a dog of flanders ( 1935 film )
the lasted version was
a dog of flanders
( 1999) directed by kevin brodie .
a dog of flanders: detail view
. american film institute. archived from the original on april 1, 2014
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. the book has been adapted for quite a number of film and tv versions, including animated versions. the first was
a dog of flanders
( 1914) directed by howell hansel. the jackie coogan version ,
a boy of flanders
( 1924) directed by victor schertzinger was the best known silent version. the first talkie was
a dog of flanders
( 1935), directed by edward sloman. the best known version today is the color
( 1924) directed by victor schertzinger was the best known silent version. the first talkie was
a dog of flanders
( 1935), directed by edward sloman. the best known version today is the color
a dog of flanders
( 1960) directed by james b. clark. david ladd did a wonderful job as nello. there are several japanese animated versions .
we don' t have enough data to suggest any movies based on a dog of flanders. you can help by rating movies you' ve seen .
. the book has been adapted for quite a number of film and tv versions, including animated versions. the first was
a dog of flanders
( 1914) directed by howell hansel. the jackie coogan version ,
in the 1930s, carné again worked with feyder, serving as his assistant director on pension mimosas (1934) and la kermesse heroique (carnival in flanders, 1935). during this period, carné also worked as a film critic, sometimes publishing his articles under the pseudonym albert cranche. he was editor - in - chief of hebdo - film and wrote for cinemagazine, cinemonde, and film sonore .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
that most famous boy characters have been created by american and english authors .) the author' s interest for romantic adventures of aristocrats, heroes and heroines is well captured in a dog of flanders the film, with its most evident attraction being the re - presentation of time and place (a small village in belgium in the ealry 19th century) via picturesque sets and costumes .
was produced by rko in 1935 and in 1959, another remake appeared starring david ladd as the young dog owner nello. donald crisp played his grandfather and theodore bikel took the role of reclusive artist piet. the film was directed by james b. clark who would go on to direct several other animal pictures such as
( 1959) tells the classic story of a boy and his dog. the film is based on the 1872 novel by ouida and is the fourth screen version of the story. the original adaptation was a 1914 short. next came a 1924 silent starring jackie coogan. the first sound treatment of
played the boy hugh. you may remember the dog, it was old yeller. the book calls the dog
patrasche ,
i don' t remember that name on the movie .
woof woof! ... boohoo ...
most moving dog story ...
i would very much like to have a copy of this original film. please let me know if anyone knows how to obtain a copy .
tyler, parker, classics of the foreign film, citadel press, 1968 .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
, he too sported some fairly impressive credentials. spike the dog was rescued from an animal shelter by frank weatherwax (part of the legendary weatherwax family of animal trainers). spike would become a star as
the film features a unique and elaborate flashback plot structure that would influence later films. the story involves
francois ,
a decent man driven to commit murder for love. at the outset of the film he is hiding out from police in his apartment. during the siege, he recalls the circumstances that led him to kill another man. everything is revealed in a series of flashbacks, which tell the story of how francois fell in love with francoise, a young flower vendor under the spell of the evil valentin, a dog trainer who performs at a music hall .
an absolutely beautiful, heartwarming film. an important and necessary film full of lessons for our children today: true friendship and loyalty, family ...
figure 1. - - here jackie coogan weas his little dutch boy costume for the 1924 silent classic - -
a boy of flanders
. he play the poor little dutch boy nello. actually he was from flanders in belgium, but as he spole dutch (flemish is a dutch dialect), he is often referred to as a dutch boy. he is surely the best known dutch or belgian boy literary character, ironically he is better known outside of belgium and the netherlands than in either country .
tcm celebrates the 100th anniversary of a musical legend with three nights of programming devoted to some of leonard bernstein' s... more
the costuming in the film appears quite accurate, good late 19th century costuming. nello wears a kind of military styled cap which was popular in the netherlands and a short jacket like
in 1984, he received a career tribute from the french film industry, which dedicated that year' s cannes film festival to him in honor of his 75th birthday. in 1992, carné attempted to make one more film, an adaptation of guy de maupassant' s novel mouche. however, carné became ill during early production stages, and financing for the film was withdrawn .
