the whip ( 1917 film )
the film index: a bibliography. vol. 1: the film as art .
classics of the horror film: from the days of the silent film to the exorcist, by willam k. everson
denmark; dir. jytte rex; norsk film production and the danish film institute .
topical budget 285 - 2: h. m. the king opens parliament (1917 )
the story of the training of a racehorse, the whip, of the amnesiac nobleman who loves the horse, and of the villains who attempt to keep it from racing .
topical budget 291 - 1: st. patrick' s day (1917 )
the american film institute catalog of motion pictures produced in the united states: film beginnings, 1893 - 1910 .
the american film institute catalog of motion pictures produced in the united states, film beginnings, 1893 - 1910 .
topical budget 295 - 2: king at st. paul' s (1917 )
the film is the source of the saying
the natives are restless tonight .
the actual dialogue is as follows :
topical budget 292 - 1: a. s. c. win again (1917 )
topical budget 295 - 1: a. s. c. v united services (1917 )
topical budget 296 - 1: h. m. the queen and st. george' s day (1917 )
19 september 1991: arts and film 86; 20 september 1991: arts and film 37 .
presents probably the most faithful film version of the medieval legend of tristan and isolde .
topical budget 281 - 1: mr gerard leaves for u. s. a. (1917 )
topical budget 287 - 1: all blacks v. a. s. c. (1917 )
topical budget 324 - 2: will there be women m. p. s? (1917 )
, caeserini' s film still suffers from a problem common to many early filmed operas, the inability to synchronize the film itself with the musical accompaniment .
as their source, but the film' s real debt is to the american movie western and the classics illustrated series. the film' s significance lies in its being the first mgm film in cinemascope, not in any new light it sheds on the legend of arthur and the knights of the round table .
topical budget 288 - 1: women' s work at an a. s. c. depot (1917 )
lacy, norris j .
arthurian film and the tyranny of tradition .
the use of arthurian legend in hollywood film from connecticut yankees to fisher kings .
the use of arthurian legend in hollywood film from connecticut yankees to fisher kings .
images in the dark, an encyclopedia of gay and lesbian film and video .
the productions from thanhouser' s mature period, 1915 - 1917, clearly show the advancements that set the stage for the first cinematic golden age, the 1920s. such advances are evident in this... see full summary »
while prints exist in several archives, the cossack whip has never been released on home media. i was able to see it thanks to a private screening .
you see, the cossack whip comes from a curious period in hollywood history when anti - czar sentiments were smiled upon. remember that many of the early studio executives and their families had fled pogroms in the russian empire. fleeing tyranny tends to leave scars. (there’s even a rumor that leon trotsky appeared in a 1917 film with clara kimball young! trotsky himself denied it and the man in the film seems to be just a lookalike but it’s fun to imagine what could have been. )
nicholas ii romanov became tsar of russia in 1894. his reign was beset by social and political unrest, culminating in the russian revolution of 1917 .
founded in 1999, senses of cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film - related content on the internet .
original music cues for the film. five reels lasted a maximum of 70 minutes .
cast: rene auberjonois, huge e. blick, michael gross, whip hubley, jean marsh, keshia knight pulliam, and emma samms .
the american film institute catalog of motion pictures produced in the united states, feature films, 1931 - 1940 .
the american film institute catalog of motion pictures produced in the united states, feature films, 1911 - 1920 .
romero' s film is nonetheless undervalued. it represents one of the better attempts to link the story of arthur with the american dream .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
“a fine example of this [ the fruitful collaboration of collins and dana) is the cossack whip, which can still astonish the modern viewer for the unbridled modernity of its style. the film is edited with an elegance and rhythm that could have made eisenstein envious, and there is reason to suspect that collin’s grasp of the medium flourished quite independently from griffith’s influence. ”
mayberry' s film - - despite the license it takes with plot - - may be truest to the humor found in the original novel .
in the end, though, the flaws of the cossack whip are more than made up for by its many good points. collins shows his flair for bold and clever editing, dana is wonderful in the lead and the picture captures the claustrophobic flavor of a police state. it deserves to be better known .
proceedings of the purdue university fifth annual conference on film october 30 - november 1, 1980 .
james c. robertson, the british board of film censors: film censorship in britain, 1896 - 1950, dover, nh: croon helm (1985) .
calvin plays baseball for the reseda knights. the film' s only bright spot is that it counters the largely misogynic arthurian tradition by having princess sarah disguised as the black knight help calvin save the day .
