Jafa & Stephen Best 23/SUN Marriage BERGMAN P. 14 CONVERSATION P. 6 9/WED 2:00 Boom for Real: The Late Teenage 2:00 Guided Tour: Old Masters P. 6 7:00 Ugetsu JAPANESE CLASSICS P. 20 Years of Jean-Michel Basquiat P. 15 12:15 Exhibition Highlights Tour P.
    [Show full text]
  • Bertelsmann and UFA Present 'Extended Version' of UFA Film Nights
    PRESS RELEASE Bertelsmann and UFA Present ‘Extended Version’ of UFA Film Nights • From 22 to 25 August, early masterpieces of cinema history as well as – for the first time – a contemporary UFA movie will be screened in the open air accompanied by live music • Premiere of the digitized version of the silent movie classics “Die Liebe der Jeanne Ney” (The Love of Jeanne Ney), “Metropolis,” and “Der letzte Mann” (The Last Laugh) with new score • Live musical accompaniment by Jeff Mills, the WDR Radio Orchestra, the Neues Kammerorchester Potsdam and Deutsche Oper Berlin’s UFA Brass • Maria Furtwängler, Tom Schilling, Katharina Wackernagel and Franz Dinda introduce the UFA Film Nights • Tickets now available Berlin, July 12, 2017 – Bertelsmann and UFA will present the UFA Film Nights in Berlin for the seventh time from August 22 to 25, 2017. This year, early masterpieces of cinema history as well as a contemporary box office hit from UFA – to mark the centenary of Germany’s leading film production company – will be screened in the open air against a spectacular backdrop and accompanied by live music. The UFA Film Nights have become a cinematic-musical highlight of Berlin’s cultural summer with a dedicated stage orchestra and big screen erected for the occasion in the Kolonnadenhof on Museum Island, a World Cultural Heritage site. The international media company Bertelsmann and UFA thus continue their tradition of presenting silent movie classics in a historic architectural setting. As in previous years, more than 800 guests are expected to attend each evening. Following a reception at Bertelsmann Unter den Linden 1, Berlin, the UFA Film Nights open on August 22nd with Georg Wilhelm Pabst's “Die Liebe der Jeanne Ney” (“The Love of Jeanne Ney”) an exciting melodrama set during the October Revolution.
    [Show full text]
  • Der Kinematograph (January 1922)
    Der iph — Düsseldorf No. 77t» KOOP CHARLOTTENBURG BERLINER STRASSE 46 TELEPHON WILHELM 6786 * DAS EREIGNIS DER NÄCHSTEN SAISON MACBETH * REGIE: HEINZ SCHALL Fabrikanten und Patentinhaber Aktien- Oes. ,Urun(Änrumlcrireain,,,< Mannheim Der Ktneinatograph Düsseldorf Vllerdmg» muß werden. duß die Hamburger Tbeaterpreiee l*xlen Rekord uushalten. Im Hamburger 8tadttheater ist ein einiger • näßen guter Platz nicht uuter 50,— Mk. zu haben, da» Publikum ■et« »ich daher auch durchweg nur au» Kreisen der ..neuen Keielien .msammen. Bi«h«r war da» Kinn noch da» Theater de» kleinen Maniu-s. aller die»er wird »ich bald auch dic«en <a>nuü verkneifen und »ein mühsam verdiente» Geld lielaw fiir l.cben«Tnittel ausgetieii Itaß die Behörde l*»-i die»««r X«>tläge de» Kinogewerbe» -»• wenig Verständnis zeigt, die enormen Steuern nirlit ermäßigt und — nach der Harburg»;- Katastrophe mit immer soharfereu Betrieb» Vorschriften aufwartet, muß um so mehr Wunder nehmen, al» di«- Ihgierenden in Hamburg sieh fast ausschließlich aus Sozialdemo kruten zusanuucnsetzen. «lie doch angeblich ein tiefe» Verständnis &ino*%ripffr&onfrenforen für soziale Dinge Juden. Sollten unter dem Druck der Nut einzeln** Theaterbesitzer zur Schließung ihrer Betrielje gezwungen werden, acoäf;rIcTfttn hurt^ so hat der Staat nicht nur für die Arbeit »losen zu sorgen. sondern ••r ist auch mit Schuld daran, wenn die pessimistische Volksstirnmm.g günstigere Sluenutjung ber lampe immer trostloser wird. Der Mensch braucht nicht nur Bmt zun beben sondern auch uichtmaterielle Genüsse. wenn er geistig frisch ohne örhöbung ber ©fromfetlcn bleiben soll. Jedenfalls fangt das neue Jahr für da- Hamburger Theaterbesitzer nicht gerade glückverheißend an. Sie können sich höchstens damit trösten, daß ihre Kollegen im Reiche auch -<-hwer bebeutenbe ©fetgerung ber zu ringen haben.
