DOCSLIB.ORG

Los Lunes Al Cine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Los Lunes Al Cine Drácula USA, 1931 Intérpretes 78 min. Bela Lugosi Conde Drácula los lunes al cine Director Helen Chandler Mina Seward III época ­ año 7 nº 5 26XI07 Tod Browning David Manners John Harker Guión Dwight Frye Renfield Garrett Fort Edward van Sloan Van Helsing Fotografía Frances Dade Lucy Weston Karl Freund Herbert Bunston Dr. Seward Maquillaje Charles Gerard Martin Jack P. Pierce Joan Standing Enfermera Briggs Música Moon Carroll Criada Tchaikovsky: Lago de los cisnes Michael Visaroff Tabernero Wagner: Die Meistersigner Nicholas Béla Pasajero de Schubert: Sinfonía inacabada Transilvania Wikipedia A mediados del siglo XIX, el conde Drácula llega a Londres para vivir en una mansión. Su vecino es un prestigioso psiquiatra que tiene una hija muy enferma. El médico pide ayuda a Van Helsing, un colega holandés quien, tras examinar a la chica, llega a la conclusión de que ha sido víctima de un vampiro. Las sospechas se centran en el nuevo Ciclo Terror (II) inquilino de la mansión. Vanessa Ivars I. E. S. Historiador Ch@bàs DENIA Anna Llompart Pese a Drácula, que se eleva como od una película llamada Freaks que ha amenaza antelas tinieblas y T Browning (1932)un filme muy polémico y habido montes Cárpatos, infunde pánico es conocido un desastre comercial. Su última numero­ a los vecinos de la aldea transil­ sobre todo película fue Miracles For Sale sas ver­ vana situada a sus pies. Bela Lu­ por sus (1939). En 1962 falleció a conse‐ siones gosi, que interpreta al vampiro trabajos en cuencia del cáncer de laringe que cinemato­ más famoso de la historia del el género padecía. gráficas cine, el conde Drácula, crea en de terror, del clási­ esta película, junto al director como Filmografía selecta: co de Tod Browning, especialista en el Drácula, Bram Stoker, ninguna puede cine de terror, una atmósfera pero fue un director muy prolífi‐ The Unknow(Garras humanas, compararse al imperecedero ori­ sobrecogedora y espeluznante. co y realizó más de 60 obras 1927), Where the East is East (Oriente, ginal de 1931. El castillo de Wikipedia abarcando distintos géneros. En 1929), Drácula (Drácula, 1931), Freaks junio de 1915 tuvo un accidente (La parada de los monstruos, 1932), de coche y durante su convale‐ Fast Workers(Perdone, señorita, cencia se dedicó a escribir guio‐ 1933), Mark of the vampire (La marca sillo en papeles de terror como nes. Debutó con el film Jim Bludso del vampiro, 1935), Miracles for Sale White Zombie (1932) y Scared (1917). La muerte de su padre lo (Miracles for Sale, 1939). to Death (1947). Años más tar­ sumió en el alcoholismo. A partir de los papeles dejaron de llegar­ de 1927 empezó con las películas le y se volvió un adicto a la vampíricas. Drácula fue la prime‐ morfina, pero recreó por última ra película que dirigió en la eta‐ vez el papel de Drácula en pa sonora. En 1931 trabajó en 1948. Casi al final de su vida Cinefantastico.com apareció en películas de serie B ya que Ed Wood le ofreció nu­ merosos papeles en sus pelícu­ Bela Lugosi: Fue el nombre las. Uno de los papeles más in­ artístico del actor Béla Fereng fames de Lugosi fue el que in­ Dezsö Blaskó (20 .X. 1882 – terpretó en Plan 9 from Outer 16 .VIII. 1956). Nació en Lu­ Space (1957). Falleció 3 años gos, Transilvania. Comenzó su antes de la finalización total del carrera como actor en Europa, proyecto, de un ataque al cora­ en obras de Shakespeare, pero zón con 73 años. se dio a conocer con su papel de conde Drácula. Lugosi se enca­ Wikipedia .
