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Der blaue Engel (1930)
Josef von Sternberg - one of the first masters of the sound film
Here 3 fine examples how director Josef von Sternberg has used the new medium sound:
1) At the beginning Professor Rath's landlady (an older woman) calls him with the words Herr Professor, breakfast!". He appears and takes his seat. Then he whistles to stimulate his canary to sing, but soon he finds out that the bird is dead. A few days later when he wakes up in Lola's room (at the Blue Angel) after a night of drinking, her canary sings very intensely. Then the young and beautiful Lola says: Breakfast, Herr Professor!"
2) At school Rath gets annoyed and asks his pupils a difficult literary question. While they try to write down the answer, he opens the window and one hears a female class sing the German folk song Aennchen von Tharau". He walks through the class room and seemingly enjoys the situation. Then he catches one pupil with a special postcard of Lola. He confiscates the postcard and immediately closes the window. The singing of those innocent school girls and the shameless picture of night-club singer Lola - that goes not together for him.
3) Whenever Rath walks through that narrow street which leads to the Blue Angel, a long melancholic sound of a ship's hooter is to hear. When he goes to the night-club for the first time to rescue" his pupils, he is dressed like a gentleman and moves from right to left. His second visit indicates that he has already left the straight right path. And at the end he looks like a tramp and staggers from left to right, but it's too late.
Thunderbolt (1929)
An entertaining and revolutionary sound film
Thunderbolt (George Bancroft) is a notorious criminal, a gang leader, and his girl is Ritzy (Fay Wray). Some day she tells him: I'm going to quit". He knows that there must be another man and tracks his rival (Bob, a bank employee) down, but finally he gets caught.
That's the point where the film actually begins: in prison (death row). The very nervous warden (Tully Marshall is really great!) welcomes him with the words Couldn't be more comfortable at the Ritz". He takes him to cell 3. ...and look out for pneumonia. Might give this place a bad name."
There are 10 cells and the men call themselves by the numbers (a similar film is The Last Mile"- 1932). Some of those occupiers form a singing group; but because they took our tenor yesterday", one asks: Hey, Number 3! Do you sing tenor?" Thunderbolt: Who, me?" (laughs) I kill tenors."
The sound quality of this very entertaining and revolutionary movie (the actors are often not to see while they speak) is astonishing - considering the fact that it was made in 1929. It's true that the over-accentuated way of speaking (especially Bancroft) is today hard to tolerate, but because the sound film was very young at that time it's excusable.
The Old Dark House (1932)
The eerie encounter with Saul
Surprisingly few things are necessary to produce a grand cinema sequence - provided that creative people are behind the camera. Here we have a stairway, a long table, some chairs, a big knife, a candle, two actors, thunder and lightning of a heavy storm.
Penderel (Melvyn Douglas), one of five guests who came here to seek shelter, and Saul Femm (Brember Wills), one of five inhabitants of this old dark house, play the scene.
The introduction of the supposed madman Saul is the most exciting moment of the film. Penderel knows that Morgan, the dumb butler (Boris Karloff), has opened the double bolted door of Saul's room (Morgan is drunk). First, Saul's crazy laughter is to hear...
Then the face of an old, rather weak man appears out of the dark. The second surprise: he is well dressed. He comes down the stairs and Penderel is soon convinced that he isn't mad, just a helpless captive (They are frightened of me. I know something about them.")
But suddenly the situation changes. Saul points at the candle: Are you interested in flames?" Why...why...yes, yes I am, rather." I've made a study of flames." Have you? That...must be very interesting." I know things about flames that nobody else in the world knows." Slowly Penderel realizes what Saul really is: a dangerous pyromaniac. And he isn't harmless anymore - in a previous scene Morgan has turned over the dinner table and Saul has found a knife on the floor...
The actors in this film are all good, but one is really outstanding: Brember Wills. It's such an incredible performance. This crazy laughter is truly unforgettable. The most convincing portrayal of a madman that I have ever seen.
Bride of Frankenstein (1935)
The great hermit sequence
Everything in this horror film (actually a black fairy tale) is elaborately done. The hermit sequence (especially part 2) is perhaps the best that I have ever seen.