    [Show full text]
  • METROPOLIS 1927 Fritz Lang
    HUMANITIES INSTITUTE Burak Sevingen, MA METROPOLIS 1927 Fritz Lang Contents Overview Story Themes Characters Character Analysis (Freder – Joh Fredersen – Rotwang – Maria/The Machine-Human – Other characters) OVERVIEW Metropolis was released in 1927, towards the end of the decade known as the Roaring Twenties—a period of relative economic stability in the Weimar Republic. The Wall Street Crash of 1929 and ensuing Great Depression were just around the corner. The Nazi Party was a force to be reckoned with in German politics but it was several years prior to Hitler‘s ascent to absolute power. 1920s were also a decade of rapid technological progress with airplane, automobile, electrical home appliances, phonograph, radio and many other inventions that transformed life. On the other hand, still fresh were memories of World War I and its technologies of destruction e.g. industrial trench warfare with machine guns and chemical weapons—whose ghoulish visions were depicted by Lang‘s contemporary Otto Dix. Metropolis represented this dual view of technology, a source of joy and a cause of pessimism. Technically, Metropolis was groundbreaking. A large number of extras were employed in conjunction with shots making use of matte paintings and miniatures. Cinematographic innovations included1 creating multiple exposures on the rewound film and stop-motion animation of miniatures. A particularly cutting- edge technique was the Schüfftan process that enabled creating the illusion of actors interacting with gigantic backgrounds by using mirrors to project them onto miniature sets. Lang‘s bold envisioning of the city of future continues to fascinate architects and designers. With nods to Bauhaus, futurism and Art Déco, it is a visual treat.
    [Show full text]
  • Späte Stummfilme
    Heinz-Peter Preußer (Hg.) Späte Stummfilme Ästhetische Innovation im Kino 1924–1930 Meinolf Schumacher Ein Heldenepos als stumme Film-Erzählung Fritz Lang, Die Nibelungen 1 Siegfried oder Artus? Ein Hel- denepos, kein höfischer Roman Am 18. Januar 1919 kündigte die Zeit- schrift Der Film an, die Produktions- firma Decla werde «unter Fritz Langs Spielleitung ein ganz neues Genre bringen», sie verriet aber noch nicht, worum es sich handeln sollte. Was Fritz Lang dann mit den Spinnen (1919/20) als Beginn eines «Abenteurer-Zyklus» vorlegte (Abb. 1), war filmisch realisier- tes ‹Abenteuer› eher im Sinne von Karl May als von Wolfram von Eschenbach oder Chrétien de Troyes (vgl. Gehler/ Kasten 1990, S. 33). Es hätte ja durchaus nahe gelegen, auf Stoffe zurückzugrei- fen, in denen das Konzept des Abenteu- ers, der Aventiure, erstmals literarisch realisiert worden ist: auf die Stoffe der 1 39 Meinolf Schumacher mittelalterlichen Artus-Epik (V. Mertens 1997). Zwar war der Begriff des ‹Abenteu- ers› zu Beginn des 20. Jahrhunderts vor allem durch Abenteuerromane bestimmt, die oft zum weiteren Bereich der Rezeption von Coopers Lederstrumpf gehören (vgl. u. a. Klotz 1989; Best 1980; Schmied 1997; auch Seeßlen 1996), doch verwun- dert es nicht, dass die Decla 1922 zunächst einen Zyklus König Artus’ Tafel- runde nach Drehbüchern von Thea von Harbou und Fritz Lang geplant hatte (Keiner 1991, S. 84 f.). Es ist nicht ganz leicht, heute die Entscheidungsprozesse zu rekonstruieren, die letztlich dann doch zur Auswahl eines Heldenepos geführt haben, obwohl die Gattung des Artusromans hinsichtlich des Abenteuers einschlä- giger gewesen wäre. Die bisherige Fritz-Lang-Forschung, auch die neue Biografie von Norbert Grob (2014), gibt keine Antwort auf diese Frage; ja man scheint sie bisher nicht einmal gestellt zu haben.