carné died on october 31, 1996, at age 90 in clamart, near paris, in france. in the 1990s, in a poll that included 600 french film critics and film professionals, les enfants du paradis was voted the
best french film of the century .
tentative adaptation of ouida’s sentimental classic about a poor flemish boy (frankie thomas) whose ambition is to become a painter .
the efforts of a poor and untrained boy to become an artist like rubens .
adaptation of ouida' s sentimental classic about a poor flemish boy (frankie thomas) whose ambition is to become a painter .
a young dutch boy and his grandfather earn a modest living delivering milk to the nearby city. the boy dreams of one day becoming an artist. soon, the boy and his dog are left alone when his grandfather dies and he seeks an artist to become his mentor .
this ouida classic deals with a poor boy (david ladd) and his grandfather who adopt a mistreated dog and share their meager rations with him. you may remember the dog, it was old yeller. david plays the part beautifully of nello, an innocent boy with a big heart. the costuming in the film appears quite accurate. nello wears a kind of military styled cap which was popular in the netherlands and a short jacket like dutch smock. he also wears long pants cut above the ankles. they may be meant to be kneepants. hbc is not sure as to just what length dutch boys would have worn their pants. both nello and his grandfather wear wooden shoes - - footwear especially associated with the netherlands. nello desires to be a painter. the two find their lives are changed by the dog. when the old man dies, the two have to fend for themselves. the film is a real tear jerker. the costuming is very boring and the boy wears longs. there are a few fleeting shots of more affluent boys in knicker suits .
tentative adaptation of ouida' s sentimental classic about a poor flemish boy (frankie thomas) whose ambition is to become a painter .
all the dog (canine) movies, films, tv series & episodes i own. . and those i' ve seen, i' ve rated
,
raving beauty
, which has been very successful in races at the local stadium. but his bets on the dog are not winning him much money, so gay hits upon a plan to lengthen its
' wrote in 1954 ,
this unimaginative film version of wilfred pickles' stage success has gained little from the transference, apart from the use of authentic locations which give an impression of realism. wilfred pickles presents an interesting character study of a hard - working miner, whilst retaining his customary mannerisms. petula clark gives a sensitive performance .
turk, edward baron ,
the birth of children of paradise ,
in american film (washington, d. c .), july / august 1979 .
bates, robin ,
audiences on the verge of a fascist breakdown: male anxieties and late 1930s french film ,
in cinema journal (austin), spring 1997 .
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in this film, as in his best works, carné was greatly influenced by feyder, who developed a style of french filmmaking that exhibited a strong visual flair, with realism created in the artificial environment of a studio. the style also involved elaborate scripts, intelligent dialogue and actors that could display
star
presence. as a result of the unique plot structure and the well - written dialogue, hollywood took notice and remade the film in 1947 as the long night, directed by anatole litvak and starring henry fonda, barbara bel geddes and vincent price as a sinister magician .
i absolutely love this film. i wish i could get a copy of the original, as i heard the later versions were sugary sweet. in the original, the black & ...
at a time when film schools were non - existent and training in filmmaking was acquired through assistantship, no one could have been better prepared for a brilliant career than marcel carné. he worked as assistant to rené clair on the first important french sound film, sous les toits de paris, and to jacques feyder on the latter' s three great films of 1934–35. though he had also made a successful personal documentary, nogent, eldorado du dimanche, and a number of publicity shorts, it was only thanks to the support of feyder and his wife, the actress françoise rosay, that carné was able to make his debut as a feature filmmaker with jenny in 1936. if this was a routine melodrama, carné was able in the next three years to establish himself as one of europe' s leading film directors .
in 1976, he made what turned out to be his last film, a documentary called la bible, which was released both theatrically and to television .
armes, roy, french film since 1946: the great tradition, new york, 1970 .
this is a classic, and i consider it one of the best family films evermade. it is moving and says a very great deal about life and about art .
