paris ( 1929 film )
‎paris bound (1929) directed by edward h. griffith • reviews, film + cast • letterboxd
1929 during 1929, popular recordings and salon - jazz arrangements of songs from die dreigroschenoper are issued .
matrimony - in the 1929 manner! (print ad - the daily news, (( ludington, mich .) ) 24 october 1929 )
françois albera, albatros, des russes à paris, cinémathèque française, paris; mazzotta, milan, 1995 .
* the first academy awards ceremony of 1929 recognized movies from the 1927 / 1928 movie season, while the second ceremony was for 1928 / 1929 movies .
in november 1929, the thirty - one - year - old sergei mikhailovich eisenstein was the world’s most notorious film director. four years earlier ,
september 1929 universal edition publishes the song album, which contains six previously unpublished songs .
jeanne, rené, and charles ford. histoire encyclopédique du cinéma: i, le cinéma français 1895 - 1929. paris: robert laffont, 1947 .
7 february 1929 kleine dreigroschenmusik für blasorchester (december 1928 - january 1929). staatsoper am platz der republik (kroll), berlin, preussische staatskapelle; otto klemperer, conductor .
went into general release with a return engagement at new york’s roxy on september 7, 1929 .
meusy, jean - jacques. paris - palaces ou le temps des cinémas (1894 - 1918). paris: cnrs éditions, 2002 .
5 december 1929 der lindberghflug / der ozeanflug (september - november 1929, second version with music entirely by weill). staatsoper am platz der republik (krolloper); otto klemperer, conductor .
doctors' wives is a 1931 american pre - code romantic drama film made by fox film corporation, directed by frank borzage. the film stars warner baxter and joan bennett. the screenplay was... see full summary »
6 march 1929 supervises the first production of die dreigroschenoper in vienna. in 1929, the work has 46 premieres in germany as well as productions in italy, switzerland, poland, hungary, finland, and the ussr .
boris bilinsky,' le costume', [ le décor, le costume, le maquillage, la technique ], l' art cinématographique, volume 6, librairie félix alcan, paris, 1929 .
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boris bilinsky, metropolis [ pressbook ], ufa and ace (l' alliance cinématographique européenne), paris, 1927. copy held at musée d' histoire contemporaine, paris .
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“nos confrères... ” le film (december 1919): n. p .
22 may 1929 das berliner requiem (november - december 1928, bertolt brecht). frankfurt radio; ludwig rottenberg, conductor .
hidden histories and forgotten stories of people and places from the uk’s key film and tv archives .
portrait of christiane mendelys (a / w / o) in le film, 1919. frc
nozière. “la critique cinématographique. ” le film (december 1919): n. p .
may - june 1929 vacations at hostellerie de la plage, st. cyr sur mer, france, and works on happy end .
april - may 1929 composes the first version of der lindberghflug. weill and paul hindemith each set roughly half of brecht' s text .
carefree, but struggling and penniless young artist, ex - gi jerry mulligan (gene kelly) has remained in paris following world war ii to paint and study art. he explains the lure of paris :
( 1945) at poverty row’s republic studios. he returned to europe in 1951, working in germany as a co - writer on a pabst film as well as writing and directing his final film ,
19 february 1931 premiere of die dreigroschenoper film directed by g. w. pabst, in berlin .
november 1929
die legende vom toten soldaten
and
zu potsdam unter den eichen
( 1929, bertolt brecht). berliner schubertchor; karl rankl, conductor. (
zu potsdam unter den eichen
is arranged from the orginal version written for das berliner requiem. )
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maitres chayette et calmels, [ auction catalogue ], drouot - richelieu, paris, 8 december 1989 .
abel, richard. french cinema: the first wave, 1915 - 1929. princeton, n. j: princeton university press, 1984 .
picard, alfred. exposition universelle internationale de 1900 à paris. rapport général administratif et technique. vol. 7. paris: ministère du commerce, de l’industrie des postes et des télégraphes; imprimerie nationale, 1903 .
an american in paris was only the third musical to win best picture. the two previous winners were: the broadway melody (1929) and the great ziegfeld (1936). the film was also the first to win a golden globe award for best motion picture (comedy or musical) - a newly - created category - in the 1952 awards ceremony .
