DOCSLIB.ORG

The Road Back: a Novel Online

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Road Back: a Novel Online o65Gw [Download] The Road Back: A Novel Online [o65Gw.ebook] The Road Back: A Novel Pdf Free Erich Maria Remarque ebooks | Download PDF | *ePub | DOC | audiobook Download Now Free Download Here Download eBook #209988 in eBooks 2013-10-01 2013-10-01File Name: B00DAD26SS | File size: 17.Mb Erich Maria Remarque : The Road Back: A Novel before purchasing it in order to gage whether or not it would be worth my time, and all praised The Road Back: A Novel: 5 of 5 people found the following review helpful. Here's a paper I wrote for this book for my English class, hope you guys enjoy it.By Connor BrookshireIn the novel "The Road Back," the main character, Ernst longs for feelings of being whole, searching for the feelings of comradeship that he had had out on the front lines in The Great War. Likewise, for Ernst's friends assimilating is also difficult, with jobs and social statuses removing the comradeship out in the trenches and replacing it with some pseudo form of reality. With a "silent war ravaging this country of my memories," Ernst is unsure on how to live his life. Not as much as a novel, but more of a passive argument for pacifists everywhere, "The Road Back" by Erich Maria Remarque is an introspection of a veteran that has had his life changed while out on the front. The book is near philosophical in its grim portrait of World War I veterans returning home to Germany from a long life in the trenches.The continuation of Erich Maria Remarque's masterpiece All Quiet on the Western Front begins with the road back to Germany after peace has been declared and soon follows with the troubles that befall The Great War veterans. Ernst and his close friends must face war crimes in times of peace, poverty, lack of comradeship, emotional turmoil, feelings of being used, and forgotten. Ernst and his company witness protests and riots with machine guns massacring crowds in front of them and experience the death of the closest of comrades. Contrary to what Remarque says- these two books are indeed a confession of what he saw in these times.As Ernst attempts to live his life in post-war Germany, he soon starts to remember all of the responsibilities he had when he wasn't a soldier. Ernst is faced with assimilating back into school, family life, and potentially a job. However, it isn't only Ernst being reluctant to assimilate back into civilian standards. His friends, Willy, Ludwig, and Albert too have problems, and even at times openly oppose assimilating back into city life. In a dispute during their welcome back speech to school, the veterans slam the principle, with overwhelming information, and unsuppressed frustration of the front. While the principle attempts to paint each man that died, and each man that came back, as heroes, the soldiers continually beg to differ. In an especially revealing quote, Willy booming with laughter screams at the principle "Hero's death! Would you like to know how young Hoyer died? Stuck in the wire screaming, and his guts out of his belly like macaroni." Willy continuing, reveals that Hoyer died by being shredded by shrapnel that is comparable to a "nutmeg grater." Refusing the hero's speech, and refusing a standard education, the company soon vouches for a more accelerated and shortened education; exemplifying how little the veterans care to assimilate back into a standard style of living.Erich Remarque offers up painfully thoughtful questions about war, and with statements proposed like, "Because none can ever wholly feel what another suffers - is that the reason why wars perpetually recur?" One truly begins to understand Ernst's struggle. Likewise, this quote runs deep with Ernst. The largest reason why he has such trouble getting back into normal civilian life is due to the fact that he feels that no one understands him. He feels he doesn't belong, and that he is no longer the same person. In a specific part of The Road Back Ernst revisits an old fishing pond in where instead of viewing old memories or finding old joys, he only sees how to make the pond a battle emplacement. Ernst is continually confused as these feelings, while seemingly wrong, do not feel wrong, and with perpetual thoughts that are the exact equivalent of the above mentioned Ernst only begins to reinforce the thoughts that civilian life is not for him, and that he does not belong with the populace surrounding him.Ernst's quest for wholeness leads him to move out and away from his parents. Sadly this proves to no avail, and only continually isolates Ernst from everyone