the treasure ( 1923 film )
the treasure 1923 first g w pabst film. dvd - r made by order
urltoken customer reviews: the treasure 1923 first g w pabst film. dvd - r made by order
see all details for the treasure 1923 first g w pabst film. dvd - r made by order
der schatz / the treasure (g. w. pabst, 1923) act i
der schatz / the treasure (g. w. pabst, 1923) act i - youtube
) is a 1923 silent german drama film directed by georg wilhelm pabst. it was pabst' s debut film as a director .
, münchen, drei masken verlag 1923, 8vo. , 267p. illustrated with 14 images from the film .
special retrospectives include
belgina surrealism and film
, which will be accompanied by an exhibit of photographs commemorating rené magritte. on the historical front, the national film archive will be presenting georg w. pabst' s the treasure (1923) .
…film was der schatz (1923; the treasure), about the passions aroused during a search for hidden treasure. his first successful film as a director was die freudlose gasse (1925; the joyless street), which became internationally famous as a grimly authentic portrayal of life in inflation - ridden postwar vienna. his second successful…
the nantucket film festival will host safety last! and the berklee silent film orchestra two nights earlier, june 24, at the nantucket dreamland film & performing arts center .
the classic 1923 romantic comedy safety last! features star harold lloyd famously hanging from a real clock over moving traffic as the camera rolled .
on the surface a straightforward tale of the search for a buried treasure, the film is a textbook example of german expressionism, with the passions of the protagonists conveyed as much through symbolism as action .
the blue bird seen in the beginning of the film is really from bambi .
, [ program for decla - ufa film ], film - kurier, vienna, 1924, 32p .
carl froehlich - film - deulig gmbh production. / scenario by willi hennings and g. w. pabst, from a novel by rudolf hans bartsch. set design by robert herlth and walter röhrig. cinematography by otto tober. / premiered 26 february 1923 in dresden, germany. / standard 35mm spherical 1. 33: 1 format. / the film was first presented in berlin on 23 april 1923 in berlin, germany. the film was released in the usa by film arts guild on 23 november 1929 .
this article is about the 1951 animated film. for other properties, see alice in wonderland. for the 2010 live - action film, see alice in wonderland (2010 film) .
young goldsmith journeyman arno comes to the village to work on the ornamentation of the clock just cast by the master. soon, he and beate fall in love. one night, they see svetelenz looking for the treasure with a dowsing rod. beate convinces arno that he should find the treasure in order to marry her. arno deducts that a treasure dating from the ottomans time can only be hidden in the foundations and soon finds the place where it seems to be hidden. svetelenz tells the master that he has found the treasure and that they should get rid of the goldsmith who also knows about it .
is not. keep in mind that there are many works published works before 1923 that were later revised (e. g. , dale carnegies
the master and his wife take the treasure to their room and svetelenz starts digging furiously into the main pillar of the house to see whether there is some gold left. his strikes make the house collapse, burying svetelenz, the master and his wife with the treasure under the rubble. arno and beate walk out of the forest into the light .
this film features more individual songs than any other disney film. fourteen original songs are included in the seventy - five minute run time .
we don' t have enough data to suggest any movies based on the treasure. you can help by rating movies you' ve seen .
the martha’s vineyard film society presents harold lloyd ’s 1923 silent film gem safety last! with an original score performed live by the 11 - member berklee silent film orchestra, and conducted by four student composers. the special event takes place thursday, june 26, at 7: 30 p. m at the martha' s vineyard film center in vineyard haven. general admission tickets are $ 30, $ 25 for members, and are available at urltoken .
the oldest film on the site is the 1917 namakura - gatana (the dull sword), the earliest anime still in existence. japan’s fledgling animation industry was hit hard by the great kantō earthquake of 1923, which destroyed many of the first anime films. the dull sword was rediscovered in an antique market by an osaka film historian in 2007 and expanded with additional footage in 2014 .
one helpful rule - of - thumb is that all works published in the united states before 1923 are in the public domain in the united states. in addition to pre - 1923 works, there are also millions of other works that have fallen into the public domain for either (a) failure to renew; or (b) failure to affix a proper notice .
even though it diverts from the original novel, the film is still ultimately a tragic, triumphant story .
film chronicling the life of zachariah, a black south african living under the rule of the harsh apartheid government in 1959 .