, directed by john ford and starring donald crisp. clark made the jump to director for the small screen first; he directed a number of television episodes of
their collaborative film works would dominate the french film industry for ten years. but the professional relationship did not survive long after world war ii, and the team ended their working relationship in 1947 .
the collaboration of prévert and carné was sustained during the very different circumstances of the german occupation, when they together made two films that rank among the most significant of the period. since films in the mode of 1930s poetic realism were now banned, it is hardly surprising that carné and prévert should have found the need to adopt a radically new style. remaining within the concept of the studio - made film, but leaving behind the contemporary urban gloom of le jour se lève, they opted for a style of elaborate and theatrical period spectacle. the medieval fable of les visiteurs du soir was an enormous contemporary success but it has not worn well. working with very limited resources the filmmakers—assisted clandestinely by trauner and the composer joseph kosma—succeeded in making an obvious prestige film, a work in which frenchmen could take pride at a dark moment of history. but despite the presence of such players as arletty and jules berry, the overall effect is ponderous and stilted .
the film daily felt the film was a
pleasing human interest story nicely suited for the family
, although they felt it might be at a disadvantage due to the lack of well - known actors in the cast. harrison' s reports gave the film a good review, saying it was
wholesome ,
with
deep human appeal
. they felt the production and direction were excellent, and they enjoyed the performances of the acting crew. they rated it as an excellent children' s film. motion picture daily gave the film a slightly less warm review, feeling that the picture was artistically satisfying due to its similarity in style to european films. despite that slow pace, they applauded edward sloman' s direction, and stated the
... film' s beauty is simplicity abetted by touching performances and noteworthy direction done with a fine sense of feeling and understanding .
the motion picture herald said the picture was full of
... romance, drama, comedy, tragedy, deception and triumph... ,
and thought it attempted to
... capture faithfully the spirit of the book and the story .
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the pair share a certain fantastic conception of realism, with film seen as a studio construct in which fidelity to life is balanced by attention to a certain poetic atmosphere. carné' s coldly formal command of technique is matched by prévert' s sense of the logic of a tightly woven narrative. if it is prévert' s imagination that allows him to conceive both the amour fou that unites the lovers and the grotesque villains who threaten it, it is carné' s masterly direction of actors that turns jean gabin and michèle morgan into the 1930s ideal couple and draws such memorable performances from michel simon, jules berry and arletty .
virmaux, a. , and o. virmaux ,
la malediction: le film inachève de carné et prevert ,
in cinématographe (paris), october 1986 .
in 1936, with the help of feyder and his actress wife, francoise rosay, carné secured his first feature - length film assignment, directing jenny. though this first feature film has been described as a
routine melodrama ,
carné would soon establish himself as one of the leading directors in france. moreover, his works would be praised throughout europe as well as the world .
the film is based on a classic book by maria louisa de la ramé (ouida) and was published in 1872. presumably the clothes should reflect the netherlands in the 1870s. an online edition of the book is available at :
stanbrook, alan ,
the carné bubble ,
in film (london), november / december 1959 .
jackie wears a variety of outfits like sterotypical little dutch boy outfits. in one scene he disguises himself as a girl in order to attend a girl' s party. he wears a traditional dutch girl' s outfit, consisting of white lace cap, ruffled white blouse, full skirted peasant' s dress, and apron. he is discovered when he eats too many sweets and gets sick .
displaying the essence of poetic realism, the film was moody and atmospheric, involving characters locked into circumstances beyond their control. careful attention was paid to elements such as lighting, detailed sets and music. composer kosma set prévert' s poem
les feuilles mortes
to music, and the distinct melody formed the basis of a popular song that became known in the united states as
autumn leaves .
the melody befitted a film whose overwhelming effect is best described as haunting .
le jour se lève especially epitomized poetic realism, as it focused on working - class people and had a fatalistic, tragic plot. released in france in december 1939, during the occupation, just before the start of world war ii, the film was banned by french authorities because of its defeatism .
french film director marcel carné (1906–1996) is regarded as one of europe' s great filmmakers. though he had a long career, his reputation rests on the six films he made from 1937 to 1945. one of the films in that period, les enfants du paradis (1945), is regarded by critics and film historians as one of the greatest movies ever made. in his best works, he collaborated with popular french poet and screen - writer jacques prévert .
