Category Archives: Silent
Hailed as ‘an engrossing hybrid of romantic decadence and spiritual austerity’, this 1924 German silent is considered an important early cinematic work as it contains Dreyer’s first clear use of Expressionism to reveal emotion, and this is much aided by the luminous photography of Karl Freund and Rudolph Maté, and the sumptuous production design of architect Hugo Häring.
Based on Herman Bang’s 1902 novel Mikaël, and scripted by Thea von Harbou (best known for Metropolis and Woman in the Moon), the bittersweet love story centres on an elderly artist, Claude Zoret, who is driven to despair by his relationship with his young protégé, Michael.
Conceived as a screen version of Kammerspiel (an intimate ‘chamber’ piece for theatre), it also had a profound influence on several directors, including Alfred Hitchcock, who drew on the film’s motif’s for his script for 1925’s The Blackguard. It is also a landmark in gay cinema with regards to its frank portrayal of homosexual relations and desire – with the character of Zoret supposedly based on the real life painter Auguste Rodin.
The remarkable cast includes Benjamin Christensen (best known for being the director of the 1922 docu-drama Häxan) as ‘decadent’ artist Zoret; Walter Slezak (who would forge a career playing heavies and villains, including the Clock King in TV’s Batman) as his young protege, Michael; and Nora Gregor (from Jean Renoir’s La Règle du Jeu) as the bankrupt Countess who swindles and seduces the Master and his muse.
And, in his only ever appearance as an actor, the film’s cinematographer, Karl Freund plays a sycophantic art dealer who saves the tobacco ashes dropped by a famous painter. Best known for photographing Lang’s Metropolis, Freund later emigrated to the US, where he directed 10 films, including the Universal horror classics, The Mummy and Mad Love, before helming TV’s I Love Lucy.
Available to order from Amazon: http://amzn.to/2AEcJ3r
BLU-RAY SPECIAL FEATURES
• 1080p presentation from a new 2K restoration
• Score by Pierre Oser (piano, clarinet, cello) presented in uncompressed LPCM stereo
• Original German intertitles with optional English subtitles
• Full-length audio commentary by Dreyer scholar, Casper Tybjerg
• Exclusive video essay by critic and filmmaker David Cairns
• Illustrated audio interview with Dreyer from 1965
• A collector’s booklet featuring a new essay by Philip Kemp; a reprint of Tom Milne’s The World Inside Me from 1971; Jean Renoir’s 1968 tribute, Dreyer’s Sin; a translation of the original 1924 Danish programme; a reprint of Nick Wrigley’s essay from the film’s 80th anniversary DVD release; and a selection of archival imagery
Destiny (Der müde Tod) (1921) | Fritz Lang’s expressionist fable of life… and death gets a definitive restored release
Before dazzling audiences with Metropolis, M, and Spione, German director Fritz Lang dabbled with bending cinematic conventions in his 1921 German folksong in six verses, Der müde Tod (literally, The Weary Death).
A young woman (Lil Dagover) confronts the personification of Death (Bernhard Goetzke), in an effort to save the life of her fiancé (Walter Janssen). Death then weaves three romantic tragedies set in Persia, Quattrocento Venice and ancient China, and offers to unite the girl with her lover, if she can prevent the death of the lovers in at least one of the episodes…
Fusing German Romanticism, Orientalism, and Expressionism with evocative expressionist imagery and featuring special effects work never seen before, Der müde Tod has often been overlooked amongst Lang’s early work, but was the springboard for the über-stylised filmmaking that would culminate in such genre-defining masterpieces as Die Nibelungen and Metropolis.
Now in a new 2k restoration, this new presentation of the lost classic preserves the original German intertitles and simulates the historic colour tinting and toning of its initial release, and is accompanied by a newly-composed score by Cornelius Schwehr, which was originally performed by the 70-member Berlin Rundfunk Symphony Orchestra.
Eureka Entertainment is proud present Lang’s classic as part of their Masters of Cinema Series in a definitive Dual Format (Blu-ray & DVD) edition, available from 17 July 2017.
ORDER HERE: http://amzn.to/2kV2YsC
WHAT THE PRESS SAID – IN 1921
‘Based on inwardness and intellectual mastery, this work by author / director Fritz Lang veers off the beaten track of your average movie. It does not seek to stun the senses of the viewer with a huge contingent of people and material, but provides real, inspired art. Individual images surprise us with their picturesque beauty, capturing the essence of the German folk song in its simple sincerity.’ Abendblatt (October 7, 1921)
‘Fact and fiction skilfully interwoven, cheerful and serious moments, much bitter truth, sometimes literature, sometimes Karl May or Munchausen. Just like life itself. And above all love. Only death is more powerful.’ Wolfgang Fischer, Neue Zeit Charlottenburg (October 5, 1921)
‘A new, interesting style of film: the sweeping ballad. Half fairy-tale dream, half reality, carefully crafted.’ Erich Effler, Film und Presse no. 37/38 (1921)
Varieté (1925) | Roll up for a gripping story of jealousy and hell with Emil Jannings and – The Tiger Lillies?