Load more

Recommended publications
  • Who's Who at Metro-Goldwyn-Mayer (1939)
    W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H.
    [Show full text]
  • Missions and Film Jamie S
    Missions and Film Jamie S. Scott e are all familiar with the phenomenon of the “Jesus” city children like the film’s abused New York newsboy, Little Wfilm, but various kinds of movies—some adapted from Joe. In Susan Rocks the Boat (1916; dir. Paul Powell) a society girl literature or life, some original in conception—have portrayed a discovers meaning in life after founding the Joan of Arc Mission, variety of Christian missions and missionaries. If “Jesus” films while a disgraced seminarian finds redemption serving in an give us different readings of the kerygmatic paradox of divine urban mission in The Waifs (1916; dir. Scott Sidney). New York’s incarnation, pictures about missions and missionaries explore the East Side mission anchors tales of betrayal and fidelity inTo Him entirely human question: Who is or is not the model Christian? That Hath (1918; dir. Oscar Apfel), and bankrolling a mission Silent movies featured various forms of evangelism, usually rekindles a wealthy couple’s weary marriage in Playthings of Pas- Protestant. The trope of evangelism continued in big-screen and sion (1919; dir. Wallace Worsley). Luckless lovers from different later made-for-television “talkies,” social strata find a fresh start together including musicals. Biographical at the End of the Trail mission in pictures and documentaries have Virtuous Sinners (1919; dir. Emmett depicted evangelists in feature films J. Flynn), and a Salvation Army mis- and television productions, and sion worker in New York’s Bowery recent years have seen the burgeon- district reconciles with the son of the ing of Christian cinema as a distinct wealthy businessman who stole her genre.
    [Show full text]
  • The Dracula Film Adaptations
    DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no.
    [Show full text]
  • The Horror Film Series
    Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • The World's Best Poetry, Volume IX: of Tragedy: of Humour
    Title: The World's Best Poetry, Volume IX: Of Tragedy: of Humour Author: Various Contributor: Francis Barton Gummere Editor: Bliss Carman Release Date: July 15, 2013 [EBook #43223] Language: English _THE WORLD'S_ _BEST POETRY_ _I Home: Friendship_ _VI Fancy: Sentiment_ _II Love_ _VII Descriptive: Narrative_ _III Sorrow and Consolation_ _VIII National Spirit_ _IV The Higher Life_ _IX Tragedy: Humor_ _V Nature_ _X Poetical Quotations_ _THE WORLD'S BEST POETRY_ _IN TEN VOLUMES, ILLUSTRATED_ _Editor-in-Chief BLISS CARMAN_ _Associate Editors_ _John Vance Cheney Charles G. D. Roberts_ _Charles F. Richardson Francis H. Stoddard_ _Managing Editor: John R. Howard_ [Illustration] _JOHN D. MORRIS AND COMPANY PHILADELPHIA_ COPYRIGHT, 1904, BY JOHN D. MORRIS & COMPANY [Illustration: JOHANN WOLFGANG VON GOETHE. _Photogravure after portrait by Stieler._] _The World's Best Poetry_ _Vol. IX_ _Of TRAGEDY:_ _of HUMOR_ _THE OLD CASE OF_ _POETRY_ _IN A NEW COURT_ _By_ _FRANCIS A. GUMMERE_ [Illustration] _JOHN D. MORRIS AND COMPANY_ _PHILADELPHIA_ COPYRIGHT, 1904, BY John D. Morris & Company NOTICE OF COPYRIGHTS. I. American poems in this volume within the legal protection of copyright are used by the courteous permission of the owners,--either the publishers named in the following list or the authors or their representatives in the subsequent one,--who reserve all their rights. So far as practicable, permission has been secured, also for poems out of copyright. PUBLISHERS OF THE WORLD'S BEST POETRY. 1904. The BOBBS-MERRILL COMPANY, Indianapolis.--F. L. STANTON: "Plantation Ditty." The CENTURY CO., New York.--_I. Russell_: "De Fust Banjo," "Nebuchadnezzar." Messrs. HARPER & BROTHERS, New York.--_W. A.