around him. However, while in his house he sees the worst side of the war. The riots and protests that are demonstrated, while viewing these, he sees men missing their whole bodies, all limbs gone, just a torso of flesh. Some of these protests get so out of hand and even begin to threaten government officials. The military is brought in, and machine-guns are pointed at the crowd opposing the rioting crowd. This ever present tumult is just a grand presentation of the question asked earlier. While there may be no war in Europe, one still exists even in peace-time Germany because one cannot wholly feel what another does.2 of 2 people found the following review helpful. Cracking Up After WarBy David Island"The Road Back" by Erich Maria Remarque is dark and foreboding, a grim reminder of the psychological toll that combat takes on foot soldiers. Re-adjustment back home is actually impossible in the black market milieu and the harsh realities of an ignorant and uncaring civilian populace, who can behave only as they did in years past. There really is no "Road Back," just more misery. The soldiers would prefer the trenches than their disillusionment and despair back home. They all felt betrayed and that their sacrifice was for nothing. The story is irredeemably sad, and it is often painful to read. Remarque's remarkable talent to describe the beauty of nature, the skies and the changing seasons do not diminish the overall tone of the book. It is a book that is remembered for the somber, disquieting mood it sets and maintains. The reader is absorbed into this mood.I believe that the book was probably beautifully written in its original German language, but to tell the truth (my view), the translation is inconsistent and very often quite unacceptable. I just did not understand why the translator, A. W. Wheen, chose so many "strange" English language words and phrases. To be blunt, much of the translation read as if it were performed by a German national, who perhaps had a fair-to-middling understanding of English, but a very poor vocabulary, and who, in a panic, resorted to literal, old-fashioned, dictionary-style translations - perhaps a British 19th Century dictionary. Too much of the translation is just "out of left field" for an American reader in 2010. Many times, I wrote the word "huh?" in the margin, puzzled once again by such a poor choice of words by Wheen. The lingo and speaking style of the modestly educated characters in the story would not be lost by an elevated 21st Century re-translation. I doubt that anyone reading this book in the original German would have such a criticism. The translator's style almost ruined the reading of this wonderful book for me.The story's main problem, is that it goes nowhere. Perhaps the structure of the story reflects the psychology described - men adrift back home after a horrible war experience. The book reads a little like a serial publication, one that might have been published weekly over time, with one chapter not necessarily leading to the next, but rather becoming a somewhat disconnected group of episodes in the lives of the returned war soldiers. There are vague thematic threads in the story that continue from beginning to end, however. The book's ending was too sweet and too hopeful, given the bulk of the story line, and the ending (epilogue) was almost unrelated to the main story. I did not like the ending at all. It didn't fit.Life after World War I in pre-Hitler Germany, just before the great depression killed the old Germany for good, was in fact awful. Remarque truly brings that reality to life, as well as the tensions between the Communists and the Old Order. But the full effect of the Treaty of Versailles had not yet taken its economic and psychological toll on the German people. However, one can see the handwriting on the wall: Germany will rise again, and it will not be a pretty sight when it does.Notwithstanding its two great flaws (an awful translation and a story that reads more like a painting than a tale with a beginning, middle and end), the book is still sensational. It may not be Remarque's best work ("Three Comrades" and "All Quiet on the Western Front" are superior), but nonetheless it is excellent and gives a clear and convincing view of war's psychological damage on all people - whether soldiers or not. Remarque is at his best when showing how civilians, who never were near the front lines, have no idea at all who these soldiers really are, could never have any idea of what life was like in the trenches and what the soldiers went through. It's a gruesome reminder of that truism: if you haven't been there, you don't know.