27 july 1929 der lindberghflug (1929, original version with paul hindemith, text by bertolt brecht). kurhaus, baden - baden, frankfurt radio orchestra; hermann scherchen, conductor. neither weill nor hindemith is pleased with the result. weill had already decided to set the entire text himself .
colette. lettres de la vagabonde. eds. claude pichois and roberte forbin. paris: flammarion, 1989 .
as a talkie, he tapped stalling to score the film. disney was excited when stalling suggested the idea for
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george gershwin wrote an american in paris after visiting paris in 1928. the orchestral piece tells the story of an american swept up in the energy of paris, but thinking of the jazz back home. it' s still such a popular piece that old - timey taxi horns gershwin calls for in the score are rented by orchestras all over the country .
( 1929), writing to his brother and business partner roy: “carl’s idea of the ‘skeleton dance’ for a musical novelty has been growing on me. ”
23 november 1933 writes to lenya from his new apartment: 9 bis place dreux, louveciennes (outside of paris) .
coissac, georges michel. histoire du cinématographe de ses origines à nos jours. paris: éditions du cinéopse, 1925 .
[ trans. : …a very bad film made with all the ignorance of a beginner ] (coissac 405) and this assertion that the film was “unsuccessful” has been absorbed into contemporary film history, perhaps partially contributing to the erasure of mendelys’ name (sirois - trahan 337). yet primary sources from the trade press reveal the centrality of mendelys, wague, and other mimes in the transition to theatrical film. edmond claris, in his november 1, 1909 article in
caused a sensation at the second venice film festival in 1934 but was denied a prize when the vatican objected. when an american distributor tried to import the film, u. s. customs refused to allow it. as frank miller writes in
26 july 1930 travels to unterschondorf (ammersee) to work with brecht, possibly on the film version of die dreigroschenoper .
de rovera, jean. “et nous n’avons pas oublié. ” le film (december 1919): n. p .
borzage’s first sound picture, they had to see paris (1929), starred popular entertainer will rogers and became one of fox’s biggest hits of the year. song o’ my heart (1930) starred irish tenor john mccormack as a great singer who retires to a small irish village after the woman…
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 .
movie poster of the week: metropolis and the posters of boris bilinsky. english language article on film posters by boris bilinsky .
24 december 1933 travels to rome for a production of the
paris version
of mahagonny and der jasager (december 29) .
shimmy from paris, 1922: marek weber' s orch. - ca c' est une chose (that' s one thing )
7 november 1932 writes to universal edition that he has received a commission from the princesse de polignac in paris to compose an orchestral work .
31 october 1933 signs a new publishing agreement with heugel, paris, which guarantees an advance of 4, 000 french francs per month .
george gershwin, whose well - known composition “an american in paris” has a french taxi horn effect that may have been misinterpreted for decades .
hollywood revue of 1929, the * * - mgm' s all - star revue includes a few good songs (
singin' in therain
), but is uneven entertainment .
let america' s foremost humorist show you the wide open spaces of montmarte (print ad - the chehalis bee - nugget, (( chehalis, wash .) ) 6 december 1929 )
26 november 1933 in paris, weill is subjected to a pro - hitler, anti - semitic demonstration, led by composer florent schmitt at a concert of three songs from der silbersee, conducted by maurice abravanel. lenya sells the house in berlin and sends weill some furniture in paris .
mendelys’ film career took off immediately. it was louis feuillade who spotted her talents on the set of l’enfant prodigue and asked that she, wague, and jeanne marie - laurent come to work with him at gaumont. at the time feuillade had just taken over from alice guy as head of film production and was producing one chronophone film per week. in an interview with the cinémathèque française’s historical commission on december 15, 1945, wague recounted the couple’s beginnings in film and remembered that mendelys appeared in “an enormous amount” of feuillade’s chronophone films (12) .