, this film has had few neutral critics, most of whom responded negatively to it. the charges leveled against the film are generally that the lead roles were miscast, that the direction was ponderous, and that, at nearly three hours, the film was too long. the film did, nonetheless, win academy awards for art and set direction, costume, and best musical scoring. it was also nominated for best cinematography and sound .
thynne, jane .
£500 can buy slice of the action in a new british film .
at the police hq the interrogation is supervised by turov. with katerina turov shows her the torture of alexis through a stone trap door above the cell where he is being beaten with a whip. turov offers her alexis’s life in exchange for her favours. however, after he has satisfied his lust, katerina discovers that alexis is actually now dead. katerina is also beaten, and in a terminal state, she returns to the village with the whip used in the torture. finding her and hearing her story darya swears revenge .
original author h. g. wells was outspoken in his dislike of the film, feeling the overt horror elements overshadowed the story' s deeper philosophical meaning .
the cinema museum london’s cinema museum is devoted to keeping alive the spirit of cinema from the days before the multiplex .
levinson' s film lacks the ironic tone of its original and changes the novel' s ending. clearly, this film was meant as a star - vehicle for redford more than as a faithful adaptation of a literary source, and the arthurian dimensions of the novel are obscured in the process .
a growing source of silent era film information. this listing is from the progressive silent film list by carl bennett. copyright © 1999 - 2018 by carl bennett and the silent era company. all rights reserved .
sitney, alan p .
bruce baillie and the lyrical film .
in annette michelson, ed .
london: rank film distributors, [ 1963 ]. [ press book. ]
the plot line was not always clear to me and the ‘long arm of co - incidence’ seemed to operate. the geography of the film seemed very convenient, especially the visit to the secret police hq in the final reel. and credits seem to suggest two turov’s: if so i did not distinguish them. and synopsis referred to paris rather than london. however, the 35mm print for the screening seemed complete. whatever the possible confusions in the plot this was an exemplary use of film techniques and seemingly radical for the period .
baillie presents a modern day reinterpretation of the legend of parsifal set against the backdrop of the sierra nevadas. the director has commented that his film is a tribute to the hero, who never appears, and to wagner' s opera .
needs to be read against the politics of the 1950s. against such a backdrop, the film can be
seen as an allegory for the triumph of american values over a communist threat
( 38) .
heavy metal band van halen paid homage to the film in the original version of their song
house of pain
, the early lyrics for which directly referenced the storyline of the movie. during onstage introductions of the song circa 1976 - 77, van halen vocalist david lee roth routinely gave a brief synopsis of the film. the song was shelved for the better part of a decade, but eventually resurfaced with different non - movie - related lyrics and released on the band' s 1984 album .
members of the new wave band devo were fans of the film. the
what is the law ?
sequence formed part of the lyrics to devo' s song
jocko homo ,
with lugosi' s query
are we not men ?
providing the title to their 1978 debut album q: are we not men? a: we are devo! devo' s short film
the truth about de - evolution
and an interview with founding members gerald casale and mark mothersbaugh are special features on the criterion collection release of the film .
the cossack whip is one of his most famous films. its ripped - from - the - headlines plot involves totalitarian brutality in russia and features an infamously sadistic climax as viola dana avenges her murdered family. there’s hollywood gloss but it has some very sharp edges. (by the way, i shall be using the term “hollywood” to refer to the american film industry and its overall style. i do realize that this was an east coast production but hollywood is a convenient term to use when discussing american vs. russian film styles. )
the january 5, 1917 issue of variety on page 23 describes that paragon staged a train wreck at greenwood, delaware at a cost of $ 20, 000. william a. brady & maurice tourneur took part .
the arrangement of films here is alphabetical for both main and alternate titles. each main entry includes the film' s title and date of release, the film' s country of origin, the director, the production company, any alternate title (s), and the cast. in the case of some silent films, surviving records do not always provide all of this information. i then briefly discuss each film and offer a short critical assessment, which admittedly at times betrays my own biases. finally, i provide an exhaustive a list of reviews and additional discussions of each film .
lagrange filmed this visually striking if not always coherent retelling of the legend of tristan in iceland. the director characterized his film as a
visual opera .
the us horror - rock band manimals based much of their stage persona on the film. their 1985 blood is the harvest vinyl e. p. closes with the song
island of lost souls
. the track includes a
what is the law ?
section that fans would chant during live shows. the film historian gary don rhodes has called them
the best - ever in the horror - rock genre
and referenced them in his 1997 book lugosi (mcfarland press) .
wachhorst, wyn .
time - travel romance on film: archetypes and structures .