Load more

Recommended publications
  • Erich Maria Remarque
    E!"#$ M%!"% R&'%!()& K*''&+,"&!,&- W&!./&!0&"#$+"- Sein Name ist untrennbar mit Im Westen nichts Neues verknüpft, dem berühmten Antikriegsroman über den Ersten Weltkrieg, der zu den bedeutends- ten Werken der Literatur des 20. Jahrhunderts zählt und weltweit den Status eines Mahnmals gegen den Krieg einnimmt. Doch das Werk von Erich Maria Remarque geht weit über Im Westen nichts Neues hinaus, es umfasst nicht nur die international verbreiteten 15 Romane, sondern darüber hinaus Theaterstücke, Drehbücher, Erzählungen, Lyrik, die Tagebücher und Korrespondenz mit bedeutenden Zeitgenossen, die zusammen eine fast lückenlose Chronik nicht nur der europäischen Geschichte der ersten Hälfte des 20. Jahrhunderts ergeben. In allen ERICH MARIA REMARQUE seinen Schriften ist Erich Maria Remarque, der 1898 in Osnabrück/Deutschland geboren wurde und 1970 in Locarno/Schweiz starb, dabei konsequent gegen LIFE AND WORKS Unterdrückung, gegen Verfolgung von Minderheiten und gegen den Krieg eingetreten und hat sich ve- hement für die Rechte des Einzelnen, seine Selbst- A Summary by bestimmung und den Frieden eingesetzt, getreu Thomas F. Schneider seinem Lebensmotto »Unabhängigkeit, Toleranz, Humor«. Der Autor Erich Maria Remarque gehört University of Osnabrück/Remarque-Peace Centre zweifellos zu den bedeutendsten und einfluss- Translation by Ross Benjamin reichsten Schriftstellern des 20. Jahrhunderts. Remarques Schriften zeichnen sich durch span- nend erzählte Schicksale vor dem Hintergrund der politischen und wirtschaftlichen Ereignisse und MOHRBOOKS Literary
    [Show full text]
  • The Night in Lisbon ; Tr. by Ralph Manheim
    THE NIGHT IN LISBON BY ERICH MARIA REMARQUE ALL QUIET ON THE WESTERN FRONT THE ROAD BACK THREE COMRADES FLOTSAM ARCH OF TRIUMPH SPARK OF LIFE A TIME TO LOVE AND A TIME TO DIE THE BLACK OBELISK HEAVEN HAS NO FAVORITES THE NIGHT IN LISBON SHADOWS IN PARADISE Sale of this book without a front cover may be unauthorized. If this book is coverless, it may have been reported to the publisher as "unsold or destroyed" and neither the author nor the publisher may have received payment for it. A Fawcett Columbine Book Published by The Ballantine Publishing Group Copyright © 1961, 1964 by Erich Maria Remarque Copyright renewed 1989 by Paulette Goddard Remarque Copyright renewed 1992 by Richard L. Kay and S. Andrew Schaffer All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by The Ballantine Publishing Group, a division of Random House, Inc., New York, and distributed in Canada by Random House of Canada Limited, Toronto. This translation was originally published by Harcourt, Brace & World, Inc., in 1964. http://www.randomhouse.com Library of Congress Catalog Card Number: 98-96092 ISBN: 0-449-91243-4 Cover design by Ruth Ross Manufactured in the United States of America BVG01 To Paulette Remarque CHAPTER 1 I stared at the ship. Glaringly lighted, it lay at anchor in the Tagus. Though I had been in Lisbon for a week, I hadn't yet got used to its carefree illumination. In the countries I had come from, the cities at night were black as coal mines, and a lantern in the darkness was more to be feared than the plague in the Middle Ages.
    [Show full text]
  • Hollywood and Hitler, 1933-1939'
    H-German Saunders on Doherty, 'Hollywood and Hitler, 1933-1939' Review published on Saturday, March 14, 2015 Thomas Doherty. Hollywood and Hitler, 1933-1939. Film and Culture Series. New York: Columbia University Press, 2013. 448 pp. $35.00 (cloth), ISBN 978-0-231-16392-7; $22.95 (paper), ISBN 978-0-231-16393-4. Reviewed by Tom Saunders (University of Victoria)Published on H-German (March, 2015) Commissioned by Chad Ross Business Strategies, Politics and Morality: American Cinema and Nazi Germany Thomas Doherty's latest book is a study of how Hollywood "looked away" from political developments in Europe, in both feature films and newsreels, until the end of the 1930s, and how Nazism fitfully and belatedly came under the scrutiny of the camera's eye. Beginning with Nazi protests against the release of Universal's All Quiet on the Western Front (1930) in Berlin, Hollywood and Hitler charts both continuities and shifts in Hollywood's approach to Germany. The story features striking juxtapositions of broad resistance to treatment of contentious material and, under the auspices of the Production Code Administration and "fair" treatment of other nations, as well as interventions from the German consul in Los Angeles, Georg Gyssling, specific avoidance of material that German authorities viewed as unflattering or offensive. Doherty's book also explores how Hollywood accommodated the racial discrimination of the Hitler state in terms of its personnel in Germany and through elimination of Jewish themes and credits to Jewish personnel in feature films. In addition, Hollywood and Hitler looks more broadly at issues of film and interwar European politics, devoting individual chapters to Benito Mussolini's son's 1937 visit to Hollywood, American films about the Spanish Civil War, and Leni Riefenstahl's visit to America in late 1938, respectively.