A key work of German silent cinema and an international smash on its release in 1925 and 1926, director EA Dupont’s Varieté is a visually arresting melodrama in which jealousy drives a man to murder.
When carnival concessionaire Boss Huller (Emil Jannings) meets young émigré Berta-Marie (Lya De Putti), it kindles his desire to relaunch his career as a trapeze artist. Deserting his wife (Maly Delschaft) and infant son, he sets out with Berta-Marie to Berlin where the two are soon hired by famed aerialist Artinelli (Warwick Ward) to headline the city’s premier circus attraction at the famed Wintergarten theatre. But while Boss rejoices in his new-found fame, Artinelli begins an illicit affair with Berta-Marie, which – when uncovered – drives Boss to plot his revenge…
This German silent masterpiece, which is told in flashback as an imprisoned Boss tells his tale to win his freedom, was instrumental in bringing its director Ewald André Dupont to the attentions of Carl Laemmle at Universal, who brought him to Hollywood.
But while Dupont never quite achieved the level of success in the US as he did in his native Germany (he was reduced to B-movie’s and genre fare like 1953’s The Neanderthal Man), his cameraman was the legendary Karl Freund, one of the pioneers of German Expressionism, who lensed The Golem (1920) and Metropolis (1927), and whose lustrous monochrome cinematography flair turned Universal’s Dracula (1931) and Murders in the Rue Morgue (1932) into genre classics alongside his directorial efforts, The Mummy (1932) and Mad Love (1935).
Varieté’s success is quite simply down to Freund’s visuals, and the brooding central performances from Emil Jannings and Lya De Putti. The camerawork is hugely inventive here. It ranges from the use of a handheld camera to mimic the movements of acrobats – which culminates in a spectacular scene involving a blindfolded triple somersault; imaginative shots like a close-up of an ear dissolving into high heels walking along a corridor to capture the characters’ pent-up passions; and the use of cinema verite – horse shit on marble steps, the sad faces on fairground pageant girls in states of undress, drunk revellers dancing on tables, heavily made-up circus patrons – to give the melodrama its subtle social commentary.
Freund’s close-ups also capture the artistry of Jannings – a master of controlled emotion, who can turn his Boss from alpha male to wounded lover in a single glance; as well as the cold beauty of De Putti, who looks every inch the femme fatale, and the wonderfully villainous turn from Warwick Ward, who looks a dead ringer for Basil Rathbone and Conrad Veidt.
As part of Eureka!’s The Master of Cinema Series, Varieté is presented here in a new restoration by the Friedrich Wilhelm Murnau Foundation of the original German 1:34:28 version, with PCM audio on the Blu-ray and optional English subtitles.
The special features include a choice of three scores, from Stephen Horne, Johannes Contag and The Tiger Lillies, plus the complete American version of the film that was released on 27 June 1926 which tightens up the story by juggling scenes and cutting some out altogether, including one that was disapproved by the US censor (de Putti disrobing). A booklet featuring new writing and archival images is also included.
When I heard that The Tiger Lillies would be composing one of the three scores on this release, I thought this tale of jealousy and hell and ultimate redemption was the perfect match for the avant-garde British musical trio’s dark cabaret sound. And it most certainly is, working best when the group whip up a frenzy of accordion, band saw and Theremin, while lead singer Martyn Jacques uses a host of different vocal tones to utter the word ‘Variety’, as the film’s moves inexorably towards its heated climax. Now that I’ve hear their score, I can’t wait to revisit this little gem again to hear the other two scores.
Painstakingly restored by the BFI National Archive and Photoplay’s Kevin Brownlow as part of a 50-year project, Abel Gance’s 1927 five-and-a-half-hour masterpiece, Napoleon, is now screening again accompanied by the longest score ever written for a silent film from composer Carl Davis before heading to Blu-ray, DVD and BFI Player on 21 November.
Originally conceived by Gance as the first of six films about the French military leader, this five-and-a-half-hour epic features full scale historical recreations of episodes from Bonaparte’s personal and political life, that see him overcome fierce rivals and political machinations to seal his imperial destiny. The film is also famed for its groundbreaking technical innovations – including its triptych finale.
The BFI Blu-ray will include the following special features…
• New 2K restoration
• The Charm of Dynamite (1968, 51 mins): BBC documentary on Gance’s silent films, narrated by Lindsay Anderson.
• Composing Napoleon: An Interview with Carl Davis (2016, 45 mins)
• Feature-length commentary by Paul Cuff
• Digital restoration featurette (2016, 5 mins)
• Alternative single-screen ending
• Individual triptych panel presentations
• Illustrated collector’s booklet