in and around a bell maker near marburg (today slovenia) people tell the story of a treasure that was hidden during the turki invasion of 1683, the year the turkish army was besieging... see more »
i was less interested in the audience’s reaction than in trying to actually match the film. in other words, the film became my audience and if i matched the scene well then that was my definition of success .
in and around a bell maker near marburg (today slovenia) people tell the story of a treasure that was hidden during the turki invasion of 1683, the year the turkish army was besieging... see full summary »
master bell - founder balthasar hofer, his wife anna, their daughter beate and his journeyman svetelenz live in a house rebuilt after its destruction by the ottomans in 1683. the master tells that it is rumoured that a treasure had been buried at the time. svetelenz, who is convinced that the treasure is hidden in the house, hopes that if he finds it, he will be able to marry beate .
alice hides the gardeners so that they will not be beheaded, but in the film this does not happen .
( 1928). the studio was founded in jacksonville, florida by the director of this film, richard edward norman, and astonishingly, the original facilities have survived intact as the norman studios silent film museum in jacksonville .
at the last year' s 33rd edition of the karlovy vary international film festival, the main prize, the
crystal cube
, went to the canadian filmmaker charles binamé for his film streetheart. the special jury award and the fipresci prize were won by the russian director karen shakhnazarov for his film the day of the full moon. for comment on the juries' decisions and about the festival in general, we turned to andrey plakhov, eminent russian film critic and vice - president of fipresci .
after trying unsuccessfully to burn arno alive with molten metal, they send him out of the house with beate to fetch wine while they dig out the treasure. when arno and beate come back home, they find the master, his wife and svetelenz celebrating their discovery. svetelenz offers his share of the treasure to marry beate, but she replies that she is not for sale. arno threatens them with a knife to have his share of the treasure but beate tells him that he should let them have the gold and she leaves the house. after a moment of hesitation, arno follows her and they walk away together .
pabst commissioned an original musical score from max deutsch for the film. in structure, deutsch' s
meanwhile, the less muscle - headed arno reasons that if the treasure does indeed exist it must have been concealed in the oldest part of the house, namely the central supporting pillar in the basement. sure enough, the treasure is discovered and svetelenz and his employer are soon plotting to get rid of arno. svetelenz offers to give up his share of the treasure in exchange for the bell founder' s daughter. beate refuses to be sold and leaves with arno, who has narrowly escaped an attempt on his life. as the bell founder and his wife revel in their newfound wealth, svetelenz returns to the supporting pillar and begins attacking it with a hammer, convinced that even greater treasures lie within ...
2018 © san francisco silent film festival. true art transcends time. all rights reserved .
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 .
the disney wiki has a collection of images and media related to alice in wonderland (1951 film) .
the martha' s vineyard film society is a member - funded nonprofit arts organization dedicated to screening the best in independent films, movie classics, documentaries, and world cinema for diverse audiences of all ages throughout the calendar year. the film society runs the martha' s vineyard film center at the tisbury marketplace (vineyard haven), consisting of the marilyn meyerhoff theatre, a 180 stadium - seat configured dci cinema and stage, educational offices to carry out its mission. it also produces the annual martha' s vineyard international film festival and the filmusic festival. in 2013, the film society presented more than 100 feature films and hundreds of shorts to more than 25, 500 patrons at its film center .
safety last! is one of the most enduring silent film classics of all time. the film features the acclaimed comedic genius harold lloyd and boasts an iconic image of cinematic history—that of lloyd dangling from a giant clock on the side of a building over a bustling los angeles street. lloyd, who is among the ranks of silent screen comic greats charlie chaplin and buster keaton, and actually led the pack as the biggest box office star, navigated his own hilarious and daring stunt work. the quintessential motion picture treasure is in the library of congress’ national film registry. meticulously preserved for decades by the harold lloyd estate, the martha’s vineyard film society will present a gorgeous new digital restoration from janus films, sourced from an original nitrate print .
initiative, providing funds to commission the compositions and an opportunity to engage students in the process of creating a silent film score .
, boghandel and banner, norregade and kobenhaven, 1926. text in danish with 8 photographs from the film .
was harold lloyd’s fourth and most complex “thrill” comedy. he came upon the idea for the film after witnessing a so - called “human fly” climb up the side of a tall building—a typical spectacle in the stunt - crazed america of the 1920s. nearly 40 years later lloyd recalled the genesis of the film :
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 .