- - - - - .
they' re getting a terry gilliam film .
members of the upper class regularly frequent alexander nyberg' s elegant establishment. affairs of the heart and misunderstandings create the comedic scenarios that accompany the guests. based on the gustav esmann play of the same name .
thompson, raymond h .
the ironic tradition in arthurian film since 1960 .
in kevin j. harty, ed .
harty, kevin j .
the arthurian legends on film: an overview .
in kevin j. harty, ed .
using a highly exaggerated style of acting, interspersed with trick camera effects, a group of actors present the following scenes from wagner' s opera: parsifal ascends the throne, ruins of a magic garden, exterior of klingson' s castle, magic garden, interior of the temple, scene outside the temple, return of parsifal, and in the woods. with this film, edison had hoped to capitalize on the success of the 1903 stage production of the opera in new york, but the film' s run had to be shortened when the owner of the copyright successfully sued edison for using the script without permission .
germany - great britain - ireland - united states; dir. anthony hickox; constantin film .
island of lost souls is an american pre - code science fiction horror film starring charles laughton, richard arlen, leila hyams, bela lugosi and kathleen burke as the panther woman, theatrically released in 1933. the film was directed by erle c. kenton and produced by paramount pictures from a script co - written by science fiction legend philip wylie, the movie was the first film adaptation of the h. g. wells novel the island of dr. moreau, published in 1896. both book and film are about an obsessed scientist who is secretly conducting surgical experiments on animals on a remote island .
made for german television, this film of the story of parsifal is unusual in its use of wolfram rather than wagner as a source .
the film was examined and refused a certificate three times by the british board of film censors, in 1933, 1951, and 1957. the reason for the initial ban was due to scenes of vivisection; it is likely that the cinematograph films (animals) act 1937, which forbade the portrayal of cruelty to animals in feature films released in britain, was a significant factor in the bbfc' s subsequent rejections. the film was eventually passed after cuts were made with an' x' certificate on july 9, 1958. [ 1 ] [ 2 ] it was later classified as a pg on dvd in 2011 with the cuts reinstated .
this film is not currently playing on mubi but 30 other great films are. see what’s now showing
tarpley, fred .
king arthur on film .
in william e. tanner, ed .
a silent film about a women who seduces a married man which in turn leads to deadly consequences .
the film focuses accurately on nicholas and alexandra' s pigheadedness in the face of change. it could have gone further .
be firm ,
she wrote to him in real life ,
russia loves to feel the whip – it' s their nature – tender love and then the iron hand to punish and guide. how i wish i could pour my will into your veins .
he replied :
tender thanks for the severe written scolding ,
and signed himself
your poor little weak - willed hubby .
the film' s big challenge is to make these dreadful people into sympathetic characters. it tries hard with limited success, helped out by the fact that the other side aren' t all that cuddly, either .
thus was begun the existence of one of the most influential art works of the 20th century. fountain will be a crucial item in the forthcoming exhibition, duchamp, man ray, picabia, at tate modern. or at least a replica of it will, because one of the most piquant aspects of the history of this celebrated object is that the original was seen by only a handful of people, never publicly exhibited, and vanished shortly after that selection, signing and christening in 1917 .
after assassinating king arthur, edmund of cornwall seizes the throne and kidnaps arthur' s daughter katherine in the hopes of forcing her to marry him to legitimize his claim to the throne. the outlaw robert marshall intervenes, rescues katherine, and, with the aid of merlin, overthrows edmund and the saxons. katherine is crowned queen and takes robert as her consort. this unorthodox film version of the legend of arthur incorporates elements of the legend of robin hood into its plot, but the end result is still a flatly - directed and only moderately interesting adventure film .
he and his fellow gang members compete with a rival group of boy scouts. the leader of the delinquents is wounded in a robbery and saved by a grail knight who appears to him. the delinquents then join the scouts. the screenplay for this film was written by scout commissioner james austin wilder, who also played the role of the scout master. this little known cinematic gem is notable for its use of the grail as a source of healing and its linking of the matter of arthur with the problem of the proper education of boys .
what a shame the average joe can’t see this film. . i would love to see it because of viola dana and john collins. this is a film done at the time when this history was being made in russia. you are very lucky to have been able to see it .
wealthy young martin cavendish wants to marry his mother' s secretary rather than a snooty titled woman his mother has chosen for his bride. one night while reading a book about chivalry, cavendish is knocked unconscious by a burglar, and, in a dream, he finds himself in in camelot in the sixthcentury. thereafter, the film follows the general outline of the events in twain' s novel with abundant contemporaneous touches added to the screenplay. douglas fairbanks was originally offered the title role in this film, but he turned it down. as with the other screen adaptations of twain' s novel, this film eschews any of the misanthropy in the original in favor of comedy .
