Kino-nedelya was directed by Dziga Vertov, Vladimir Gardin, Lev Kuleshov and others
In 1918 Mikhail Koltstov, who headed the Moscow Film Committee’s newsreel section, hired Vertov as his assistant. Among Vertov’s colleagues was Lev Kuleshov, who was conducting his now legendary experiments in montage, as well as Edouard Tissé, Eisenstein’s future cameraman was Lev Kuleshov, who was conducting his now legendary experiments in montage, as well as Edouard Tissé, Eisenstein’s future cameraman. Vertov began to edit documentary footage and soon was appointed editor of
Kinonedelya, the first Soviet weekly newsreel
The first scenario work of Anatoliy Lunacharsky.
The first Soviet kinopostanovka Petrograd kinokomiteta (now – Lenfilm Studio).
November 7, 1918 – the date of the first issue on the screens of Soviet films. On this day it was released four paintings, three of them – campaign.
In order to seal one of the rooms of Professor relocated from raw basement working with his daughter. Flats start attending the factory workers. Guests are becoming more and more, and the professor begins to read popular lectures in the workers’ club. Between the younger son of a professor and his daughter working there is a feeling and the characters decide to get married …
First screen adaptation of Gorky’s ” Mother”
Occupying a delicious place between Victorian melodrama and superhero comic books, Judex is one of the great serials from the career of French movie pioneer Louis Feuillade. From his castle lair high above the countryside, mystery man Judex (granite-faced Rene Creste) seeks to protect the lovely Jacqueline, while nursing a secret hatred for her fatcat father. Multiple kidnappings, assassination attempts, and narrow escapes follow; much of the mischief is orchestrated by wicked temptress Diana Monti (Musidora, the star of Feuillade’s Les Vampires). There’s also a delightfully overwhelmed detective (Marcel Levesque), who’s a sort of prototype of Monsieur Clouseau, and a streetwise Artful Dodger known as the Licorice Kid. Continue reading
The Gardener is a 1912 Swedish silent drama film directed by Victor Sjöström. It is mostly known for being the first film to ever be banned by the Swedish censor system. It was long thought to have been lost, but in 1979 a copy was found in an archive in the United States. The Swedish premiere followed on 14 October 1980 when it was shown at the cinematheque in Stockholm.
In Sweden, the film was banned in 1912. The director said, “To the best of my recollection, the wreched faith of my ‘maiden work’ was due to the final scene. The president of the studio was horrified by the grubby, brutal gardener (played by yours truly)-according to him, the public didn’t want to see me tromping around with a big moustache. But I insisted that it was indispensable from an artistic standpoint, and I finally got my way. This particular stubby, brutal gardener lusted after a young lady in his employ, and he seduced- well, he virtually raped- the innocent thing in a lovely greenhouse among beautiful roses and every other flower imaginable. In the final scene, the girl is found dead the next morning on the floor of the greenhouse, with red roses and exquisite blossoms delicately strewn all around her. The marriage of death and beauty, in other words. But the thick-headed censors didn’t understand a thing- they had no feeling for that kind of beauty- and the film was banned.” The official comments of the censors were, “A breach of respectability. The association of death and beauty poses a threat to public order.” Continue reading
“The most dangerous threat to the happiness of any young married couple, besides matrimony itself, are the mothers-in-law; this terrible feminine lobby, since the dawn of time , has always meddled and tried to disturb the tranquillity of newlyweds and sometimes their evil schemes succeeded in making a contented life impossible for the youngsters.
The great German director, Herr Ernst Lubitsch, captured pretty well these universal mother-in-law treacherous manoeuvres in “Als Ich Tot War” ( When I Was Dead ) (1916) a two-reel silent comedy shown recently at the Schloss theatre.
The film depicts the story of a young married couple ( Herr Ernst Lubitsch himself and Frau Louise Schenrich ) who live in the same apartment with their mother-in-law ( Frau Lanchen Voss ), a terrible mistake. At least if the mother-in-law lives far away, her dangerous intentions require more exertion to work. Herr Ernst likes very much to play chess with his pals at the club, a thrilling sport that will bring him a lot of problems ( that’s what happens when you play such weird games ). One night Herr Ernst arrives home late due to one of those exciting and lengthy chess matches and finds the door to his home locked, forcing him to sleep on the stairs. It is not necessary to say that the party responsible for such an evil act is his mother-in-law who continually uses the long chess matches to poison her daughter’s mind against her husband. She finally succeeds and Frau Luise divorces her mate. Continue reading
Italian film’s early master of the historical spectacle, Enrico Guazzoni, was responsible for the second of (at least) three film adaptations of Nicholas Patrick Wiseman’s classic novel about Christianity’s rise in ancient Rome. Aside from the usual great production values of these silent epics, what surprises here is perhaps the rather graphic violence. And, the film is further notable for being Elena Sangro’s debut (when she was still going by the name Maria Antonietta Bartoli-Avveduti) in the title role no less. Continue reading