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movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
figure 2. - - nello in the film wears dutch boy bangs. how accurate this is i do not know .
would not be hollywood' s last word on the story. the film was remade for a fifth time in 1999, this time starring jack warden as the grandfather and jon voight as the artist .
turk, edward baron, child of paradise: marcel carné and the golden age of cinema, cambridge, massachusetts, 1989 .
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marcel carné was still only thirty - six and at the height of his fame when the war ended. younger than most of those who now came to the fore, he had already made masterly films in two quite different contexts and it seemed inevitable that he would continue to be a dominant force in french cinema despite the changed circumstances of the postwar era. but in fact the first post - war carné - prévert film, les portes de la nuit, was an expensive flop. when a subsequent film, la fleur de l' âge, was abandoned shortly after production had begun, one of the most fruitful partnerships in french cinema came to an end. carné directed a dozen more films, from la marie du port in 1950 to la merveilleuse visite in 1973, but he was no longer a major force in french filmmaking .
when world war ii ended, and les enfants du paradis was released, carné was still a young man—he was only in his late thirties—and his future seemed bright. however, his first post - war film, les portes de la nuit, which returned to the pre - war concerns of poetic realism, was an expensive failure, despite a script by prévert .
the film also marked the start of ongoing collaborations with set designer alexandre trauner and composer joseph kosma. previously, carné and the hungarian - born trauner worked together on feyder' s la kermesse heroique .
carné' s masterpiece is les enfants du paradis, shot during the war years but released only after the liberation. running for over three hours and comprising two parts, each of which is of full feature length, les enfants du paradis is one of the most ambitious films ever undertaken in france. set in the twin worlds of theatre and crime in nineteenth century paris, this all - star film is both a theatrical spectacle in its own right and a reflection on the nature of spectacle. the script is one of prévert' s richest, abounding in wit and aphorism, and carné' s handling of individual actors and crowd scenes is masterly. the sustained vitality and dynamism of the work as it moves seemingly effortlessly from farce to tragedy, from delicate love scenes to outrageous buffoonery, is exemplary, and its impact is undimmed by the years .
carné' s second feature film, drôle de drame (bizarre, bizarre), a crime / comedy / fantasy released in 1937, was a great improvement over jenny, due in large part to prévert' s contribution. the film itself has been described as peculiar, and it initially confused french audiences. it reflected prévert' s taste for the absurd and the surreal. the story is set in england in the early 1900s, and the filmmakers took aim at the bourgeoisie. today, its blend of
screwball comedy
elements and dark humor seem ahead of its time .
in between quai des brumes and le jour se lève, carné released hotel du nord (1938), with a script written by jean aurenche instead of prévert. still, it was a fatalistic romantic melodrama, like the other two films .
the acting in this version of ouida' s sentimental story of a poor young boy who wants to be an artist definitely has its issues in terms of speaking lines; even o. p. heggie, usually a very reliable talent, is poorly modulated. this i lay solely at the feet of the director, edward sloman, who had been directing for twenty years. however, even though a dialog director might have aided some of the performances, the visuals in this are outstanding - - a hallmark of sloman' s work and veteran cinematographer j. roy hunt. the voice direction may be poor, but the physical acting is just fine. given the story - - and the dialog - - references to rubens, it should come as no surprise that the images refer to the artist, and make the point of the story thereby: that beauty is everywhere for those who can see it, and that faith hope and charity will be rewarded. this may seem a naive sentiment in this day and age, but when was there a day and age where these virtues were not threatened? surely a simple story is the place to begin to tell a simple tale .
marcel carné was an unfashionable figure long before his directing career came to an end. scorned by a new generation of filmmakers, carné grew more and more out of touch with contemporary developments, despite an eagerness to explore new subjects and use young performers. his failure is a measure of the gulf that separates 1950s and 1960s conceptions of cinema from the studio era of the war and immediate prewar years. he was, however, the epitome of this french studio style, its unquestioned master, even if—unlike renoir—he was unable to transcend its limitations. while future critics are unlikely to find much to salvage from the latter part of his career, films like drole de drame and quai des brumes, le jour se lève and les enfants du paradis, remain rich and complex monuments to a decade of filmmaking that will reward fresh and unbiased critical attention .
) she has a romantic partner with good looks, modest charm and considerable ability .