    [Show full text]
  • BRUNHILDS CINEMATIC EVOLUTION in GERMAN FILM By
    BRUNHILDS CINEMATIC EVOLUTION IN GERMAN FILM by ULLA KASPRZYK HELD (Under the Direction of Christine Haase) ABSTRACT This thesis investigates the portrayal of Brunhild in three major films that retell the Norse and Germanic variations of the legends of Brunhild and Siegfried: Fritz Lang’s Die Nibelungen (1924), Harald Reinl’s Die Nibelungen (1966), and Uli Edel’s Die Nibelungen – Der Fluch des Drachen (2004) (English title Dark Kingdom: The Dragon King, 2006). The emphasis will be on whether Brunhild is portrayed in keeping with the spirit of the Norse tradition, i.e. that of a strong woman with agency, by examining the decade the film was shot in, to include gender relations, the director and production team, the literary and other sources used for the film, and finally the plot of the film itself, coupled with the portrayal of the character by the respective actress. I will argue the portrayal of this epic figure does not correspond to the most successful and emancipated representation of Brunhild in the Norse tradition in Lang’s and Reinl’s films, whereas it does in Edel’s film. An overview of the legend and sagas that have served as sources for these films will be required in order to support my analyses. A connection between the making of these films and the directors’ choice of which literary Brunhild to portray will also be examined. INDEX WORDS: Fritz Lang, Harald Reinl, Uli Edel, German Cinema, Fantasy, Brunhild, Brynhild, Siegfried, Sigurd, Die Nibelungen, Die Nibelungen – Der Fluch des Drachen, The Ring of the Nibelungs, Dark
    [Show full text]
  • Titel Kino 2/2001(2 Alternativ)
    EXPORT-UNION OF GERMAN CINEMA 2/2001 ”MEDIUM OF ENTERTAINMENT & CULTURAL MESSENGER“ A message from the new Federal Government Commissioner for Cultural Affairs and the Media, Prof. Dr. Julian Nida-Rümelin GERMAN FILM PRIZE ... and the nominees are … GERMAN BOX OFFICE HIT ”THE EXPERIMENT“ by Oliver Hirschbiegel Kino Moritz Bleibtreu, in ”THE EXPERIMENT“ (photo © SENATOR Christian Berkel FILM) GERMAN CINEMA GERMAN FILMS at the official program of the Directors’ Fortnight Ecce Homo by Mirjam Kubescha World Sales please contact: Confine Film, Munich phone/fax +49-89-13 03 87 66 Directors’ Fortnight: ”Le Cinéma dans tous ses états“ The Films of the Fishes by Helma Sanders-Brahms World Sales please contact: Helma Sanders GmbH, Berlin phone/fax +49-30-2 15 83 44 Cannes Junior Eine Hand voll Gras A Handful of Grass by Roland Suso Richter World Sales: Bavaria Film International, Geiselgasteig phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20 Critics’ Week: Short Film Competition Staplerfahrer Klaus – Der erste Arbeitstag Forklift Driver Klaus – The First Day on the Job by Jörg Wagner, Stefan Prehn World Sales: ShortFilmAgency Hamburg phone +49-40-3 91 06 30 · fax +49-40-39 10 63 20 Critics’ Week: FIPRESCI Discovery of the Year Die Innere Sicherheit The State I Am In by Christian Petzold World Sales: First Hand Films, CH-Bülach phone +41-1-8 62 21 06 · fax +41-1-8 62 21 46 CANNES FILM FESTIVAL Critics’ Week: Short Film Night Forever Flirt: Nijinsky at the Laundromat The Autograph Triumph of the Kiss by Percy Adlon World Sales please contact: Leora