    [Show full text]
  • Moma More Cruel and Unusual Comedy Social Commentary in The
    MoMA Presents: More Cruel and Unusual Comedy: Social Commentary in the American Slapstick Film Part 2 October 6-14, 2010 Silent-era slapstick highlighted social, cultural, and aesthetic themes that continue to be central concerns around the world today; issues of race, gender, propriety, and economics have traditionally been among the most vital sources for rude comedy. Drawing on the Museum’s holdings of silent comedy, acquired largely in the 1970s and 1980s by former curator Eileen Bowser, Cruel and Unusual Comedy presents an otherwise little-seen body of work to contemporary audiences from an engaging perspective. The series, which first appeared in May 2009, continues with films that take aim at issues of sexual identity, substance abuse, health care, homelessness and economic disparity, and Surrealism. On October 8 at 8PM, Ms Bowser will address the connection between silent comedy and the international film archive movement, when she introduces a program of shorts that take physical comedy to extremes of dream-like invention and destruction. Audiences today will find the vulgar zest and anarchic spirit of silent slapstick has much in common with contemporary entertainment such as Cartoon Network's Adult Swim, MTV's Jackass and the current Jackass 3-D feature. A majority of the films in the series are archival rarities, often the only known surviving version, and feature lesser- remembered performers on the order of Al St. John, Lloyd Hamilton, Fay Tincher, Hank Mann, Lupino Lane, and even one, Diana Serra Cary (a.k.a. Baby Peggy), who, at 91, is the oldest living silent film star still active.
    [Show full text]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]
  • Di Tod Browning. Freaks: Da Cut Movie a Cult Movie
    Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Storia delle arti e conservazione dei beni artistici. Tesi di Laurea La pellicola “maudit” di Tod Browning. Freaks: da cut movie a cult movie. Relatore Prof. Fabrizio Borin Correlatore Prof. Carmelo Alberti Laureando Giulia Brondin Matricola 815604 Anno Accademico 2012 / 2013 Ringrazio il Prof. Fabrizio Borin Thomas mamma, papà, Martina Indice Introduzione........................................................................................................ pag. 3 1. Mostri 1.Mostri e Portenti........................................................................................... » 8 2. Freak Show.................................................................................................. » 30 2. La pellicola “maudit” 1. Il cinema dei mostri.................................................................................... » 42 2. Freaks: Tod Browning................................................................................ » 52 2.1. Brevi considerazioni................................................................................ » 117 3. Un rifiuto durato trent’anni......................................................................... » 123 4. Il piccolo contro il grande............................................................................ » 134 5. La pellicola ambulante: morte e rinascita................................................... » 135 3. Da cut movie a cult movie 1. Freak out!.....................................................................................................
    [Show full text]
  • Freaks Production Notes and Credits Cast
    Freaks American horror film, released in 1932, a grotesque revenge melodrama in which director Tod Browning explored the world of carnival sideshows and the “freaks” that starred in them. The story centres on the machinations of a femme fatale, the “normal” trapeze artist Cleopatra (played by Olga Baclanova), who seduces and marries one of the “freaks,” the little person Hans (Harry Earles), after learning that he has inherited a large fortune. Once the other sideshow performers learn of her self-serving plot to poison Hans with the help of her lover, circus strongman Hercules (Henry Victor), they exact a horrific revenge on the two, stabbing the strongman and viciously mutilating Cleopatra. At the end of the film as originally cut, Hercules is seen singing falsetto after being castrated, while Cleopatra—now tarred and feathered, minus her tongue and legs, with her hands deformed—is shown squawking and performing in her new role as a “chicken woman.” In subsequent cuts the castration scene was removed. Metro-Goldwyn-Mayer also filmed a revised ending in which Hans reunites with his original lover, the little person Frieda (Daisy Earles). Browning, who once traveled with a circus, cast real carnival performers—including people of short stature, conjoined twins, bearded ladies, microcephalics, and limbless sideshow performers. He contrasted their honesty and integrity with the degeneracy displayed by the true monsters in the film, the so-called “normal” people. Called “ghastly” and “repellent” by critics, Freaks was banned in several places—including in the United Kingdom for some 30 years. Though it later attained cult status, the controversial film effectively ended Browning’s directorial career.