. interestingly marie louise de la ramée (otherwise known as
ouida
) and not a dutch writer. this is arguably the most famous story about a dutch boy and it telling that it was written by an english and not a dutch writer. (hbc has commented in the
by this time, carné' s career had fallen victim to changing film fashions. his brand of studio - anchored film had been replaced by the
new wave
cinema, advanced by young directors such as francois truffaut and jean luc godard. the works of these new directors took filmmaking outside of the studio and into the streets. their films were low - budget productions made on location and featuring relatively unknown or non - professional actors. this combined to create a greater sense of reality. further, the films possessed a spontaneous and improvisational feel that made older, studio - bound films feel artificial and passé. the emergence of this new style provoked carné to comment ,
the new wave assassinated me. but then it assassinated the cinema, too .
however, his condemnation was far too harsh, as the
new wave
brought new life into the cinema .
the film had a pungent atmosphere developed, in large part, from carné' s characteristic careful attention to detail. carné and set designer trauner created an apartment set as a single unit without movable walls. in addition, carné, seeking realistic effect, insisted that real bullets be used for the scenes when the police fire upon francois' apartment .
in 1953, he filmed thérèse raquin, an adaptation of the emile zola novel. the film was a popular success, but critics were less enthusiastic than the public. his next four films, l' air de paris (1954), le pays d' òu je viens (1956), les tricheurs (the cheaters, 1958), and terrain vague, had nowhere near the impact of his earlier work .
carné issue
of cahiers de la cinémathèque (perpignan), winter 1972 .
though their previous films were banned during the occupation, carné and prévert were allowed to continue working together. in addition, carné continued working with trauner and kosma, but the collaborations had to be conducted in secret, as the set designer and the composer were both jewish. however, carné was limited in what he could depict on film. contemporary events were off limits under the german occupation, and films reflecting the pessimistic poetic realism were forbidden, so carné and prévert turned to historical subject matter. this resulted in a new visual style. instead of working in the gray shades of urban, working - class despair, carné turned to the more ornate and theatrical look of the period - film spectacle. made in 1942, les visiteurs du soir (the devil' s envoys), a costume romance - drama, was an allegory about love and death set in medieval times. though the film was successful at the time, it has aged badly .
carné was born on august 18, 1906, in paris, france. he was the son of paul and maria (recouet) carné. he was educated at the education ecole d' apprentissage du meuble in france, and worked as an apprentice cabinet maker and an insurance clerk in the mid - 1920s. in the late 1920s, he broke into film. in 1928, he worked as an assistant to cameraman georges périnal on les nouveaux messieurs, for director jacques feyder, who would influence both carné and the direction of french cinema. the following year, carné made his first film, a short documentary entitled nogent, eldorado du dimanche. he also made a number of publicity shorts, but his documentary so impressed rene clair that, in 1930, the great french director hired carné as his assistant director on sous les toits de paris (under the roofs of paris) .
the various advocates of either prévert or carné have sought to make exclusive claims as to which brought poetry to the nebulous and ill - defined
poetic realism
that these films are said to exemplify. in retrospect, however, these arguments seem over - personalized, since the pair seem remarkably well - matched. the actual differences seem less in artistic approach than in attitude to production. from the first, carné, heir to a particular mode of quality filmmaking, was concerned with an industry, a technique, a career. prévert, by contrast, though he is a perfect example of the archetypal 1930s screenwriter, able to create striking star roles and write dazzling and memorable dialogue, is not limited to this role and has a quite separate identity as surrealist, humorist and poet .
historical / mythological / devotional less popular socials diversified - thriller. comedy, melodrama - retained musical / dance numbers hindi film dominates - bombay made
all indian
films
this overly melodramatic theater piece looks like it' s produced by monogram, but in fact was made by a major studio - rko. can be seen as cute in it' s amateurish presentation, but i' m pretty sure there are a lot better versions of the story to be tracked down .