, boorman' s film is a dark brooding meditation on the arthurian legend in which arthur becomes the grail king. the film has not, however, aged well. it seems now too much a product of its times, dominated by a heavy musical score that is designed to cue audience reactions to scenes sometimes before they occur .
rob hobbs, an aging baseball player, returns at the invitation of pop fisher to play for the new york knights, but his past, which the film explores in terms of the arthurian legend, comes to haunt him. based on bernard malamud' s novel ,
: narrative time and space in medieval literature and film .
in maud s. walther, ed .
this made - for - television adaptation of twain' s novel emphasizes the farcical turning merlin (victor jory) into a comical character and shifting the scene with the eclipse to the end of the narrative .
fritz lang began his film career writing scripts. between 1917 and 1919 he wrote about ten filmed scripts, half of which were produced by decla, the company founded by erich pommer, with a further two being realised by director / producer joe may. in 1919 lang directed his first four films. die spinnen (part 1: the golden lake) was lang’s third and earliest extant film as a director. die spinnen (part 2: the diamond ship) was made in 1920 with the modest harakiri (madame butterfly, 1920) interceding. at this time lang was also to have directed the cabinet of dr. caligari (1919), and had begun preliminary preparations (these included the suggestion, objected to by the scriptwriters carl mayer and hans janowitz but adopted by robert wiene, the film’s eventual director, that a framing epilogue and prologue be added). (2) however, the commercial success of the golden lake meant that the diamond ship had to be rushed into production forcing lang to withdraw from the project .
this was john h. collins final film for a combination of companies, kleine – edison – selig – essanay. he then moved on to metro. collins had married up and coming star viola dana in 1915 and she was the star of this film and continued in that role for collins until his demise in 1918. helen - day mayer and david mayer in the le giornate del cinema muto catalogue, characterise the plot of this film .
holly, linda tarte .
medievalism in film: the matter of arthur, a filmography .
in jürgen kühnel et al. , eds .
( 1859), this film was critically well received because of its effective use of pageantry and the skill with which it told a love story .
yes, this movie really needs to be released. it pretty much rewrites the history of film editing as most people credit eisenstein with pioneering rapid cutting, film buffs credit gance but humble little edison (the studio was very much on the wane) and john collins seem to have beat them all to it. dana is absolutely perfect in the lead, i think it’s the best role i have ever seen her in .
three men met for lunch in new york early in april 1917. they were the american painter joseph stella, walter arensberg, a wealthy collector later obsessed by the notion that bacon wrote shakespeare, and marcel duchamp. after a convivial and talkative meal, they made their way to the jl mott ironworks, a plumbing suppliers situated at 118 fifth avenue .
in the early reels we have the despotic tsarist secret police, secret revolutionaries [ though without defined political content ] and the innocent villagers caught up in the conflict. in the film we first meet the revolutionary band [ the brotherhood ] including sergius (richard tucker). an attack on a train to free imprisoned radicals leads to searches of villages on the orders of cossack officer ivan turov. this leads to a raid on the village where darya (viola dana) and her family live ,
griffith had hoped to make a film based on edwin austin abbey' s famous series of grail frescos in the boston public library. the project was temporarily shelved in 1915, but an attempt to revive it after the first world war also failed, and the project remained unrealized .
a radio
shock - jock
is in part responsible for the death of the wife of a professor of medieval history. the professor goes insane and thinks he is on a mission to find the holy grail. his quest leads to an encounter with the dj, both of whom find redemption from their guilt and their pain. gilliam' s film offers one of the more effective modern retellings of the grail myth, seeing both the professor and the dj as twin parsifal - like characters .
- - - - - .
une' figure obligé' du film de chevalerie: le tournoi .
nickel, helmut .
arms and armor in arthurian film .
in kevin j. harty, ed .
de la brétèque, françois .
une' figure oblige' du film de chevalrie: le tournoi .
- - this film relies on the predictable to advance its plot. ackland' s arthur is a doddering fool, and moody returns to the screen as merlin a second time, having played the role with a more sinister twist in 1979 in
parsifal, having overcome a number of opponents and various temptations, assumes his rightful place as the guardian of the holy grail, curing the wounded king amfortas in the process .
arthur sees his kingdom dissolve in squabbles among his knights over the innocence or guilt of guinevere. this made - for - television film of the last two books of sir thomas malory' s fifteenth century
moreau offers parker the hospitality of his home and introduces him to lota (kathleen burke), a beautiful, gentle girl who seems a bit simple. when the two hear screams coming from a locked room, which lota calls the house of pain, parker investigates. he sees moreau and montgomery operating on a person without anesthetic. convinced that moreau is engaged in sadistic vivisection, parker tries to leave, only to encounter brutish - looking men emerging from the jungle. moreau appears, cracks his whip, and orders the one known as the sayer of the law (bela lugosi) to repeat the rule against violence. afterward, the strange men disperse .