, 1924, 31 - 40, 000th, 4th edition, 270p. illustrated with 24 images from the film .
this film is not currently playing on mubi but 30 other great films are. see what’s now showing
the film is set somewhere in the balkans during the 18th century. a master bell founder, his wife and their daughter beate live in a house with a bell foundry. the house was built on the ruins of an older building that was mostly destroyed when the turks sacked the region in 1683. the bell founder is assisted in his work by the journeyman svetelenz, who lusts after the former' s daughter. a young goldsmith named arno arrives to lend his services and within no time a romantic attachment has developed between him and beate. one day, the bell founder recounts the legend of a fabulous treasure that is thought to have been buried in the region during the turks' attack. svetelenz begins prowling the house at night, convinced not only that the treasure exists but that it is hidden somewhere in the building .
in 1992, congress enacted a law that made renewal automatic for works published between 1964 and 1978. however, if a work was published between 1923 and 1963, there is an excellent chance it may have fallen into the public domain for failure to renew. for example, copyright protection for frank capra' s classic film, & quotit;' s a wonderful life
( 1946) was lost in 1974, because someone inadvertently failed to file a copyright renewal application with the copyright office during the 28th year after the film' s release. notwithstanding, the films owner has asserted rights based upon copyright in the underlying story and musical score which were properly renewed .
a short documentary, punches and streamers: the making of a film score, will precede the feature and show berklee film scoring students and professor sheldon mirowitz during the semester they created the original score for safety last! five - time emmy award winner and emerson associate professor marc fields (give me the banjo, broadway: the american musical), wrote and produced the film with assistance from students from emerson’s mfa in media art program .
drawing inspiration from seafaring adventure books and island fantasies popular at the time, the film stars one - shot actress stella mayo as violet daniels, a recently orphaned young woman who' s left a strange map to buried treasure in the south pacific by her late sea captain father. she recruits jack roper (m. c. maxwell), a schooner owner, to take her on a treasure hunt while the villainous
knife
hurley tags along to steal the bounty for himself. the couple end up stranded on an island where jack' s passions begin to boil, and they name the island
regeneration ,
the site for a final struggle between good and evil .
walt had chosen robert louis stevenson’s adventure classic treasure island as so dear to my heart was wrapping up. he tasked perce pearce and fred leahy to go to england and oversee the production, but walt eventually wound up traveling to europe (ostensibly as a vacation for his wife and children) to help supervise treasure island. disney representative william levy wrote to roy (still back at the studio), that walt had arrived “in excellent spirits and full of confidence. ”
the film was nominated for an academy award for best scoring of a musical picture, but lost to an american in paris .
the gardeners are the two, five and seven of spades, but in the film they are the ace, two and three of clubs. in the book, spades are gardeners and clubs are soldiers .
in and around a bell maker near marburg (today slovenia) people tell the story of a treasure that was hidden during the turki invasion of 1683, the year the turkish army was besieging vienna. everybody think it' s nonsense except for an old worker there, who feels that the treasure must be in the bell maker' s house. a young traveling worker who has fallen in love with the bell maker' s daughter beate makes fun of this, but she convinces him that the old worker is not that nuts. so he starts searching for himself, and soon he finds it, as well as the old worker. he tells his master, who decides, that the young one has to disappear. he and beate are leaving, while the old worker offers his part of the treasure to the master if he allows him to marry beate. beate, after coming home, hears of that and leaves together with the young worker .
tip: pre - 1978 works what are in the public domain because they were published without proper copyright notice, or, in the case of pre - 1964 works, were not timely renewed, do not receive retroactive protection under the ctea. similarly, works published before 1923, do not receive retroactive protection, and remain in the public domain .
sailors’ song (arranged by charles wolcott) emerges out of the end of the “prelude” in the finished film, as the ship on which joel shore is first officer reaches new bedford harbor .
is not confined to lloyd scaling the skyscraper; the five reels that lead up to the climb provide the necessary context for it. lloyd’s impersonation of the store manager sets up one of the film’s dominant themes, illusion, which is conveyed not only through lloyd’s role, but also through the camera’s role in making the audience believe the impossible. the idea is set up in the film’s first shot: lloyd depicted behind bars, until the camera backs up to reveal the truth .