'' besides the nine principle character characters, forty one actors and actresses speak and folies bergeres sequences show a chorus and belle of sixty''. (extract from sun news pictorial 1929 ,
it’s probably in the editing and overall structure of the film that it falls short of that elusive city symphony member’s club badge. if there is an aspirational, symphonic structure to the film, it’s not obvious. the montage from shot to shot largely seems to simply take us from a to b rather than elicit any particular insight. the film is neither avant - garde nor experimental, and while this is a debatable check box for city symphony branding, it suggests that the film is as much about the vision of its sponsor as it is of its artist .
mid - april 1933 brecht arrives in paris from carona, switzerland; together he and weill write die sieben todsünden on a scenario by edward james .
clague spoke to npr about how these different horns affect the overall sound of an american in paris. you can hear more at the audio link .
stilted early talkie (that was once though lost) based on a phillip barry play is basically filmed with a static camera as most films were at the time. a newly wed couple face problems when the husband is chased by an old flame on his business trip to paris. the wife contemplates a fling of her own in retaliation. broadway star ann harding (in her film debut) and fredric march (in one of his very early film roles) are both very natural in front of the camera but the talky subject is pretty dated and the film is a bore .
2 september 1929 happy end (june - august 1929, lyrics by bertolt brecht; play by elisabeth hauptmann and brecht). theater am schiffbauerdamm, berlin; theo mackeben, conductor, erich engel, director. the success of die dreigroschenoper is not repeated, and the play closes after a handful of performances. universal edition does not publish a vocal score. the work is not revived until 1958 .
the names of the movie costumers as were as well known as the paris couturiers. gilbert adrian, orry kelly, travis banton, edith head and later – walter plunkett, whose wonderful costumes for the 1953 film singin’ in the rain, brilliantly parodied the over the top exuberance of 1920s hollywood .
plot :
three friends struggle to find work in paris. things become more complicated when two of them fall in love with the same woman .
3 november 1933 la grand complainte de fantômas (robert desnos). radio paris; alejo carpentier, conductor; antonin artaud, director. largely missing .
george gershwin' s beloved an american in paris features the sounds of taxi horns — but a musicologist argues we' ve been using the wrong ones .
early october 1929 weill considers writing songs for
apollo - brunnenstrasse ,
a play by stefan grossmann with lyrics by franz hessel. hans heinsheimer of universal edition discourages him, and weill drops the project .
june 1929 hindemith' s neues vom tage is played at the krolloper. throughout the summer and fall, weill and universal edition attempt to convince klemperer and the kroll to produce aufstieg und fall der stadt mahagonny .
11 december 1932 acclaimed performance at the salle gaveau in paris of mahagonny songspiel (with four additional numbers from aufstieg) and der jasager conducted by maurice abravanel with lenya and pasetti performing. the concert is sponsored by vicomte charles de noailles and vicomtesse marie - laure de noailles. weill investigates further commissions while in paris .
7 june 1933 die sieben todsünden (bertolt brecht). théâtre des champs - elysées, paris, and june 30 - july 15, 1933, savoy theatre, london; maurice abravanel, conductor, george balanchine, choreographer. this is the first work by weill to be produced in england. weill left paris for italy a week after the opening. a concert of the
paris version
of mahagonny and kleine dreigroschenmusik is presented on 20 june at the salle gaveau .
it would seem that a period of financial hardship brought mendelys to seek work as a film critic. her first port of call was henri - diamant berger’s le film where her good friend colette had previously worked as a critic. in september 1917, wague wrote to colette on mendelys’ behalf to ask whether diamant - berger had given his answer and to identify their current film critic who was writing under the name la femme de nulle part (it was the wife of delluc, ève françis). colette replied that she had not heard from berger, did not know the mystery critic’s name, and advised against such work since it did not pay (colette 126 - 127). from these uncertain beginnings mendelys soon became one of the most influential film critics in paris .
dietrich neumann (ed .), film architecture: set design from metropolis to blade runner, prestel, münchen and new york, 1997, 207p .