truer to the details of its source than either the 1921 or the 1931 films, this third screen version of twain' s novel is, nonetheless, in many ways the least successful of the three. the novel has been turned into a musical vehicle - - not based for reasons of copyright on the 1927 rodgers and hart broadway musical - - for crosby, and the plot advances by a mix of song and silly dialogue. twain' s novel was an example of comic genius; this film is anything but an example of such genius. as with the other screen adaptations of twain' s novel, this film also eschews any of the misanthropy in the original in favor of at times clumsy musical comedy .
the george kleine collection of early motion pictures in the library of congress, a catalog .
france; dir. ugo falena; il film d' arte italiana, s. a. p. f .
oingo boingo is another new wave band who paid tribute to the film with their song
no spill blood ,
which featured the refrain
what is the law? no spill blood !
and appeared on their 1983 album, good for your soul .
archaeologist indiana jones joins with his father, dr. henry jones, to keep the holy grail from falling into the hands of the nazis. in some ways the most successful and best made of the indiana jones trilogy of films ,
during the finale, darya’s pent up rage bursts out in a violent frenzy as she attacks her enemy. when she realizes that she has been seen and that she may not be able to finish her task, her attack grows more intense. she tries to get in as many blows as she can before she is stopped. (may i put in a dig about “silent movie damsels” right here ?) rarely has a bolshevik been given such a sympathetic and powerful role in a mainstream american film but the cossack whip was not the only anti - czarist picture on the market .
the meteors, a psychobilly band from the uk told the story of the film in their song
island of lost souls
on their 1986 album teenagers from outer space, the chorus being a prolonged chant of
we don' t eat meat; are we not men? we stand on two feet; are we not men ?
etc .
john, a poor blacksmith, learns that the viking attacks on england are really the handiwork of sir palamides, a knight of the round table, and his ally, king mark, both intend to overthrow arthur and supplant christianity in england with paganism. john becomes a knight and saves the kingdom from palamides and mark, while also winning the hand of his lady love, the fair linet. when it was originally released, most critics dismissed this film as unintentionally funny. more recently, however, alan lupack has advanced an alternate reading of the film arguing convincingly that
james c. robertson, the hidden cinema: british film censorship in action, 1913 - 1975, london, routledge (1989), pp. 55 - 57 .
director john h. collins made quite an impression during his brief career. his bold melodramas reinvigorated the flagging edison studio but his early death in the influenza epidemic of 1918 proved to be a tragedy for the film industry and his wife, leading lady viola dana .
two films have since been made based on the same h. g. wells novel. the first was released in 1977 and stars burt lancaster as the doctor. the second came out in 1996, with marlon brando as moreau. in the very similar the twilight people (1973), actress pam grier played the panther woman .
on the subject of the innovative editing, brownlow writes: “some of the flashes are a mere twelve frames; this is a pioneering example of the rapid cutting which, ironically, the russians made famous, and is the earliest i have seen. ” in a footnote, brownlow points out that the unbeliever, another edison film, also shows this lightning fast cutting. is it possible that the same unnamed editor was responsible for both films? an intriguing theory! (needless to say, both the edison pictures predate abel gance’s la roue, often listed as the pioneering work in rapid editing. )
in fifth - century spain as the barbarians invade, parsifal seeks and eventually finds the holy grail, bringing peace to his troubled homeland. this little - known film version of the grail story blends elements from wagner' s opera with elements from medieval legend and literature .
the romanovs have been romanticized by later hollywood films but it’s worth remembering that alexander ii was an incompetent and racist despot. as i often say, the russian people jumped out of the frying pan and into the fire when the revolution came but that doesn’t mean the frying pan was particularly pleasant. (for more details on this period, i heartily recommend kevin brownlow’s behind the mask of innocence, which i relied on heavily for background information on this film. )
once there, duchamp selected a
bedfordshire
model porcelain urinal. on returning to his studio he turned it through 90 degrees, so that it rested on its back, signed it ,
r. mutt 1917
, and entitled this new work fountain .
in this silly remake, conan the barbarian meets foster' s comic strip characters. missing here are the hollywood touches that at least made the 1954 film visually interesting. in its more interesting scenes, hickox' s film fades to panels from the original strip, but there is little else to recommend it, except perhaps joanna lumley' s over - the - top portrayal of morgan in full - length black leather gown and chain - mail headdress. edward fox plays an aging arthur (cf .