in and around a bell maker near marburg (today slovenia) people tell the story of a treasure that was hidden during the turki invasion of 1683, the year the turkish army was besieging vienna. everybody think it' s nonsense except for an old worker there, who feels that the treasure must be in the bell maker' s house. a young traveling worker who has fallen in love with the bell maker' s daughter beate makes fun of this, but she convinces him that the old worker is not that nuts. so he starts searching for himself, and soon he finds it, as well as the old worker. he tells his master, who decides, that the young one has to disappear. he and beate are leaving, while the old worker offers his part of the treasure to the master if he allows him to marry beate. beate, after coming home, hears of that and leaves together with the young worker. written by stephan eichenberg
the bulk of this combined cue (0: 47–3: 15) is the same as track 3, rózsa’s recording of “proposal” for joel and priscilla’s romantic scene early in the film. for the finished film, however, salinger added a 0: 35 introduction (“priscilla and joel”) in order to begin the music earlier in the scene .
i loved the setting and the grotesqueness of the characters and storyline. saw this as part of the saturday afternoon double bill at the silent film festival at the hippodrome in bo' ness. overheard a lot of people moaning about it afterwards, but in fact it was a much better film than the chinese film that was screened just before. a good, tight narrative, interesting characters, an amazing cavernous setting. gorgeous beds! lucie mannheim, who plays the beautiful daughter of the house, was jewish and left germany in the early thirties. she ended up appearing in a number of films in england over the next few decades. the film is famous for having had a symphonic score written for it in…
alice in wonderland is the thirteenth animated feature film produced by walt disney in the disney animated canon and originally premiered in london, england on july 28, 1951 by walt disney pictures. lewis carroll' s books alice' s adventures in wonderland and through the looking - glass had only a few adaptations before this movie; this adaptation solved the problems of the setting by using animation (the next adaptation wouldn' t come until 1972, two decades later). the film features the voices of kathryn beaumont as alice (also the voice of wendy darling in the later disney feature film, peter pan) and ed wynn as the mad hatter. made under the supervision of walt disney himself, this film and its animation are often regarded as some of the finest work in disney studio history, despite the lackluster, even hostile, reviews it originally received, especially in the uk. even those that have made the film, including walt disney himself, didn' t like the film, though it did receive an academy award nomination for best original score .
according to gabler, walt was “unusually involved in post - production” on treasure island. he had asked pearce and leahy to airmail him specific takes for editing, and after a test screening in january, walt ordered them to cut several minutes and swap the musical score for something more “forceful. ” afterwards, he had the editor fly from england to los angeles, so walt could be more involved in editing the film himself .
, münchen, drei masken, 1924, 16 - 30, 000th, 3rd edition, 368p. illustrated with 24 images from the film .
, ufa - decla - film. 1. film: siegfried. 2. film: kriemhilds rache. (bln. 1924). kl. - 8°. 24 s. mit 10 taf. in kupfertiefdruck. okt. mit kordelheftung. - letztes bl. in der oberen ecke leicht angeschmutzt. original - filmbuch zur legendären fritz lang - verfilmung. selten .
“after the war we still had the frozen fund situation in europe, ” walt said later. “so, in order to get the funds out of england, they wanted me to go to england and do something. i had this story treasure island i had wanted to do, and i suggested we go over and do treasure island and that way we’d use our funds. making a picture over there seemed the most logical way of making use of these frozen funds. ” he added: “all in all, the project worked out very well, and i believe we are getting a very good picture. ”
as always, criterion’s supplements are strong. apart from some interviews, a silent d’oyly carte promotional film, and a booklet by experts, ko - ko’s song, “i’ve got a little list, ” which was cut from the film, is a very welcome addition .
in the book, inside the
eat me
box, are cookies (although some retellings change it to a slice of cake), while they are chocolate bombons in the film .
this cue is not heard in the finished film but was likely written for the departure of the nathan ross from new bedford: a typically confident version of the main theme is backed by shimmering string accompaniment (a slower version of the theme was used in the finished film; see “departure, ” track 18). the cue softens and transitions to the love theme, presumably intended for a scene aboard ship between joel and pris .
a wee bit like a german expressionist the postman always twice with bits of the tresure of the sierra madre (or maybe treaspass !). i liked the way the house the film was set in became more nightmarish, like it was turning into a throat to swallow the protagonists .
all footage and photographs courtesy of the national film center at the national museum of modern art, tokyo. portions of original material provided by matsumoto natsuki for namakura - gatana (the dull sword; longest, digitally restored version). original material provided by planet film archive for ponsuke no haru (spring comes to ponsuke) .
deciphering the universality of oshii mamoru’s “ghost in the shell” with hollywood producing a live - action version of his 1995 animated movie ghost in the shell, famed anime director oshii mamoru’s original kōkaku kidōtai is back in the spotlight. anime researcher hikawa ryūsuke explores the impact that oshii’s landmark film has had on science - fiction film, both in japan and abroad, and the universality of its challenging themes .