innocents of paris * * - maurice chevalier in his american screen debut as a junk man rescuing a child. corny tale. highlight - -
louise .
the hairdressers retaliated with the ‘crop’, the ‘ bob hair cut ‘, the ‘ finger wave ‘ and the ‘shingle ‘ popularized by polish born antoine ‘de paris’ .
machatý was born in prague in 1901. as a teenager, he played piano in movie houses, worked as an actor, and directed his first film ,
leatrice joy in new film ;
a most immoral lady
at the hippodrome is based on stage play. other photoplays. william hain, tenor, sings .
anon. , metropolis - le film le plus fantastique, filmstar edition no. 16 ,
patria
, anvers, belgique, 1 november 1927, 16p .
mr. clague said that between the 1929 recording that gershwin supervised and the 1945 toscanini recording, which seemed to help establish a new performance tradition, there was great variation in how the taxi horns were played. but he said that his musical analysis gave weight to the idea that the pitches used in the 1929 victor recording work best. “george was thinking harmonically and melodically with the taxi horns, ” he said. “it’s not just a sound effect. ”
george gershwin' s beloved an american in paris features the sounds of taxi horns — but a musicologist argues we' ve been using the wrong ones. creative commons hide caption
9' metropolis technology montage # 2', cover of the magazine metropolis - de meest fantastische film, [ belgian ] 1927. for sale in belgium and holland .
the film brought eight academy award nominations and won six of them - none of which were for acting: best picture (arthur freed, producer), best story and screenplay (alan jay lerner), best color cinematography, best color art direction / set decoration, best musical score, and best color costume design. its nominations for director (vincente minnelli) and film editing were unrewarded. gene kelly received an honorary award from the academy the same year, presumably for his contributions to this film - it was presented
in appreciation of his versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film .
nineteen year - old leslie caron made her film debut as the young parisian mademoiselle. it was one of only a few best picture winners with no acting nominations .
an american in paris (1951) is one of the greatest, most elegant, and most celebrated of mgm' s 50' s musicals, with gershwin lyrics and musical score (lyrics by ira and music by composer george from some of their compositions of the 20s and 30s), lavish sets and costumes, tremendous technicolor cinematography, and a romantic love story set to music and dance. gene kelly served as the film' s principal star, singer, athletically - exuberant dancer and energetic choreographer - he even directed the sequence surrounding
embraceable you .
the entire film glorifies the joie de vivre of paris, but it was shot on mgm' s sound stages in california, except for a few opening, establishing shots of the scenic city. nonetheless, it remains one of the most optimistic american films of the post - war period - with paris at its center .
fortunately, one can also find sparse references to her screenwriting work in the cinema press. in an adulatory summary of mendelys’ career for cinémagazine in 1921 we learn that her acting and screenwriting contributions reach beyond gaumont to three other major companies: lux, pathé, and film d’art. according to lucien doublon, “puis elle tourna ensuite chez pathé, chez lux et pour quelques autres firmes disparues à présent. faut - il ajouter que l’excellente artiste est l’auteur de nombreux scenarios qui furent tournés chez pathé, chez lux et au film d’art? ” [ trans. : she then acted for pathé, lux and for several companies that no longer exist. might one add that the excellent actress is the author of many scenarios for films made by pathé, lux and film d’art? ] (20). another rare allusion to her screenwriting work appears in the christmas 1919 issue of le film. in an overview of french film industry figures, a section called “…and we haven’t forgotten” lists mendelys as one of cinema’s first scenario auteurs (de rovera n. p .), and she again appears in the film critics section as a contributor to the daily newspaper le victoire. here, the film critic and scenarist nozière wrote ,
sirois - trahan, jean - pierre. “film d’art. ” encyclopedia of early cinema. ed. richard abel. new york: routledge, 2005. 337 - 339 .
october - november 1930 weill and brecht take legal action against the nero - tobis company for breach of contract arising from unauthorized changes made to die dreigroschenoper in the film version to be directed by g. w. pabst. weill' s complaint is upheld; brecht' s is rejected but the film company settles with him anyway; both collect damages .