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the stars of russian cinema. by the 1920s, many would either be in france or dead .
rubenstein, lenny .
the wondrous return of the wacky monty python' s flying circus .
after a series of adventures which bring him knighthood at king arthur' s court, the young perceval has a vision of the holy grail but fails to understand what he has seen. he then sets off to find the grail again in a quest that takes him on yet another series of adventures. finally, assuming the central role in a passion play, perceval is granted a second vision of the grail. unique among films about perceval and the quest for the grail, rohmer' s source is chrétien de troyes unfinished twelfth century romance. the dialogue retains the verse form of the original romance in a modern french translation. rohmer uses stylized painted sets reminiscent of manuscript illustrations that give the film a genuinely medieval look to provide a commentary on the necessity for the quest for the spiritual, in a medieval or a modern world .
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( spoiler) the climax involves darya flirting with turov, playfully chaining him to the wall and then producing a whip that she had concealed in her gown. she identifies herself, states her purpose and then beats the hell out of him. this gleeful and, frankly, kinky vengeance is pretty much the antithesis of proper movie behavior under the code (still quite a few years away) but apparently no one thought to censor the scene. darya herself does not deliver the coup de grâce—that’s left for a convenient undercover revolutionary—and so she is allowed to escape to america with sergius. i like to think she had a long and fruitful career as a hitwoman .
gives free reign to the comic talents of the six actors who comprise the monty python troupe. what is being skewered here is not so much the legend of arthur as previous cinematic treatments of that legend .
nicholas and alexandra boasts terrific performances and gorgeous production design, but it' s bloated and unwieldy. there is more history here than the film - makers know what to do with .
in its retelling of scenes selected from the thirteenth century french prose vulgate cycle, this film presents the stories of arthur and guinevere, of morgan and her jealousy, of merlin and his enchantment by vivien, and of the fisher king bron, his daughter, and her son, galahad .
in part or in whole, the following studies discuss or catalog cinematic depictions of the legend of arthur .
- - - - - .
cinema arthuriana: translations of the arthurian legend to the screen .
codell, julie f .
decapitation and deconstruction: the body of the hero in robert bresson' s
the story of aladdin and the princess badr al - badr' s adventures as told through child actors .
the student room, get revising and marked by teachers are trading names of the student room group ltd .
blanch, robert j. , and julian n. wasserman .
gawain on film .
in kevin j. harty, ed .
while the climax is praised (and it is shocking), i was particularly impressed by the raid on darya’s village. collins and cameraman john arnold crosscut between darya and her family dancing with the cossacks thundering across the snow. the villagers run in terror and a gunshot finally alerts darya’s family to the danger but it is too late. they are targeted in the raid. collins’ cuts are bold, rapid and they never once feel self - indulgent. they build suspense and create an ironic contrast between the frenzied joy of darya’s family and the emotionless activity of the cossacks. even though we see the horsemen silhouetted against the snow, the scene feels claustrophobic and tense. there is no escape .
a group of children, whose leader, alex, is an arthurian enthusiast, are terrorized by three bullies. alex stumbles upon excalibur while running through the woods to escape the bullies and meets merlin. warned to use the power of excalibur only for good, alex summons its power to defeat a new boy in town, luke, with whom alex' s girlfriend, jenny, has fallen in love. alex looses excalibur and merlin' s counsel, but finds both restored when he single - handedly captures three armed bank robbers who hold his friends hostage. this film attempts to trade on the image of the return of arthur, but the acting is terrible; the plot drags. even children, the intended audience here, are likely to find the film boring .
burns, e. jane .
nostalgia isn' t what it used to be: the middle ages in literature and film .
in george slusser and eric s. rabkin, eds .
california businessman pendragon is actually a medieval tyrant intent upon seizing excalibur from merlin' s equally ageless disciple loong tao. pendragon hopes to use the sword to make time stand still and plunge the world into chaos on october 32nd. his plans are thwarted by christy lake, a reporter who is the reincarnation of merlin' s daughter, the lady of the lake, and geologist john pope who is her eternal protector. this perfectly silly film, which understandably was dumped directly to american video in 1994, owes a debt to a variety of film traditions, including the kung - fu action yarn and the western. less clear is its debt to anything recognizably arthurian .
russia was teetering on the brink in 1916. collins took this hot news topic and combined it with a basic melodrama, which was standard movie procedure in the 1910s. still is, come to think of it. what really sets this film apart is the director’s eye for detail and his snappy editing .