a new website from the national film center at the national museum of modern art, tokyo, allows viewers around the world to see early animated films from japan. read on for a guide to some of the highlights .
the independent vision of anime filmmaker shinkai makoto a look at the rise of shinkai makoto, the anime director whose latest film your name has become a record - breaking hit. the second of a two - part series .
the flamingo from the carnival of the animals segment of fantasia 2000 resembles the flamingos used by the queen of hearts .
a. : the karlovy vary international film festival is one of the three oldest film festivals in the world, along with the festivals in venice and cannes. its first edition was in 1946, immediately after the war and from 1950 through 1958, it took place annually. as of 1959, it became biannual as it alternated with the moscow international film festival. during the period of relative political relaxation, known as the prague spring [ 1963 - 1968 ], it broke free from the ideological control, only to suffer a much stricter constraints after the crushing of the prague spring in august of 1968. in one word, it has had its share of good and bad times. nowadays, at the expense of the receding reputation of its most serious competitor, the moscow international film festival, karlovy vary is becoming the principal meeting place where western filmmakers can meet with the cinemas from central and eastern europe. that is why films from central and eastern europe enjoy such a high profile representation in the competition program; in the permanent panorama section east of the west, as well as at the film market, organised for the first time last year .
conrad salinger when—presumably from the timeline (august 1953) —rózsa was on his summer holiday in europe and unavailable to rescore altered scenes. (in retrospect, a few revised cues from other composers in this film seem like a small price to pay for the popular violin concerto, op. 24, which rózsa composed during this particular “lay off” period !) disc 7, tracks 16–26 present these revised cues from the finished film along with the film’s choral source music (for sailors at work) .
on the film aggregation website, rotten tomatoes, the overall rating of the film is a
fresh
79% from 26 critical reviews with an average rating of 6. 6 / 10. its consensus states that
a good introduction to lewis carroll' s classic, alice in wonderland boasts some of the disney canon' s most surreal and twisted images .
the berklee silent film orchestra (bsfo) is dedicated to composing new, original scores for silent feature classics, and performing them live - to - picture. based at berklee, in the world’s only undergraduate degree program in film scoring, the student orchestra composes its new works, and performs as an ensemble, under the leadership of mirowitz (outside providence, missing in america). to date, the bsfo has scored seven iconic silent features, all commissioned by the coolidge corner theatre in brookline, massachusetts, as part of the theater’s sounds of silents program, which champions silent film music performance. the recipient of a special commendation from the boston society of film critics, the bsfo has also performed in boston’s emerson / cutler majestic theater and the john f. kennedy center for the performing arts in washington, d. c .
the young lovers are most at home in the pastoral landscape that surrounds the sinister looking bell house, basking in the eden that is nature' s real treasure; the others, ugly in both action and appearance, look as if they are part of the fabric of the twisted building that ensnares them with its hidden fortune. otto tober' s stylish chiaroscuro cinematography has a unique poetry that lends a picturesque beauty to the exteriors and a crushing mood of claustrophobia to the interiors. the lighting and set design work hand - in - hand to underscore the moral and psychological gulf that separates the two sets of protagonists, dividing the good from the bad, the rational from the irrational, the favoured from the doomed .
a. : in a way, yes. for most of the films, included in the program, were recycling a similar plot about individuals who become either reluctant avengers or killers against their own will. and i have in mind not only [ the russian director ] roman balajan' s two moons, three sons, but also the czech film sekap must be killed and the kazakh film killer .
rózsa intended a tragic, redemptive setting of mark’s theme to underscore the final moments before his death, but this musical material had to be cut from the film along with the footage. stewart granger discussed the deleted scene in his memoir ,
was crafted in two formats: a film score and a stand - alone symphonic work. the five act symphony survived because its manuscript was donated to the deutsches filminstitut in 1982, shortly before deutsch died. in 2002, deutschlandradio berlin collaborated with the staatsphilharmonie rheinland - pfalz, conducted by frank strobel, to produce a record of
this extremely rare and totally unknown symphonic work
. the recording became the foundation of a
synchronized restoration
of the film. as film music the
piece is scored for a theater orchestra of the kind typically found in european cinemas of the day
. it brings to mind the work of kurt weill and stefan wolpe, and foreshadows max steiner' s modernist film scores, adopting expressionist atonal twelve tone leitmotifs. mood setting and character are developed; pianos appear throughout .
