Robert Wiene – I.N.R.I. AKA Crown of Thorns (1923)

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By the director of Cabinet of Dr.Caligari, this is the Passion embedded in a contemporary story. An anarchist jailed for an attempted assassination is told the Passion story by the prison chaplain, who seeks to convince him that it is better to sacrifice ones own life than take the life of ones enemy. The framing story, taken from a novel, is believed to have been intended to give the Biblical story an anti-Bolshevist propaganda function. In any case, it was added without the knowledge of the actors in the Passion story, who included some of the major stars of the period Asta Nielsen as Mary Magdalene, Henny Porten as Mary, Grigori Chmara as Jesus, and Werner Krauss as Pontius Pilate -bampfa.berkeley.edu Continue reading Robert Wiene – I.N.R.I. AKA Crown of Thorns (1923)

Carl Boese & Paul Wegener – Der Golem, wie er in die Welt kam aka The Golem: How He Came Into the World [+Extras] (1920)

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Classic Horror Review :

Emanating from Jewish folklore, the legend of the “golem” has transfixed audiences for centuries. Although when used pejoratively the word “golem” describes a moronic person easily manipulated, the word often refers to any mythical creature animated from inanimate materials such as clay, sand, or stone.

One of the most popular “golems” appears in J.R.R. Tolkien’s The Lord of the Rings trilogy. Spelled “Gollum,” Tolkien’s character shares similarities with creatures that haunted Jewish legends, particularly the golem featured in director Paul Wegener’s 1920 silent classic, The Golem. Both suffer from split personalities and possess hybrid traits: Gollum is part human, part frog, fish, etc.; many Jewish golems, including Wegener’s, are monsters made of inanimate objects that carry human traits. Both have been damned or punished, and in both instances, the creatures start well intentioned but transform into evil beings, usually due to gluttony, greed, wrath, envy, or pride. Thus, they are morally “gray,” and like Wegener’s monster, Tolkien’s has often been depicted as gray in color to symbolize this amorality, most notably in Peter Jackson’s recent films. Continue reading Carl Boese & Paul Wegener – Der Golem, wie er in die Welt kam aka The Golem: How He Came Into the World [+Extras] (1920)

Alfred Zeisler – Der Schuß im Tonfilmatelier AKA The Shot in the Talker Studio (1930)

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IMDB:
During the shooting of a jealousy scene on a soundstage, one actress is murdered. Due to the fact that the male star of the movie had a relation with the victim and the female star is now his fiance, he is suspected by the police. Written by Stephan Eichenberg

During the production of an early movie using not only pictures but also sound an actress is murdered. The arriving inspectors do not only have to get to know the circumstances of the crime but also the new conditions: how “sound-movies” are made, to solve the crime. Written by katharina_strehl public.uni-hamburg.de Continue reading Alfred Zeisler – Der Schuß im Tonfilmatelier AKA The Shot in the Talker Studio (1930)

Robert Reinert – Nerven aka Nerves (1919)

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In Nerven, writer-director-producer Robert Reinert tried to capture the “nervous epidemic” caused by war and misery which “drives people mad”. This unique portrait of the life in 1919 Germany, filmed on location in Munich, describes the cases of different people from all levels of society: Factory owner Roloff who looses his mind in view of catastrophies and social disturbances, teacher John who is the hero of the masses and Marja who turns into a radical revolutionary. Using different fragments the Munich Film Museum could reconstruct this forgotten German classic which is a historic document and anticipates already elements of the Expressionist cinema of the 1920s. Continue reading Robert Reinert – Nerven aka Nerves (1919)

Hans Richter – Everyday (1929)

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Every Day was a film that German avant-garde filmmaker Hans Richter made as part of a film production course run by the Film Society. It features filmmaker Sergei Eisenstein playing a policeman, whilst Len Lye and Basil Wright provided technical assistance. These contributions reflect the sense of internationalism occurring at this time in British film circles. The film was completed in 1929 under the title The Daily Round, but was never released because Richter was unhappy with the result. Richter began to rework the film in 1975, but died before its completion. It was finally restored, with the addition of a soundtrack, after his death. Continue reading Hans Richter – Everyday (1929)

F.W. Murnau – Der Letzte Mann AKA The Last Laugh (1924)

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Jannings’ character, the doorman for a famous hotel, is demoted to washroom (bathroom) attendant, as he is considered too old and infirm to be the image of the hotel. He tries to conceal his demotion from his friends and family, but to his shame, he is discovered. His friends, thinking he has lied to them all along about his prestigious job, taunt him mercilessly while his family rejects him out of shame. The man, shocked and in incredible grief, returns to the hotel to sleep in the bathroom where he works. The only person to be kind towards him is the night watchman, who covers him with his coat as he falls asleep. Continue reading F.W. Murnau – Der Letzte Mann AKA The Last Laugh (1924)

Oskar Fischinger – Twelve Short Films by Oskar Fischinger (1924 – 1942)

Oskar Fischinger (1900-1967) embodied the modernist ideal of the maladaptive artist so well that a balanced evaluation of his work as filmmaker and painter depends on one’s ability to withhold automatic beatification based solely on his biography. Born and educated in Germany, exiled to Los Angeles when Hitler came to power and abstraction was decreed a “degenerate art,” Fischinger was an uncompromising abstractionist who throughout his life retained a dogged faith in the transcendental potential of pure geometry and color. Persecuted in Germany and condemned to grinding poverty after he settled in L.A., Fischinger’s devotion to the integrity of his art was exemplary. Continue reading Oskar Fischinger – Twelve Short Films by Oskar Fischinger (1924 – 1942)