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based on the louis l' amour story
the gift of... more info
was only the fifth film clark directed and just the second of his animal flicks but already he seemed to have perfected the child - animal formula. the child, in this case, was played by relative newcomer david ladd. he had appeared in only three films before
who very nicely plays the sensitive little dutch boy - - nello. david was the son of film star alan ladd and hollywood agent sue carol, david ladd began his career as a sensitive, brandon dewilde - type juvenile actor. david was quite effective in such family - oriented the girl is alois played by monique ahrens. grandfather is played by donal crisp. he played these parts beautifully. he is probably most famous for his depiction of the father in the welsh classic ,
gillett, john ,
salute to a french master ,
in radio times (london), 2 march 1985 .
starring rex reason. clark' s work as a features director was limited; he directed fewer than fifteen films compared with his fifty - plus editing credits. the best of these starred child actors and animals. along with
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figure 1. - - nello is seen here in his cap and smock. both him and his grandfather wear wooden shoes. the dutch smocks are notable because they are so short - - looking much more like a shirt or jacket than a smock .
( 1958) again with his father, ladd won a golden globe for best juvenile performance. in 1959, he made both
nello in the movie wears as was to be expected
dutch boy bangs
. how accurate this was i do not know. these hair cuts in the netherlands are referred more a page - boy bangs. dutch boys did wear them, but they were only one of many styles worn. i' m not precisely sure why this hair style became known as
dutch boy bangs
in america. even in th film, not all of the boys wear bangs. readers may want to look at the information we have collected on
carné' s best work resulted from his collaborations with prévert and included quai des brumes (port of shadows, 1938), le jour se lève (daybreak, 1939), les enfants du paradis (children of paradise, 1945) and les portes de la nuit (gate of the night, 1946) .
carné, marcel .
encyclopedia of world biography. . retrieved july 09, 2018 from urltoken urltoken
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le quai des brumes issue
of avant - scène du cinéma (paris), 15 october 1979 .
the previously successful collaborators next began work on la fleur de l' âge, but the film was abandoned soon after production started. it turned out to be the last time that carné and prévert worked together. carné' s career would continue, lasting until the 1970s, but his films never reached the levels of his earlier efforts .
( 1960) directed by james b. clark. david ladd did a wonderful job as nello. there are several japanese animated versions .
international dictionary of films and filmmakers, volume 2: directors, fourth edition. st. james press, 2000 .
carné, marcel .
international dictionary of films and filmmakers. . retrieved july 09, 2018 from urltoken urltoken
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carné, marcel .
encyclopedia of world biography. . encyclopedia. com. (july 9, 2018). urltoken
lodge, j. f. ,
the cinema of marcel carné ,
in sequence (london), december 1946 .
as much as an improvement that carné' s second feature represented, it was quai des brumes (1938) and le jour se lève (1939), two more collaborations with prévert, that truly established carné as a major european director. the two films were imbued with the romantic fatalism that typified poetic realism and that would characterize this era of french cinema. in the films, lovers find fleeting happiness in a violent and bleak world .
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tendency, rather than movement characters on the edge of society - unemployed - criminals disappointing life. brief, unfulfilled last chance at love
the script for jenny was written by jacques prévert, and the collaboration initiated an ongoing, fruitful professional relationship that helped develop carné' s reputation. prévert, a poet, would write the scripts for most of carné' s greatest films. in his poetry, prévert, who was associated with the surrealist movement in france, blended humor, sentimentality, fatalism and social satire. this style, described as poetic realism, was popular in the years leading up to the german occupation of france and world war ii, and it informed many of his screenplays .
bringing the attitudes of poetic realism into cinema, these films were both lyrical and pessimistic, contrasting or combining dismal reality with an intuited metaphysical realm, and self - determinism with cruel fate. they were characterized by carné' s richly detailed recreations of gritty social environments .
carné, marcel .
international dictionary of films and filmmakers. . encyclopedia. com. (july 9, 2018). urltoken
i' m nor sure why they changed the title, presumably to highlight the role of jackie coogan, the child star playing the little dutch boy .
' today' s cinema' also wrote in 1954 ,
pretty petula clark is as fresh as ever and gives a well - ironed performance. in russell enouch (who later changed his name to
. he also wears long pants cut above the ankles. they may be meant to be kneepants. hbc is not sure as to just what length dutch boys would have worn their pants. both nello and his grandfather wear wooden shoes - - footwear especially associated with the netherlands. while nello' s costuming is similar to photographs i have seen of dutch boys, it is not anything like the illustration in the original book. there are a few fleeting shots of more affluent boys in knicker suits. i' m not sure how accurate this was. while nello' s costuming is similar to photographs i have seen of dutch boys, it is not anything like the illustration in the original book .