founded by fritzi kramer, movies silently’s mission is to make silent film fun and accessible with reviews, articles, animated gifs and daily updates .
the celtic warrior arthur fights saxons, picts and jutes, as well as king mark of cornwall, to protect his people and the integrity of his homeland. never commercially released, this film is really just a cobbled together videotape version of three episodes of
an impetuous young man named loup is sent by his uncle mark to fetch his fiancée, sedrid of the long red tresses. they attempt to remain loyal to mark who nonetheless discovers that the two have fallen in love with each other. the plot of the film is obviously an analogue - - though not a very well made one - - to the oft - told medieval tale of tristan, isolde, and mark .
but it is one thing to borrow, and another thing to know how to use what has been borrowed. weeks manages here to reduce great literature to silly cinema. not content to leave bad enough alone, weeks remade the film in 1983 under the title
roscoe flirts with a girl in the park. later he takes his wife and mother - in - law to the movies only to see his flirtation showing on the screen .
the circus dancer lulu is a thoroughly q liberal being. although she loves her former savior, the clown alfredo, she begins a relationship with the noble henri von reithofen. henri kills himself ruined by the horrendous expenses for lulu .
this has an unforeseen effect, however. the beast - men no longer feel bound by moreau' s laws, as he has himself broken one of them. moreau tries to regain control with his whip, but to no avail; in desperation, he demands of them ,
what is the law ?
but their common response is ,
law no more! ! !
with that, they drag the doctor into his house of pain, where they stab him to death with his own surgical instruments .
customers and clerks frolic in a general store. roscoe walks out of the freezer wearing a fur coat, then does some clever cleaver tossing. in buster' s film debut he buys a pail of molasses .
die spinnen was made to impress and seduce viewers through all of the resources that lang had at his disposal. his ‘sensation’ film, like its penny dreadful literary predecessors, wastes no time on extensive character development. (in his later career, especially once he had resettled in hollywood, lang would regularly be accused of creating films lacking in character motivation and psychological depth .) die spinnen opens with an enigmatic scene of an old man fleeing an inca warrior, before then rapidly introducing its socialite antagonists. the antagonists smash wine glasses and the battle begins. unlike in conventional narrative filmmaking, lang abruptly introduces scenes without the benefit of incremental exposition. the effect of this technique is disorientating, giving the impression that a fragment of the film may be missing. it is almost as if the storytelling cannot keep pace with the rapidly developing drama .
katherine, a tourist in modern - day england, stumbles into a hole while wandering around stonehenge, where she encounters king arthur and his knights. camelot is in chaos. the wine cellar is empty, hundreds of vikings are expected for dinner, and the romans have abandoned england. even worse, the countryside is overrun with dragons and brigands, and the ever present fog just will not lift. with katherine' s assistance, merlin and his beloved niniane restore order to the kingdom by challenging morgan le fay and her ally, mordred, arthur' s illegitimate son. donner' s film, which was shelved by the studio for several years before being dumped for television release, is one of the silliest films ever made about the arthurian legend. everything about the film - - acting, dialog, settings, costumes - - is simply dreadful .
the young tristana finds herself in the care of the much older don lope, but tristana is in love with the much younger horacio. unwilling to make a commitment to horacio, she returns instead to the care of don lope. when she loses a leg because of cancer, she marries don lope, but remains in love with horacio. from the novel by benito pérez galdós, buñuel' s film has a complicated political subtext about power and gender. in addition, it represents a contemporary revision of the tristan legend, one of several which see tristan as a woman .
- - - - - .
parzival 1980 - - auf der bühne, im fernsehem und im film .
in jürgen kühnel et al, eds .
this live television production compresses twain' s novel into sixty minutes all but eliminating any hint of the misanthropy of the original. karloff, who plays arthur, returned to the role in another 1955 production based on the rodgers and hart broadway musical .
in the spring a young man' s fancy turns to thoughts of matrimony, and musty is no exception. in spite of all the warnings voiced by his married friends. musty takes the leap. the results... see full summary »
i’m not sure if it is possible to heap enough praise on viola dana for her excellent performance. darya’s sweet, plucky personality realistically morphs into a dark and brooding angel of vengeance and that ain’t easy. collins allows the camera to linger on her face and dana projects her thoughts to the audience with remarkable precision and intensity for such a young performer. dana herself felt that she had been miscast as the violent finale was quite a challenge. the whip was too heavy for her (dana was one of the tinier silent leading ladies, standing just 4’11”) and she had trouble lifting it. personally, i think dana’s modesty is charming but she clearly had this thing handled .