    [Show full text]
  • Titel Kino 2/2003
    EXPORT-UNION OF GERMAN CINEMA 2/2003 AT CANNES in Competition VATER & SOHN by Aleksandr Sokurov in Un Certain Regard SEPTEMBER by Max Faerberboeck GERMAN FILM AWARD … and the nominees are … SPECIAL REPORT Short Sharp Shots – Focus on German Short Films Kino Scene from ”September“ (photo © zero film)Scene from ”September“ (photo © zero GERMAN CINEMA German Films and IN THE OFFICIAL PROGRAM OF THE in Competition in Competition in Competition in Special Sessions Vater & Sohn Dogville The Moab The Soul by Aleksandr Sokurov by Lars von Trier Story of a Man German co-producer: German co-producer: The Tulse Luper Suitcase by Wim Wenders zero film, Berlin Pain Unlimited, Cologne – Part I World Sales: World Sales: by Peter Greenaway German co-producer: Celluloid Dreams, Paris Trust Film Sales, Hvidovre Road Movies Film, Berlin German co-producer: World Sales: Net Entertainment, Berlin Promark Entertainment Group, World Sales: Los Angeles Fortissimo Film Sales, Amsterdam Credits not contractual Co-Productions Cannes Film Festival in Un Certain Regard in Directors’ Fortnight in International Critics Week in Cinéfondation ”Fête le court“ September Kleine Matrilineal Am See by Max Faerberboeck Freiheit by Caterina Klusemann by Ulrike von Ribbeck by Yueksel Yavuz Producer/World Sales: Producer/World Sales: Caterina Klusemann Film, Berlin German Film & Television Producers: Producers: Academy Berlin (dffb) nf2 - zero film Cotta Media Entertainment, Berlin & Max Faerberboeck, Berlin & Peter Stockhaus Film, Hamburg World Sales: World Sales: Telepool,
    [Show full text]
  • Download Detailseite
    Berlinale 2010 Fritz Lang Berlinale Special METROPOLIS Gala METROPOLIS METROPOLIS Deutschland 1927/2010 Darsteller Maria/ Länge 147 Min. Maschinenmensch Brigitte Helm Format HDCAM-SR Johann Schwarzweiß „Joh“ Fredersen Alfred Abel Restaurierte Fassung Freder Fredersen Gustav Fröhlich Erfinder Rotwang Rudolf Klein- Stabliste Rogge Regie Fritz Lang Der Schmale Fritz Rasp Buch Thea von Harbou, Josaphat/Joseph Theodor Loos nach ihrem Roman Nr. 11811 Erwin Biswanger Kamera Karl Freund Grot, Wärter der Günther Rittau Herzmaschine Heinrich George Kamera-Assistenz Robert Baberske Jan Olaf Storm Günther Anders Marinus Hanns Leo Reich H. O. Schulze Zeremonienmeister Heinrich Gotho Optische Spezial- Dame im Auto Margarete Lanner effekte Eugen Schüfftan Arbeiter Max Dietze Ernst Kunstmann Georg John Trick-Kamera Helmar Lerski Walter Kurt Kühle Arthur Reinhardt Konstantin Tschet Skizze: Christina Kim Schnitt Fritz Lang Erwin Vater Bauten Otto Hunte Arbeiterinnen Grete Berger Erich Kettelhut METROPOLIS Olly Boeheim Karl Vollbrecht Fritz Langs METROPOLIS kehrt nahezu in der Originalfassung auf die Kino - Ellen Frey Plastiken Walter Schulze- leinwand zurück! 