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nationality: french. born: batignolles, paris, 18 august 1909. career: worked as insurance clerk, mid - 1920s; assistant to cameraman georges périnal on les nouveaux messieurs, 1928; worked as film critic, and made short film, 1929; assistant to rené clair on sous les toits de paris, 1930; editor - in - chief, hebdo - films journal, and member ,
october
group, early 1930s; assistant to jacques feyder, 1933–35; directed first feature, jenny, 1936. awards: special mention, venice festival, for quai des brumes, 1938. died: 31 october 1996, in clamart, france .
kolker, robert phillip ,
carné' s les portes de la nuit and the sleep of french cinema ,
in post script (jacksonville, florida), fall 1987 .
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( 1957) but it was a part he almost didn' t win. gentle and used to playing with children, spike had to be trained to act vicious. he also required some cosmetic work to look the part; there were some dark spots around his nose that had to be lightened before disney offered him the job as
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further, the new breed of filmmakers did not end carné' s career. rather, he persevered. in 1962, he made du mouron pour les petits oiseaux. this was followed by trois chambres à manhattan (1965), les jeunes loups (1967), les assassins de l' order (1971), and la merveilleuse visite (1974) .
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leonard maltin classic movie guide, copyright 2005, 2010. used by arrangement with penguin group (usa) inc .
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this color production was directed by james b. clark. the movie was filmed on location in belgium, has some beautiful scenes set in antwerp .
cast: david ladd (nello daas), donald crisp (jehan daas), theodore bikel (piet van gelder), max croiset (mr. cogez), monique ahrens (corrie), siobhan taylor (alois) .
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biography for marcel carné ,
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marcel carné ,
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interview, with f. cuel and others, in cinématographe (paris), may 1978 .
comment est ne le quai des brumes ,
in avant - scène du cinéma (paris), 15 october 1979 .
marcel carné sous la coupole ,
in avant - scène du cinéma (paris), 1 july 1980 .
landrey, bernard, marcel carné, sa vie, ses films, paris .
manvell, roger ,
marcel carné ,
in sight and sound (london), spring 1946 .
lambert, gavin ,
marcel carné ,
in sequence (london), spring 1948 .
michel, j. ,
carné ou la clé des songes ,
in cinéma (paris), no. 12, 1956 .
sadoul, georges ,
les films de marcel carné, expression de notre époque ,
in les lettres françaises (paris), 1 march 1956 .
thoraval, yves ,
marcel carné: un parisian à toulouse ,
in cinéma (paris), 14 january 1987 .
charity, tom ,
heaven sent ,
in time out (london), 18 august 1993 .
obituary, in sequences (haute - ville), november / december 1996 .
palm, stina ,
en stillbild ur marcel carnés' pradisets barn ,
' in chaplin (stockholm), vol. 38, 1996–1997 .
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and clean up at the bookies. putting the plan into practice is no easy task, especially as he is also intent on marrying off his daughter to his young friend and fellow miner .
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comic situations abound but fall far short in the execution, which is surprising coming from eminently competent director elvey .
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a dog of flanders is a 1935 american drama film directed by edward sloman , based on a screenplay by ainsworth morgan from the story by dorothy yost , which she adapted from the 1872 novel of the same name by ouida . the film stars frankie thomas , appearing in only his second film ( the first being wednesday 's child ) . 
a dog of flanders is a 1935 american drama film directed by edward sloman, based on a screenplay by ainsworth morgan from the story by dorothy yost, which she adapted from the 1872 novel of the same name by ouida. the film stars frankie thomas, appearing in only his second film (the first being wednesday's child).
a dog of flanders is a 1935 american drama film directed by edward sloman, based on a screenplay by ainsworth morgan from the story by dorothy yost, which she adapted from the 1872 novel of the same name by ouida. the film stars frankie thomas, appearing in only his second film (the first being wednesday's child).