It's a pleasure to watch Boris Karloff in his world-famous monster make-up how he eats bread and drinks wine. From here on Karloff masterfully shows very different kind of emotions within a short time. First there is enjoyment resulting from good eating and drinking. Then the hermit lights a match - even this tiny flame frightens Karloff a lot (he's terribly scared of fire). He finally takes the offered cigar and puffs with great pleasure. A few moments later he is very serious and gulps (an expression of pain because the smoke has got into his lung). That's not only a subtle gag (a normal person who inhales for the first time would have a coughing fit), but also a perfect transition. The hermit says: It is bad to be alone." Karloff responds: "Alone bad (he's reminded what the world has to offer for him: rejection) - friend good". Now he smiles because he finally has found a friend (the twist is: only this blind old man is able to "see" his inner goodness).
At the end of this great sequence the hermit plays a happy tune on the violin. Karloff is relaxed, smokes and makes rhythmic movements to the music. Since one knows that he is also scared of dogs, director Whale informs the viewer acoustically that danger is approaching: a short howl of a dog is to hear. Then, a few seconds later, two hunters enter the hut (no dog is with them) and immediately the scene ends in terror.
Wives Under Suspicion (1938)
A lot of dialogs
Not a spectacular film, but it's always worthwhile to keep a close eye on Whale's works.
Here we have district attorney Stowell, someone who is only satisfied when the criminals are duly punished. He has a special kind of an abacus with which he counts his successes: one skull for every murderer that he has sent to the electric chair. (Sharpy, his secretary, doesn't like it: I wish you get rid of that hideous contraption. It gives me the willies.").
Someday there is another case of murder. A workaholic has shot his neglected wife out of jealousy. Stowell must learn that his own situation is a parallel to the one of that man and finally he sees himself with a pistol in the hand ...
Funny are the scenes with Creola, the maid. It's priceless how Lillian Yarbo delivers her lines.
There's not much action in this film, but all the more dialogs.
Das Boot (1981)
A gripping war film
This film tells a grim chapter of WWII: the combat mission of a U-boat late in 1941. 50 men confined for weeks in a small submersible tube, psychologically challenged to an extreme degree, a war of nerves between boredom and mortal terror, that's the story. It's a Descent into Hell and the viewer has the impression to be on board and to feel the horror.
Director Petersen was able to handle the actors well, to let them show emotions, to create a claustrophobic atmosphere, and that's more important for the film than its technical perfection. A great work of cinematic art, especially the 281-minutes version, that was first shown on TV here in Germany. The original release and the director's cut are time limited versions, which do not include some of the finest (quiet) moments.
The Elephant Man (1980)
A hundred per cent film
This film tells the true story of John Merrick, who suffered from a rare disease (multiple neurofibromatosis). His case was very severe. In addition to the enormous skin growth he had a misshapen head of almost unimaginable dimensions.
Because of the heavy make-up, John Hurt was forced to portray the man mainly with his voice and he has done the difficult task seemingly effortless. For example the very moving scenes at Dr. Treves' home or when he asks the doctor hesitantly Can you cure me?" and a calm reaction follows the negative reply.
It doesn't take long to hate the two evil characters of the film (a compliment for the actors). Bytes, the owner" of Merrick (he's the greatest freak in the world") and the night porter of the hospital, who forces Merrick to look into a mirror.
The presentation of 19th-century England is perfect, thanks to a wonderful black and white photography.
It's evident that everyone involved in this picture has given 100 percent. A touching film like no other, one of the finest moments in cinema history.
The Body Snatcher (1945)
The presence of Karloff
I have rarely seen a film in which one actor dominates the scenery so much. Boris Karloff as Cabman Gray, who delivers dead bodies to a doctor for illegal dissecting purposes, is a delight to see and, above all, to hear.
The first encounter with the doctors new assistant (My fee is as usual: 10 pounds"), the accidental meeting with the doctor and the assistant at the inn (he stabs a knife into a piece of bread and says to the youngster Toddy'd like to do that all over my body"), the wonderful dialogue with Joseph (one of the doctor's employees; played by Bela Lugosi), who tries to blackmail him (Well, Joseph, you shall have money. Why should you not?") are just three examples.