    [Show full text]
  • All Quiet on the Western Front a Novel, a Film and History
    All Quiet on the Western Front A novel, a Film and history 1929, 1930, 1979 All Quiet on the Western Front (German: Im Westen nichts Neues) is a novel by Erich Maria Remarque, a German veteran of World War I. The book describes the German soldiers' extreme physical and mental stress during the war, and the detachment from civilian life felt by many of these soldiers upon returning home from the front. From November 10 to December 9, 1928, All Quiet on the Western Front was published in serial form in Vossische Zeitung magazine. It was released in book form the following year - 1929- to smashing success, selling a million and a half copies that same year. Although publishers had worried that interest in the Great War had waned more than 10 years after the armistice, Remarque's realistic depiction of trench warfare from the perspective of young soldiers struck a chord with the war's survivors—soldiers and civilians alike—and provoked strong reactions, both positive and negative, around the world. With All Quiet on the Western Front, Remarque emerged as an eloquent spokesperson for a generation that had been, in his own words, "destroyed by war, even though it might have escaped its shells." Remarque's harshest critics, in turn, were his countrymen, many of whom felt the book denigrated the German war effort, and that Remarque had exaggerated the horrors of war in order to further his pacifist agenda. Not surprisingly, the strongest voices against Remarque came from the emerging National Socialist (Nazi) Party, an ultranationalist group in Germany led by the future Fuhrer, Adolf Hitler.
    [Show full text]
  • THE GREAT WAR: a CINEMATIC LEGACY OPENS at Moma on the CENTENARY of the START of WORLD WAR I
    THE GREAT WAR: A CINEMATIC LEGACY OPENS AT MoMA ON THE CENTENARY OF THE START OF WORLD WAR I The Great War: A Cinematic Legacy August 4—September 21, 2014 The Roy and Niuta Titus Theaters NEW YORK, July 8, 2014–Opening on the 100th anniversary of the day World War I began, The Museum of Modern Art’s The Great War: A Cinematic Legacy runs from August 4 through September 21, 2014, highlighting 60 feature-length films and thematic programs that attempt to provide a comprehensive view of the war as portrayed in film. The various films focus on prewar activities; espionage; the battlefields in the trenches, in the air, and on and beneath the sea; actualités; and the various homefronts before, during, and after the war. Familiar films, such as A Farewell to Arms (1932) and Lawrence of Arabia (1962), along with several lesser-known works from as far away as New Zealand—including Chunuk Bair (1992)—reflect the universality of a war that reshaped the prevailing values of what passed for civilization. In August, the program is predominately drawn from the early years, either during the war or in the succeeding decades, and includes several silent films. The program in September will concentrate mainly on later, more contemporary films up to, and including, Steven Spielberg’s War Horse (2011). The Great War is organized by Charles Silver, Curator, with Dave Kehr, Adjunct Curator, Department of Film, The Museum of Modern Art. Many of the films in the series deal with the entrenched stalemate in France, including Verdun, Vision d’Histoire (Verdun, Vision of History) (1928) directed by Leon Poirier.