featuring grotesque personifications of avarice that could have snuck in from a coen brothers film, this largely seems an excuse to indulge in rather simplistic visual contrasts between purity and sin. definitely not a great film, but the spectacular finale and a few inspired insert shots (e. g. the pot boiling over) make it worthwhile .
this change can be seen in miniature in the three films on the site. in the first two, released in 1933, private norakuro begins as a bumbling, comic character. by the third film, norakuro gochō (corporal norakuro, 1934), the dog is much more heroic, as he foils an enemy plot. for a less politically charged murata menagerie, try his 1928 film dōbutsu orinpikku taikai (the animal olympics) .
works created before january 1, 1978, were until recently protected for a total of 75 years, provided, certain copyright renewal formalities were followed. the ctea amended the copyright act by extending the term of protection for works currently in their renewal term from 75 years to 95 years. under the new law, any work published in 1923 (which would have otherwise fallen into the public domain on january 1, 1999), will now be protected until january 1, 2019 .
on the other hand, there are the marvelous performances of the three d’oyly carte actors, particularly green and granville, who were among the greatest members of the troupe during its long history. having a record of this pair in such important roles is a treasure. and constance willis, a british stage actress whose only film this was, does an excellent job as katisha, bringing in a deft humor that one seldom sees in this dour character. moreover, the postures and gestures are faithful reproductions of the d’oyly carte company’s approach. until the copyrights ran out on the operettas, those who wished to produce them theatrically were given copies of the scripts with all the staging details written in; these had to be followed exactly. the same was true for both film versions of the mikado. the poses of the young ladies in “three little maids from school, ” with mincing gait, tilted heads, and coyly raised arms, are the same ones that all singers playing these roles would have replicated, as the vintage poster shows :
ne of the most important gifts authors and publishers have been given is the treasure trove of creative works known as the public domain (pd). when a work passes into the public domain it can be used without permission or charge because no one owns it. however, great care must be taken to determine if a work is truly in the public domain. this article addresses recent changes in the law, and provides information to help readers negotiate the sometimes daunting public domain maze .
the second - oldest film, urashima tarō (1918), was found at the same time as the dull sword and is the only other work on the site dated before 1924. at just over a minute long, it dashes through the plot of the classic japanese fairy tale, often compared to “rip van winkle. ”
according to a 1961 copyright office study less than 15% of all registered copyrights have been renewed. for books and other textual materials, that number jumps to more than 90% . if you are interested in older  permission free  works published between 1923 and 1963, you will need to investigate whether the works copyright was renewed. in this case, youll need to do a copyright search by contacting the
q. : the renewed fame of the festival is understandable. after all, its last year' s 33rd edition marked the 30th anniversary of those unforgettable and triumphant festival days in july of 1968, immediately followed by the tragic events [ of the soviet invasion ] in august. what is the place of the festival on the contemporary international film festival map ?
when the film goes into sylvia’s backstory, i was glad because it allowed me to lighten the mood and introduce the young man who was sylvia’s brother and the folksy character of the big - eyed tattletale [ efrem ]. there is humor there and it allowed me to work that in .
contrary to popular opinion, the knave of hearts does appear in the disney version, but he is reduced to a fleeting cameo at the end of the march of the cards; also he is presented as an actual playing card, in contrast to the king and queen of hearts who in the film are presented as human, albeit grotesquely sized .
the fish watching the walrus that lures the oysters away look exactly the same as the fish (albeit recolored) that watch pinocchio search for monstro the whale in pinocchio .
far more famous is pabst’s second film, the joyless street. with its controversial subject matter, involving women forced to prostitute themselves in various ways during the era of hyperinflation, the film was repeatedly subject to censors’ cuts—different cuts in different countries. in my first film course ever, in 1970, i remember seeing what was probably the best version available in the usa at the time, but it was far from complete. at least it still retained a pretty good balance between the greta garbo and asta nielsen plotlines. later i saw what was probably the original american release print, butchered down to about an hour. the nielsen plot, where she plays a character who becomes a rich man’s mistress, was all but gone, with the greta garbo plot dominating .