83 Jahre nach der Uraufführung wird die von der Fried - Lisa Gray Mittendorff rich-Wilhelm-Murnau-Stiftung restaurierte Fassung des Stummfilm klassi - Rosa Liechtenstein Helene Weigel Kostüm Änne Willkomm kers bei der Berlinale – und vor dem Brandenburger Tor – ihre Premiere fei- Musik Gottfried Huppertz Frauen der (Kinomusik 1927) ern. Nach der Originalpartitur von Gottfried Huppertz wird die Aufführung ewigen Gärten Beatrice Garga Produzent Erich Pommer vom Rundfunk-Sinfonie orchester Berlin unter der Leitung von Dirigent Annie Hintze Produktion Universum-Film Frank Strobel begleitet. Margarete Lanner AG (Ufa), Berlin Die Verstümmelung des Monumentalfilmes hatte unmittelbar nach seiner Helen von Münchhofen Drehzeit 22.5.1925– Premiere am 10.
    [Show full text]
  • Chapter 2. M, Fritz Lang and Hans Beckert (1931)
    Chapter 2 M, FRITZ LANG AND HANS BECKERT (1931) When studying the career of Peter Lorre, particular prominence must be given to Lorre’s first major screen role: Hans Beckert, the serial killer at the centre of Fritz Lang’s 1931 film, M (Nero-Film). More than any other role, Beckert has come to be seen as the character which had the biggest impact on Lorre’s life – both in terms of his continued employment in the film in- dustry and also in the way that this character contributed to the develop- ment of Lorre’s otherwise extra-filmic persona. Throughout Lorre’s internationally successful career, and up to the present day, attitudes towards the actor found in a variety of sources, ranging from Hollywood promotional material to scholarly and journalis- tic retrospectives, recurrently frame the status of Lorre’s fame and reputa- tion in accordance to his memorable appearance in M. In particular, a significant number of the retrospective essays which purport to analyse Lorre’s career repeat a similar three-step template: (a) they present M as a significant artistic achievement, (b) they praise Lorre’s performance within it, and (c) they then describe the ways in which his later career either failed to live up to this promise or suffered from typecasting as a result of the as- sociation between the actor and the character of the deranged serial killer. Gerd Gemünden (2003: 89) makes the link between Lorre’s typecasting and his role in M in the most explicit terms, choosing to read Lorre’s Hollywood career as ‘an extended quotation, re-writing and mimicking that of the paedophile and killer, Hans Beckert’.
    [Show full text]
  • SPIONE Retrospektive Production Design + Film
    55. Internationale Filmfestspiele Berlin 2005 SPIONE Retrospektive Production Design + Film Nach dem Achselzucken, das Fritz Lang mit sei- tolle und reichlich verschlungene Jagd, ein Mini- SPIONE nem problematischen METROPOLIS beim größten ster wird erschossen, Geheimakte verschwinden, Deutschland 1927/28. ø Regie: Fritz Lang. Teil der deutschen Kritik gefunden hat, scheint er Geheimverträge werden gestohlen, es gibt Ver- seinerseits sich ebenfalls mit einem Achselzucken folgungen und Zusammenstöße, verblüffende Bauten: Otto Hunte, Karl Vollbrecht. unbekümmert in einen handfesten Kriminal- Verwicklungen und verblüffende Aufklärungen, schund geworfen zu haben nach den im DR. Verkleidungen