    [Show full text]
  • Great Reading Adventure: Suggestions List
    Great Reading Adventure: Suggestions List Fiction Richard Aldington Death of a Hero: A Novel (1929) Henri Barbusse Under Fire: The Story of a Squad (1916) Pat Barker Regeneration Trilogy: Regeneration, The Eye in the Door and The Ghost Road (1991-1998) Sebastian Barry A Long, Long Way (2005) William Boyd An Ice-Cream War (1982) John Buchan The Thirty-Nine Steps (1915) Willa Cather One of Ours (1922) Louis-Ferdinand Céline Journey to the End of the Night (1932) Erskine Childers The Riddle of the Sands: A Record of Secret Service (1903) Humphrey Cobb Paths of Glory (1935) Alfred Döblin Berlin Alexanderplatz (1929) Jon Dos Passos Three Soldiers (1921) Ben Elton The First Casualty (2005) Sebastian Faulks Birdsong (1993) Ford Madox Ford Parade’s End (1924-1928) C S Forester The General (1936) Georg Grabenhorst Zero Hour (1928) Cicely Hamilton William: An Englishman (1918) Jaroslav Hašek The Good Soldier Švejk: And His Fortunes in the World War (1923) Ernest Hemingway A Farewell to Arms (1929) Susan Hill Strange Meeting (1971) Richard Hughes The Human Predicament Trilogy: The Fox in the Attic and The Wooden Shepherdess (1971-1973) Sébastien Japrisot A Very Long Engagement (1981) Jennifer Johnston How Many Miles to Babylon? (1974) Frederic Manning Her Privates We (1929) Pat Mills and Joe Colquhoun Charley’s War (1979-1984) Boris Pasternak Doctor Zhivago (1957) Ron Rash The Cove (2012) Erich Maria Remarque All Quiet on the Western Front (1929) Erich Maria Remarque The Road Back (1930) Erich Maria Remarque Three Comrades (1936) Ludwig Renn War
    [Show full text]
  • Download Detailseite
    THE ROAD BACK CinemaxX 8, 16.02., 19:00 Zeughauskino, 20.02., 12:00 James Whale 35mm, Schwarzweiß USA 1937 100 Min., Englisch B: R. C. Sheriff, Charles Kenyon, nach dem Roman »Der Weg zurück« von Erich Maria Remarque und dessen englischer Übersetzung von A. W. Wheen/based on the English translation by A.W. Wheen of the Erich Maria Remarque novel “The Road Back”. K: John J. Mescall, George Robinson. PD: Charles D. Hall. S: Ted Kent. T: William Hedgcock, Bernard B. Brown. M: Dimitri Tiomkin. D: John King, Richard Cromwell, Slim Summerville, Maurice Murphy, Andy Devine, Larry Blake, John Emery, Henry Hunter, Noah Beery Jr. P: Universal Pictures. Prod: Charles R. Rogers. Kopie: Library of Congress, Culpeper and The Film Foundation, Los Angeles (Restaurierte Fassung 2016) The film picks up where the film of Remarque’s Die Fortsetzung der Remarque-Verfilmung IM WESTEN ALL QUIET ON THE WESTERN FRONT (USA, 1930) left NICHTS NEUES (USA 1930) setzt im November 1918 ein. off, in November 1918. Despite the armistice, four Trotz des Waffenstillstands werden vier deutsche In- German infantrymen are sent into a last, point- fanteristen noch in ein letztes, sinnloses Gefecht ge- less battle. The road back to civilian life is difficult schickt. Der Weg zurück ins Zivilleben fällt den Männern for the former soldiers. At home, they are confront- schwer: In der Heimat sind sie mit aufgebrachten Re- ed with disgruntled revolutionaries, traumatised volutionären, traumatisierten Kameraden und Kriegs- comrades and war profiteers. They are barely able gewinnlern konfrontiert. Über das Grauen, das hinter to talk about the horrors they experienced.