    [Show full text]
  • Only Known U.S. Poster for London After Midnight May Bring $50,000+ at Heritage Auctions
    ONLY KNOWN U.S. POSTER FOR LONDON AFTER MIDNIGHT MAY BRING $50,000+ AT HERITAGE AUCTIONS London After Midnight highlights collection celebrating Lon Chaney Nov. 22-23 in Dallas DALLAS – The only known copy of the U.S. release one sheet from the 1927 lost cinema classic London After Midnight (MGM, 1927) may bring $50,000+ in Heritage Auctions’ Nov. 22-23 Vintage Movie Posters Signature® Auction in Dallas The rare poster highlights a large and important collection of paper celebrating the career of Lon Chaney, "The Man of a Thousand Faces."London After Midnight is considered to be one of the "holy grails" of lost cinema and was reconstructed more than ten years ago using more than 200 still photographs and a continuity script. Starring Chaney, and directed by Tod Browning, who is most known for directing Dracula (1931) and Freaks (1932), the film is based on a script by Browning and depicts Chaney as a vampire (though in makeup only). “This gorgeous poster is the only copy of the stone litho original U.S. release one sheet to have surfaced after 87 years,” said Grey Smith, Director of Movie Posters at Heritage. “In fact, this auction holds the largest single selection of rare one sheets, window cards, and inserts – two dozen in all – devoted to Lon Chaney to ever appear at auction. The finds are as diverse and unique as the masks he wore.” Additional Chaney posters include a one sheet for The Unknown (MGM, 1927), another Browning/Chaney team up that resulted in a masterful, disturbing, horror classic (est.
    [Show full text]
  • For More Than Seventy Years the Horror Film Has
    WE BELONG DEAD FEARBOOK Covers by David Brooks Inside Back Cover ‘Bride of McNaughtonstein’ starring Eric McNaughton & Oxana Timanovskaya! by Woody Welch Published by Buzzy-Krotik Productions All artwork and articles are copyright their authors. Articles and artwork always welcome on horror fi lms from the silents to the 1970’s. Editor Eric McNaughton Design and Layout Steve Kirkham - Tree Frog Communication 01245 445377 Typeset by Oxana Timanovskaya Printed by Sussex Print Services, Seaford We Belong Dead 28 Rugby Road, Brighton. BN1 6EB. East Sussex. UK [email protected] https://www.facebook.com/#!/groups/106038226186628/ We are such stuff as dreams are made of. Contributors to the Fearbook: Darrell Buxton * Darren Allison * Daniel Auty * Gary Sherratt Neil Ogley * Garry McKenzie * Tim Greaves * Dan Gale * David Whitehead Andy Giblin * David Brooks * Gary Holmes * Neil Barrow Artwork by Dave Brooks * Woody Welch * Richard Williams Photos/Illustrations Courtesy of Steve Kirkham This issue is dedicated to all the wonderful artists and writers, past and present, that make We Belong Dead the fantastic magazine it now is. As I started to trawl through those back issues to chose the articles I soon realised that even with 120 pages there wasn’t going to be enough room to include everything. I have Welcome... tried to select an ecleectic mix of articles, some in depth, some short capsules; some serious, some silly. am delighted to welcome all you fans of the classic age of horror It was a hard decision as to what to include and inevitably some wonderful to this first ever We Belong Dead Fearbook! Since its return pieces had to be left out - Neil I from the dead in March 2013, after an absence of some Ogley’s look at the career 16 years, WBD has proved very popular with fans.
    [Show full text]