The eerie atmosphere of the film (a trademark of all Lewton thrillers) is much heightened by Karloff's sinister appearance. Definitely an extraordinary performance in an outstanding film.
Blast of Silence (1961)
An explosive film with a great narrator
The opening of this film is really explosive. The screen is completely dark; a new-born baby cries. Then a tiny light is to see. While the narrator tells what is going on with the boy, the light is getting bigger and finally it seems to have the shape of a baby-carriage (it's a question whether this is intentional). A few seconds later one realizes that the light is the end of a railway tunnel. The tracks lead to Manhattan. Frankie Bono, who has become a professional killer, is on the way to do a job.
Truly extraordinary is the narrator. Hard-hearted words, spoken in an aggressive tone, reveal what orphan Frankie thinks about this world. That he is a loner, that he hates the necessary contacts (for example a 38 special with a silencer has to be organized), that the 25th of December means nothing to him, except a delay of his observations.
I like BLAST OF SILENCE very much, because it presents a noir atmosphere in an unusual way. A low-budget film that surpasses many other titles of this genre.
Das Stahltier (1935)
A must see - not only for steam locomotive fans
Willy Zielke has made DAS STAHLTIER (the steel animal) for the 100th anniversary of the German railway. Why wasn't it shown in 1935? Because it was no Nazi propaganda film. Okay, there's one Heil Hitler greeting, but that's all. And because Zielke tells the truth: That the steam locomotive was an English invention. To forbid this treasure of a film tells you all about the completely intolerant behavior of the Nazi regime. The story seems anything but a way to present film art: The main character (Aribert Mog) tells 5 railway workers the tale of steam and its taming in the form of historic episodes. For years I have waited to see a complete version of the film and not the crippled (and therefore illogical) thing which was available on VHS. Now I can say that the film was far ahead of its time concerning film technique. On the one hand there are many artful dissolves, ultra-fast cuts and inclined pictures, on the other hand there are these wonderful episodes, which are told in a rather calm, but all the more impressive way. The way how the replicas of the original machines has been set in motion (my favorite is the sequence with the 'Puffing Billy'; this engine was built in 1813 and is today considered as the world's first successful steam locomotive) is absolutely great, but what I admire the most is how Zielkes camera has captured all the human emotions in those many wonderful character faces. And not to forget: the music by famous composer Peter Kreuder creates always a perfect mood.
DAS STAHLTIER is an incredible and unique achievement in film-making and definitely deserves the highest rating.
The Funhouse (1981)
An impressive and unforgettable horror film
A test of courage with disastrous consequences: two teenager couples decide to stay overnight in a carnival funhouse. The son of the funhouse operator, who hides his face under a Frankenstein-type mask, seems to be a little surprised about two empty carriages...
Later he flies into a rage about Madame Zena, the fortune teller, and kills her. The teenagers witness the murder (from the first floor) and in the following conflict with his father (Kevin Conway) they realize in panic what is under the mask - a beast-like albino, unable to speak. One of the boys is so terrified that he loses his lighter. It falls through the ceiling and suddenly a fatal silence fills the room ...
Kevin Conway is really wonderful in the subsequent moments. In a triple role he uses his voice to great effect: he plays also the freak-show and the strip-show barker.
THE FUNHOUSE is a richly coloured shocker (not without humour) in which the sound creates a good deal of the horror. Many well done scenes make this film unforgettable.
Le testament du Docteur Cordelier (1959)
An absolutely unique performance of Jean-Louis Barrault
This is a French TV film with the quality of a major cinema production. The opening is pretty unusual - director Jean Renoir plays himself as he arrives at the studio and then makes the concluding audio recordings as the narrator of his film.
It's a fascinating variation of the Dr. Jekyll & Mr. Hyde theme, this time they are called Dr. Cordelier and Monsieur Opale. It's nearly unbelievable that both are played by one actor: Jean-Louis Barrault. How he uses his pantomimic and dancing abilities to portray Opale, the dark incarnation of Cordelier freed from all moral restraints, is phenomenal. His body movements and facial expressions are so weird ... and the walking-stick in his hand almost seems to lead an own life. What an outstanding performance!