back during the roaring 20s, there was a trend for dynamic cinematic odes to the great cities of the modern world. newly available to watch for free online, a 33 - minute short from 1929 shows how liverpool got its own shining example .
glorifying the american girl * - ziegfeld' s only film is downright terrible, the story of a girl seeking stardom in the follies. only of interest as a historical oddity .
is that the musical score and the animated action were planned, designed, and executed in unison. stalling composed the score first, then iwerks animated the film to match the meter and melody. stalling, an accomplished film accompanist, was accustomed to playing his organ in time with motion pictures; now he was able to make the movies match his music .
with the headline: leatrice joy in new film ;
a most immoral lady
at the hippodrome is based on stage play. other photoplays. william hain, tenor, sings .
radio drew the nation together by bringing news, entertainment, and advertisements to more than 10 million households by 1929. radio blunted regional differences and imposed similar tastes and lifestyles. no other media had the power to create heroes and villains so quickly. when charles lindbergh became the first person to fly nonstop across the atlantic from new york to paris in 1928, the radio brought this incredible feat into american homes, transforming him into a celebrity overnight .
i wish i could see this film. it is based on a play written by my grandmother' s brother, clarence edward andrews, not charles andrews. this is not ...
leatrice joy in new film ;
a most immoral lady
at the hippodrome is based on stage play. other photoplays. william hain, tenor, sings. - the new york times
august - november 1931 lenya travels to russia to act in a film directed by erwin piscator. by this time weill is romantically involved with erika neher (caspar neher' s wife) .
december 1929 weill attempts to get the rights to jaroslav hasek' s novel good soldier schweik to set as an opera with a libretto by brecht. difficulties in dealing with hasek' s heirs doom the project; by june 1930 weill has given up the idea .
film had flourished in the region even before there was a czech republic. the first films were shown in prague and karlovy vary in 1896, just months after the lumières’ first screening in france. that same year, amateur photographer jan křízenecky took a movie camera from paris to prague, and two years later made the first czech feature and documentary films, which were also the first in the austro - hungarian empire. prague’s first permanent movie theater opened in 1907, and the city’s first production companies began the following decade. after the establishment of the independent czech republic in 1918, cinema took off. but according to film historian pavel taussig, most of the producers and directors were “crafts and trade persons” and had few artistic ambitions. intellectuals rejected film as an art form, preferring american films. writer and painter josef capek even warned, “garbage is garbaging garbage. ” but by the end of the silent era, intellectuals and artists had begun to embrace film’s possibilities .
christiane mendelys’ career as a mime, actress, film critic, and acting teacher mirrored the major developments in french cinema culture, from the early days of cinema as a music - hall attraction, through the first attempts at “theatrical cinema” for middle - class audiences in the mid - 1900s and the emergence of newspaper film criticism in the mid - 1910s, to, finally, the height of cinema popularity in 1920s paris. however, unlike fellow critics such as louis delluc, émile vuillermoz, and léon moussinac, her contribution to the development of cinema culture in france has been all but overlooked. while their work circulates in edited volumes, accessing the film criticism of mendelys requires entering the ornate corridors of the palais garnier opera house, where newspaper clippings of her writings are archived .
this text was printed from the women film pioneers project at columbia university. to promote readability and conserve consumable resources, images and interactive elements in the digital version do not appear in print format .
jazz singer, the * * - mostly silent, but the brief sound sequences changed film forever thanks to al jolson' s charismatic performance. not solidly entertaining, but the musical sequences are fascinating .