und Listen und Tücken, tödliche Drehbuch: Fritz Lang, Thea von Harbou, nach MABUSE bewährten Motiven und Rezepten. Der Neckereien und mörderische Witze. Daß eine der dem gleichnamigen Roman von Thea von Film, der gestern abend im Ufa-Palast am Zoo Helferinnen des geheimnisvollen mächtigen Man- Harbou. ø Kamera: Fritz Arno Wagner. ø Kamera- seine Premiere erlebte, scheint im Manuskript sich nes sich in den jungen, frischen, kühnen, muti- Assistenz: Konstantin Irmen-Tschet. ø Musik: stark an Mabuse gelehnt zu haben, dem Roman gen, hübschen Agenten verliebt und ihn aus allen Werner Richard Heymann. ø Dirigent der Urauf- Norbert Jacques’. Wie dort im Hintergrunde von Fährnissen rettet, statt ihn auftragsgemäß zu führung: Artur Guttmann. merkwürdigen und verhängnisvollen Begeben- erledigen, verwickelt das Durcheinander auf das heiten ein genialer Verbrecher mit Situationen prickelndste. Daß historische Tragödien eingefügt Darsteller: Rudolf Klein-Rogge (Haghi) ø Gerda und Menschen hantiert, so hantiert hier ein ähn- und variiert sind, wie die Ermordung Rathenaus Maurus (Sonja Barranikowa) ø Lien Deyers licher genialer Verbrecher in ähnlicher Weise. und die Affäre des Obersten Redl, ist höchst inte- (Kitty) ø Louis Ralph (Morrier) ø Craighall Sherry Hinter einem phantastischen Tische mit Tele- ressant.
    [Show full text]
  • Der Kinematograph (December 1926)
    Kirmemo. dograpl 20. JAHRGANG NUMMER. .1031 CJaVeTt (Jean Tau Laut) »MENSCH UNTER MENSCHEN« » LES MiSERABLES » NACH DEM ROMAN VON VICTOR. HUGO EUROPA - PRO DU KTION DER DEUL/G 2P irganjj. Nr. 1033 Berlin, den 5. Dezember 1926 Dem Wunsch unserer Kunden folgend, haben wir für unseren Film FASCHINGSZAUBER dessen Aufnahmen Anfang Dezember beginnen und der im Januar zur Uraufführung kommt, HARRY LIEDTKE für die männliche Hauptrolle verpflichtet. Eine große Anzahl von Theaterbesitzern hat für diesen Film den Titel IM RAUSCHE DES FASCHINGS vorgeschlagen. Wir haben uns daher ent¬ schlossen, dem Fi'm diesen Untertitel zu geben, sodaß beide Titel in der Reklame benutzt werden können. AAFA-FILM AKT.- GES. BERLIN SW48, FRIEDRICHSTRASSE 223 TELEPHON AMT HASENHEIDE 3360. 61. 62 UND 63 TELEGRAMM-ADRESSE AMBOSFILM FILIALEN: DORTMUND / HAMBURG MÜNCHEN FRANKFURT AM MAIN / KÖNIGSBERG - LEIPZIG Willicr Brr “d Sch. nheit. HL Erncst Torrcn \ MP Tuonc Po* REGIE: Kathl\n WillUi OUL V. ALSH p p I Uraufführung demnächst ...... UFA-PALAST AM ZOO \(.p.ira ni j.trt1 f&-P ARAMOUNT-METRO-VERLEIH-BETRIEBE GMBH L - V E R O N O S - G E PARUFAMET HAUS AM 1IERG ARTEN Seite 4 Numm. 033 Demnächst: Regie: Joe May mit Marcella Albani Mary Johnson Paul Richter Paul Wegener May-Film-Produktion der Phoebus-Film A. G. 20. .'ahrgang, Nr. 1033 f Berlin, 5. Dezember 1926 Auf d n Berlin bereiten sich hinter den Kulissen verschiedene fähigten und tüchtigen Menschen Aber es scheint, als Di ge vor. die geeignet sind, endlich in die wirtschafts- ob er für die Leitung eines so komplizierten Verbandes, polit: che Situation Ruhe, Ordnung und Stetigkeit hinein wie ihn die Vereinigung der Theaterbesitzer vorstellt, abringen.
    [Show full text]