    [Show full text]
  • All Quiet on the Western Front
    ‘Absorbing’ Gerald Kaufman, Daily Telegraph, Books of the Year ‘Kelly’s use of the film’s troubled history of cuts, censorship, [and] banning in every country where it’s ever been shown explores cinema’s power in society ….’ Premiere ‘Kelly’s genuine passion for Milestone’s great film is infectious and justified.’ David Robinson, Times Higher Education Supplement ‘The research and the feeling for the film, is the most compelling of any such project I’ve ever encountered. It recalled such mem- ories that I was tearful when I finished reading it.’ Producer Arthur Gardner, who played a German soldier in All Quiet on the Western Front ‘Here for the first time, is the full story behind the first great masterpiece of the sound cinema … Kelly’s painstaking research has unearthed a wealth of detail, sometimes funny, sometimes moving, but always illuminating. This is a worthy companion to the greatest war movie of all time.’ Professor Nicholas Cull, University of Leicester ‘This is a superb book, meticulously researched, compulsively readable and consistently fascinating’ Professor Jeffrey Richards, Lancaster University ‘[All Quiet on the Western Front ] provides the most detailed docu- mentation on the making of a classic of American cinema … There is evidence here of considerable and unique research.’ Anthony Slide, Classic Images ‘A concise, thorough and eloquent history of one of the most important – and influential of all American films.’ James Curtis, author of Between Flops: the life of Preston Sturges and New World of Gods and Monsters: the life of James Whale . A Universal publicity poster ALL QUIET ON THE WESTERN FRONT The Story of a Film Andrew Kelly I.B.Tauris Publishers LONDON · NEW YORK Published in paperback in by I.B.Tauris & Co Ltd Salem Road, London Fifth Avenue, New York www.ibtauris.com In the United States of America and in Canada distributed by St Martin’s Press, Fifth Avenue, New York First published in Copyright © Andrew Kelly, All rights reserved.
    [Show full text]
  • Whale, James (1889-1957) by Peter J
    Whale, James (1889-1957) by Peter J. Holliday Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Director James Whale is best remembered for his four stylish horror films: Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933), and The Bride of Frankenstein (1935). Today these are still recognized as outstanding examples of the genre, noted for their semi-expressionistic mood and understated black humor. In The Celluloid Closet, film historian Vito Russo interprets Whale's dramatizations as compelling allegories of a man grappling with his homosexuality. Perhaps equally important, Whale's career demonstrates that it was possible for an openly gay man to achieve success in 1930s Hollywood, at least behind the camera. Whale was born into a working class family in Dudley, England, probably on July 22, 1889. Growing up poor deeply affected him, as did the fact that he found little support within his family for his artistic leanings and ambitions. Later in his life he would sometimes give the impression that he was of the British upper class or aristocracy, but he never forgot his humble beginnings. He first pursued a career as a newspaper cartoonist, but was drafted for service in World War I. During the war Whale earned a commission as second lieutenant and was captured by the Germans. While a prisoner of war, he learned to stage plays. After the war he pursued a career in the theater, first as an actor, then as a set designer, and, finally, as a director. In 1929, Whale won notice for his direction of the R.
    [Show full text]
  • Dlkj;Fdslk ;Lkfdj
    UNIVERSAL PICTURES: RESTORATIONS AND REDISCOVERIES, 1928–1937 May 13–June 15, 2016 Founded in 1912 by Carl Laemmle, Universal Pictures remains among the powerhouses of the American entertainment industry. Universal Pictures: Restorations and Rediscoveries, 1928–1937 focuses on the period when the studio’s head of production was the founder’s son, Carl "Junior" Laemmle, Jr. The butt of endless Hollywood jokes, the younger Laemmle was in fact a sophisticated, ambitious, risk-taking producer, who gambled the studio’s finances on a series of challenging projects—and eventually lost, when cost overruns on the 1936 Show Boat forced the studio into the hands of its creditors. MAJOR RESTORATIONS The series opens with the revival premiere of the 1930 musical King of Jazz, shown in its full- length version for the first time since the 1930s, with its two-color Technicolor returned to its full eye-popping glory by Universal’s new digital restoration unit. Other important restorations include the 1929 Broadway, in a new print created from the recently discovered original negative with its Technicolor finale restored, and The Last Warning, a 1929 backstage murder mystery directed by Paul Leni. MoMA will host the American premiere of the Library of Congress’s reconstruction of the original director’s cut of James Whale’s 1937 The Road Back, an antiwar sequel to All Quiet on the Western Front commissioned by Junior Laemmle. When Georg Gyssling, the Nazi consul in Los Angeles, objected to the film as “anti-German,” the studio’s new ownership gave way to threats of a boycott and ordered major cuts and retakes, and the film as finally released bore little resemblance to Whale’s original vision.