( 1931). it also had a sexual theme, the story of a one - night stand and its consequences. according to taussig, “ [ t ] he films nezval made in collaboration with machatý are the pinnacle of his film work. machatý … managed to make films with a simple plot but an exciting external expression that reflected the internationalism of film, especially during the silent era. ” in
2.' metropolis', 4 sheet poster, (240 x 320 cm) 224 x 303. 5 cm / 96 x 120 inches [ approximate size ]. the large 4 - sheet metropolis poster shown in this photograph is a version of poster # 4 described below. it is only known from this photograph taken from mario von bucovich, paris - the face of the city, paris, 1928, 277p .
but the new critical edition will argue that gershwin’s circled letters were merely labels specifying which horns to play, not which notes. mr. clague, an associate professor of musicology at the university of michigan, mentioned that gershwin handpicked taxi horns to buy during his 1928 trip to paris, and that friends and colleagues recalled that he had been particular about which notes they played. mr. clague also pointed to the evidence of a victor recording of “an american in paris” that was made in 1929, under gershwin’s supervision and presumably using his horns: the taxi horns on that recording sound a more atmospheric, more dissonant set of notes: a flat, b flat, a much higher d, and lower a .
4.' metropolis - mise en scène de fritz lang - scénario de thea von harbou. ace - ufa. présenté par alliance cinématographique européenne. 11 bis rue volney, paris', 1 sheet poster, 120 x 160 cm / 47 x 63 inches, farblithografie, bédos et cie, paris, 1927. signed' boris bilinsky', lower right. collection bibliothèque nationale de france, paris. rené clémenti - bilinsky cat. no. 1032. this simple, yet effective design presents one of the defining images of fritz lang' s film - the stark, monolithic apartment block of the workers underground city, rising ever skyward and devoid of decoration or ornament, in turn overwhelming its residents and those on the street below. the skyscraper came to represent the progress and modernism of the 1920s, and cities such as new york and berlin sought to outdo each other in building ever bigger and taller structures. the skyscraper represented both progress and isolation, and was therefore a somewhat menacing element of the film. this image was also used for the design of the cover of the french metropolis pressbook of 1927, a copy of which is preserved in the musée d' histoire contemporaine, paris. see item # 5 below for a description of that item .
( 1956). according to critic elliott stein, machatý’s “attempts to arrange further projects in his native czechoslovakia led nowhere. ” he ended his career teaching at the munich film school and died in 1963 .
at milo' s party, jerry appears to be the only guest. he admires the would - be patron' s one - shouldered white gown in one of the film' s most famous lines :
22 february 1933 the nazis demonstrate at the second performance of der silbersee in magdeburg, and weill is subjected to anti - semitic attacks. he is also asked to resign from a film project for tobis .
, harmonica - playing animator wilfred jackson had developed a mathematical system of animating to a timed rhythm. disney made marks—a bouncing ball—on a work print of the film to provide a visual representation of the rhythm .
the players in the opening credits are set out in the form of a theatre programme. however, notwithstanding the film takes place in england, the spelling on the programme is the american' program' .
at the start of the decade the couture designs from paris drew mostly from historical lines, with nipped waists and billowing skirts – called robe de style (a trend that was to be repeated in the 1950s) .
, the camera is on her face as she simulates orgasm. the worldwide uproar over the film got hedy a contract with mgm and a new name, hedy lamarr. it got machatý a lot of trouble .
september 1933
es regnet
( after a german text by jean cocteau) and
der abschiedsbrief
( erich kästner), paris. written for marlene dietrich in response to a request for revue and recording material .
watching a day in liverpool it’s clear to see that it was inspired by the city symphony phenomenon, and it shares many of the key characteristics of the form. like berlin: symphony of a city and others, a day in liverpool is structured as a day in the life of the city. the film is bookended by the arrival and departure of a ‘ferry cross the mersey’, as workers pour into (and, later, home from) the city by tram, boat and rail. the film was sponsored by the liverpool organisation, established in 1923 as a partnership between local businesses and the city council to promote liverpool as a prosperous centre of commerce and industry. so it’s not surprising that the ‘day’ of the film is a working one, or that much of the film is given over to the range of economic activities in the area .