in an effort to retain some of carroll' s imaginative verses and poems, disney commissioned top songwriters to compose songs built around them for use in the film. a record number of potential songs were written for the film, based on carroll' s verses—over 30—and many of them found a way into the film, if only for a few brief moments. alice in wonderland would boast the greatest number of songs included in any disney film, but because some of them last for mere seconds (like
how do you do and shake hands
,
we' ll smoke the monster out
,
' twas brilling
,
the caucus race
, and others), this fact is frequently overlooked. the original song that alice was to sing in the beginning was titled
beyond the laughing sky
. the song, like so many other dropped songs, was not used by the producers. however, the composition was kept and the lyrics were changed. it later became the title song for peter pan (which was in production at the same time) ,
the second star to the right
.
treasure island –the first adaptation of the stevenson story to be in color–was released in america on july 29, 1950. (its big premiere was, of course, in london on june 22 .) “walt disney, whose artistry marked a new era in motion picture entertainment, now sets a new milestone with his first all - live action feature, ” shouted the film’s original trailer. “only walt disney could bring to realistic life and with such dramatic impact robert louis stevenson’s memorable characters. ” the trailer promised a movie full of “daring action” and “breathless suspense, ” and it delivered. the film was a hit. but with such success, the general public was worried that walt would forsaken the animation medium that had made him a household name. he wrote a note to douglas fairbanks, jr. , who shared that worry. “we are not forsaking the cartoon field, ” walt promised .
it gained popularity in the 1970' s due to the
drug
culture fandom at the time, it was released in 1974, and then again in 1981. by the 1980' s the initial consensus proved to be outdated. one of the biggest cult classics in the animation medium, the film gained critical praise and became one of the most popular disney films of all time, as well as one of the most commercially successful disney films (ironically considering it' s initial disappointment). today, it is not only universally considered the best film adaptation of lewis carrol' s novel but one of disney' s greatest classics .
miklós rózsa’s rousing music captures both the grandeur of the film’s sailing sequences and the escalation of the rivalry between the shore brothers. the score is dominated by a malleable melody for joel and the shore lineage, launched by a perfect fifth (ascending for the a section, descending for b), evocative of the sea yet equally appropriate for the film’s complicated love triangle. not one fragment of the main melody is wasted, with even its concluding three - note neighbor - tone figure becoming a motive unto itself in the body of the score. rózsa introduces several more ideas throughout the film, the most prominent of which are a longing love theme for joel and pris, as well as a conflicted offshoot of the main theme for mark’s treacherous behavior. the action sequences brim with line - against - line writing and the composer’s boundless sense of thematic invention; motives are dissected and put back together again, with rózsa creating ingenious new variations on his material right down to the film’s final reel. the general seafaring tone, as well as the brief passages of “island” music (see track 9) even provide a tantalizing glimpse of what a rózsa - composed score to 1962’s mutiny on the bounty (which was scored by bronislau kaper since rózsa was otherwise occupied with el cid) might have sounded like .
one omitted scene from the 1939 treatment of the film occurred outside the duchess' manor, where the fish footman is giving a message to the frog footman to take to the duchess saying that she is invited to play croquet with the queen of hearts. alice overhears this and sneaks into the kitchen of the manor, where she finds the duchess' cook maniacally cooking and the duchess nursing her baby. the cook is spraying pepper all over the room causing the duchess and alice to sneeze and the baby to cry. after a quick conversation between alice and the duchess, the quick - tempered cook starts throwing pots and pans at the noisy baby. alice rescues the baby, but as she leaves the house the baby turns into a pig and runs away. the scene was scrapped for pacing reasons .
from any facet or dimension, the hunchback of notre dame is a true classic in its own right due to its ambition, scope, scale and payoff. however, the real reason to see this film is the incomparable performance of one lon chaney .
the east of the west section features films made in the countries of the former socialist bloc in central and eastern europe. this year the featured nation is kazakhstan (14 films). other films include the hungarian gangster film (g. szómjás) and chinese defence (gábor tompa) and the russian films outskirts (peter lutsyk) and totalitarian romance (vyacheslav) .
though not an outright disaster, the film was never re - released theatrically in walt disney' s lifetime, airing instead every so often on network television. in fact, alice in wonderland aired as the second episode of walt disney' s disneyland tv series on abc in 1954, in a severely edited version cut down to less than an hour. in the disney films, leonard maltin relates animator ward kimball felt the film failed because
it suffered from too many cooks – directors. here was a case of five directors each trying to top the other guy and make his sequence the biggest and craziest in the show. this had a self - canceling effect on the final product .
walt disney himself felt that the film failed because alice the character had no
heart .
the 34th edition of the karlovy vary international film festival will be held from july 2 - 10 1999 in karlovy vary. below are some of this year' s highlights taken from their press release of arpil 1, 1999 .
because of a single image. even people who have never seen a lloyd film are familiar with the iconography of a bespectacled man hanging off the hands of a collapsing clock on the side of a skyscraper high above teeming city streets. it is one of the most celebrated images in cinema .