    [Show full text]
  • Film Preservation Showcase
    APRIL 5–21 FILM PRESERVATION SHOWCASE PART TWO AFI Silver is proud to partner with the Library of Congress’ Motion Picture, Broadcasting and Recorded Sound Division (MBRS) on this showcase of recently preserved titles from the Library’s vast collection of films, the largest in the world. The lineup includes many rarities from the silent and early sound eras, with nearly all of the programs to be screened from 35mm prints. The series will screen at both the AFI Silver Theatre and the Library’s Packard Campus Theater in Culpeper, Virginia. Visit loc.gov/avconservation/theater for information on the Packard Campus schedule. Special thanks to the staff of the Packard Campus of the National Audio-Visual Conservation Center for their dedication to film preservation and for making this series possible. The uncut version! THE ROAD BACK (1937) 35mm print restored by the Library of Congress in association with UCLA Film & Television Archive, Universal Studios, and The Film Foundation. Restoration funding provided by The Film Foundation and the Library of Congress. Intro by Mike Mashon, Head of the Moving Image Section, Library of Congress Sat, Apr 13, 5:30 p.m. “The Road Back” was the sequel to Erich Maria Remarque’s famous novel “All Quiet on the Western Front,” and director James Whale, himself a WWI veteran, intended his film to equal the success of the earlier novel’s celebrated 1930 film adaptation, directed by Lewis Milestone and produced by Carl Laemmle, Jr. for Universal. But before he could produce Whale’s film, Laemmle, Jr. was forced out of Universal in 1936; this 1937 release was severely altered by the new studio regime under Charles R.
    [Show full text]
  • Universal Pictures: Restorations and Rediscoveries, 1928–1937 Screening Schedule May 13–June 15, 2016 the Roy and Niuta Titus Theaters
    Universal Pictures: Restorations and Rediscoveries, 1928–1937 Screening Schedule May 13–June 15, 2016 The Roy and Niuta Titus Theaters King of Jazz. 1930. USA. Directed by John Murray Anderson. In his push to establish Universal as a first-rank studio, Junior Laemmle put two super-productions on the schedule at once: the Oscar-winning All Quiet on the Western Front and this spectacular musical revue built around the popular band leader Paul Whiteman. We’re proud to present the world premiere of Universal’s brand-new digital restoration of King of Jazz, now restored to its full length, with its two-color Technicolor burnished to its original glory. “Rhapsody in Blue,” which Whiteman commissioned from George Gershwin, provides a lavish centerpiece—and a problem for “color supervisor” Natalie Kalmus, since blue was one hue early Technicolor could not reproduce. 98 min. FRI, MAY 13, 7:00 T1; SAT, MAY 14, 2:00 T1; TUE, JUN 14, 7:00 T3 Law and Order. 1932. USA. Directed by Edward L. Cahn. Adapting a novel by W. R. Burnett (Little Ceasar), director Cahn delivers a stylistically innovative, early anti-Western shot through with the violence and cynicism of the gangster era. Walter Huston (whose son, John, contributed to the screenplay) plays a Wyatt Earp–like figure pressed into cleaning up the town of Tombstone—clearly a hopeless task. Harry Carey, star of many early Universal Westerns, lends support. 57 min. SAT, MAY 14, 4:30 T2; SAT, MAY 21, 5:00 T1 Broadway. 1929. USA. Directed by Paul Fejos. The great Hungarian stylist Paul Fejos (Lonesome) received a million-dollar budget for this adaptation of George Abbott’s stage success, a backstage musical with a gangster twist.
    [Show full text]