patrick mcgilligan, fritz lang: the nature of the beast (new york: st. martin’s press, 1997) 59 .
borgzinner, jon .
the shining pageant of camelot
and
the limerick lad in king arthur' s court .
the tsar abdicates (and, in the film' s most powerful scene, must tell his wife that he has done so). he and his family are moved to tobolsk, and thence to ekaterinburg. hard though it is to care much for the ex - tsar and tsarina, both of whom have been running full tilt towards their fate, you might expect to feel a twinge of pity for their children. curiously, though, and on scant historical evidence, the film portrays the 13 - year - old tsarevich as the image of his unspeakable mother. he gives precocious, entitled speeches, injures himself for attention, berates his father for losing the crown, and says of his guards ,
i' d like to kill them all .
bad luck, kiddo. that' s not the way this goes .
nearly electrocuted by a short in his guitar amplifier, shy suburban teenager hank awakens stunned to find himself in king arthur' s court. dubbed sir dude, hank retraces with some 1990s updates the misadventures of twain' s connecticut yankee managing to save camelot in the process from the wiles of morgan le fay. the worst of three very bad adaptations of twain' s novel that turn the yankee into a teenager - - the other two are the commercially released
the russian people get their parliament, and pyotr stolypin (eric porter) as prime minister. it' s now 1913, the tercentenary of the romanov dynasty, so the tsar appears before his subjects .
god help me, but i do love it when they stand and wave ,
he murmurs. afterwards, stolypin is shot at the opera by a revolutionary while the tsar and his terrified daughters watch from the royal box. this remarkable scene is accurate – though, since stolypin was assassinated in 1911, two years before the tercentenary, it' s in the wrong place .
i' m doing the same course as you and i' d say some of the main ones are: - witte' s economic reforms - stolypin' s land reforms - the duma - 1905' revolution' (bloody sunday) - world war 1 - russo - japanese war - the role of different people (e. g rasputin) in creating uncertainty in russia and of course the 1917 overthrow ^ ^ those are the topics i can think of so far. we don' t cover before 1900 i don' t think, so can' t help you there. i have a few powerpoints from my teachers and ones i' ve made myself or with the class on most of these, so if you' d like them message me and i' ll try and get them to you asap .
hey there. i am on my as year at college, and we' re doing tsarist russia 1855 - 1917; ; the thing is i need help revising because i don' t know what to revise. i want like the main topic titles, like; ; - 1905 revolution 0r - lenin well, i want a list of things that i need to study, like the main topics. and if anyone has any powerpoints they can share with me, i' ll be so grateful! ! i am so stuck, and i need your help
nicholas and alexandra arrive at a party full of guffawing aristocrats, all of whom are ignoring the oppressed proletariat and practically guzzling fabergé eggs. one guest stands out: boggly - eyed mad monk and political liability grigori rasputin (played splendidly by a pre - dr who tom baker). he tells racy stories. grimacing, nicholas slopes off to find the vodka – but alexandra is enraptured. when her infant son is diagnosed with haemophilia, she turns to rasputin and the power of prayer. or the power of whatever it is he does. this stokes the brewing revolution. the film stages a brilliant recreation of the horrific massacre of bloody sunday .
a restless young girl yearns to leave her rural environment and
get away from it all
. one day she stumbles upon a film crew shooting a western near her home. she makes friends with the... see full summary »
his first move was to suggest that the works in the new york exhibition be hung alphabetically, with the first letter to be drawn out of a hat. this idea was adopted, despite protests that it was
democracy run riot
. as a result, the whole huge show - the largest ever assembled in the us - must have had a slightly absurd air, with traditionalist, amateur works sent in from the sticks hung randomly beside pieces of cutting - edge cubism.
the whip is a 1917 american silent drama film directed by maurice tourneur that is based on the play of the same name by henry hamilton and cecil raleigh . the film stars alma hanlon , june elvidge , and irving cummings . it also features bobby vernon , wallace beery , as well as gloria swanson in one of her early film roles . the film survives and has been released on dvd . 
the whip is a 1917 american silent drama film directed by maurice tourneur that is based on the play of the same name by henry hamilton and cecil raleigh. the film stars alma hanlon, june elvidge, and irving cummings. it also features bobby vernon, wallace beery, as well as gloria swanson in one of her early film roles. the film survives and has been released on dvd.
the whip is a 1917 american silent drama film directed by maurice tourneur that is based on the play of the same name by henry hamilton and cecil raleigh. the film stars alma hanlon, june elvidge, and irving cummings. it also features bobby vernon, wallace beery, as well as gloria swanson in one of her early film roles. the film survives and has been released on dvd.