—and the genius of harold lloyd—continues to dangle over all who attempt to fuse comedy and thrills in the movies. in celebration of the film’s 90th anniversary, a special 2k digital version has been prepared so that this classic comedy can be enjoyed for a second century .
alice grows a lot bigger in the movie than in the book. in the book, she fills the room she is in, while in the movie she fills the whole house .
last modified: friday | november 30, 2012 @ 18: 33 open printable version this entry was posted on thursday | november 29, 2012 at 5: 38 pm and is filed under directors: lubitsch, dvds, film comments, national cinemas: germany, silent film. responses are currently closed, but you can trackback from your own site .
for the finished film, salinger wrote a 1: 33 cue (“disillusion bridge”) that leads into “disillusionment, ” the same (complete) recording as heard in track 13. the extra music covers the dialogue between mark and pris that plants the seeds of doubt in pris’s mind regarding joel’s motives in abandoning the pearls; rózsa intended the music to enter only after pris sets out to confront joel .
en route to worms, siegfried encounters and slays a dragon. he bathes in its blood in order to make his body impervious to swords and arrows. unfortunately, a leaf lands on his upper back, stopping the dragon' s blood reaching him there. this part of his body is therefore made vulnerable. siegfried also encounters alberich (georg john), the dwarf lord treasurer to the nibelungen dynasty. he captures the nibelungen treasure and acquires a magic cloak which makes him invisible and provides him with the strength of many men .
the mad hatter was simply called' the hatter', not' the mad hatter' .
the extras include the original trailer and a documentary on the restoration. an informative booklet accompanies the disc, including a reprint of program notes i wrote when the film was shown at “il giornate del cinema muto” in pordenone. there are optional subtitles in ten languages. the blu - ray and dvd can be purchased directly from alpha - omega. there is no region coding .
it turns out to be a strange mixture. rather than filming the production onstage, like the later version, the producers created much larger but stylized sets in sound studios; there’s never a hint of an exterior. the blocking and filming are stodgy, and kenny baker is barely adequate to his role. i’m not sure this aspect of the film would win converts to the operetta .
hal roach (harold lloyd’s producer) placed bill strother under contract and devised a rough idea of a story involving a daredevil climb. the film was constructed around this comedy sequence and introductory material was later built around it .
interestingly, it was pragmatism that would ultimately get walt to make his first fully live - action feature, in the form of treasure island. following world war ii, the british government had imposed a 75 percent import tax on american films shot in britain and ordered that 45 percent of the films shown in british theaters be made in england. additionally, the french (who agreed to a similar quota, aided largely by the american state department) and british governments had both impounded receipts earned by american studios in those countries, as a way of making sure the currency be spent there .
harold lloyd (the boy) mildred davis (the girl) bill strother (the pal) noah young (the law) westcott b. clarke (the floorwalker )
this is the fourth disney animated classic to have the 2006 walt disney pictures logo at the end of the movie, on current releases .
more recently, disney live - action productions have had an interesting way of honoring the past while pushing the boundaries of imagination, with films like the pirates of the caribbean series (based on the disney parks attraction), this year’s the jungle book (based on the 1967 animated classic), and next year’s beauty and the beast (based on the 1991 animated classic). and just like in walt’s day there is a mixture of real - life adventures, like this year’s the finest hours, futuristic fantasies like tron legacy and tomorrowland, and inspirational sports dramas like mcfarland, usa, or this fall’s queen of katwe. the next disney live - action film is the breathlessly beautiful pete’s dragon, itself a remake of a 1977 film that walt had originally optioned in the 1950’s for a segment of his disneyland tv series. in the circular nature of this tale, the original was a live - action feature … with animated elements.
the treasure ( german : der schatz ) is a 1923 silent german drama film directed by georg wilhelm pabst . it was pabst 's debut film as a director . 
the treasure (german: der schatz) is a 1923 silent german drama film directed by georg wilhelm pabst. it was pabst's debut film as a director.
the treasure (german: der schatz) is a 1923 silent german drama film directed by georg wilhelm pabst. it was pabst's debut film as a director.