it is an integrated musical, meaning that the songs and dances blend perfectly with the story. as in many musicals, the plot of this film is not its most important element. one of the film' s highlights is its impressive finale - an ambitious, colorful, imaginative, 13 minute avante - garde
dream ballet
costing a half million dollars to produce. the pretentious sequence, featuring an impressionistic period daydream in the style of various painters, is one of the longest uninterrupted dance sequences of any hollywood film, and features the music of george gershwin. [ the success of the balletic themes in michael powell and emeric pressburger' s british film the red shoes (1948) inspired minnelli to follow suit - he had experimented with shorter ballet sequences in his earlier films yolanda and the thief (1945) and ziegfeld follies (1946). ]
a small group of companies consolidated their control over the film industry and created the
studio system
that would dominate film production for the next 30 years. paramount, 20th century fox, mgm, and other studios owned their own production facilities, ran their own worldwide distribution networks, and controlled theater chains committed to showing their companies' products. in addition, they kept stables of actors, directors, and screenwriters under contract .
june 1932 proposes four projects to impresario and director erik charell for a series of international productions intended for vienna, paris, london, and berlin. the plan, which eventually involved caspar neher and georg kaiser, never materialized .
7. metropolis press book, 24. 5 x 32cm, ace, paris, 1927, 28p. designed and composed by boris bilinsky. colour cover, similar in design to poster # 3, though with signature' boris bilinsky' upper right, as opposed to centre right. the text of the press book includes a detailed synopsis of the film, plus an item on brigitte helm. it is illustrated throughout with images from the film and original graphics by bilinsky. it also includes a copy of the technology montage # 2 as the centrepiece. this montage later featured on the cover of the magazine issued in belgium for the release of metropolis at the end of 1927 .
singing fool, the * - a show biz vocalist is torn between his career and his beloved
sonny boy .
the top - grossing film of the 1920' s, this cornball tripe is hard to swallow today .
references: illustrated in lucie derain,' les affiches de cinéma - polychromie pour blancs et noirs' [ cinema posters - polychrome for black and whites ], arts et métiers graphiques, no. 22, paris, 15 march 1931 .
lucie derain,' les affiches de cinéma - polychromie pour blancs et noirs' [ cinema posters - polychrome for black and whites ], arts et métiers graphiques, no. 22, paris, 15 march 1931, 201 - 5 .
during the late teens and 1920s, the film industry took on its modern form. in cinema' s earliest days, the film industry was based in the nation' s theatrical center - - new york. by the 1920s, the industry had relocated to hollywood, drawn by its cheap land and labor, the varied scenery that was readily accessible, and a suitable climate ideal for year - round filming (some filmmakers moved to avoid lawsuits from individuals like thomas edison who owned patent rights over the filmmaking process). each year, hollywood released nearly 700 movies, dominating worldwide film production. by 1926, hollywood had captured 95 of the british market and 70 percent of the french market .
oklahoma mechanic pike peters finds himself part owner of an oil field. his wife idy, hitherto content, decides the family must go to paris to get
culture
and meet
the right kind of... see full summary »
the inspirational paris based travelling ballet company ballet russes also came to an end after a 20 year run which had helped revolutionize fashion. its founder serge diaghilev died with substantial debts, forcing the closure of the company and dispersal of its dancers .
pre - code early - talkie film version of philip barry' s broadway hit chronicles the first five years of marriage between james and mary hutton, and the two paramours they deserted who wait patiently - and manipulatively - in the wings .
ultimately, this is what makes the film so appealing today, particularly to the people of liverpool. it is no landmark of film history, nor is it a key example of a filmic genre, or complex vision of an auteur filmmaker. it is a time capsule of a thriving city, unearthed many decades later and filled with remnants of a life that is familiar yet distant. take a look at a diverse, cosmopolitan metropolis that deserves its place in the spotlight .
references: a copy of this poster was sold at the chayette et calmels auction, paris, 8 december 1989, realising 122, 000 francs (us $ 16, 600). the poster was reproduced on the cover of the auction catalogue .
the post 1918 evolution of women’s lingerie in the 1920’s was equally dramatic. by the end of the 1920’s, gone was the cupboard full of billowing snow white linen – layers of day and night chemises, drawers, knickerbockers and petticoats. a young woman by 1929 had but a few sets of cami - knickers and princess slips .
applause * * - helen morgan stars as a burlesque star plagued by tragedy. alternately fascinating and flat, and not much singing, but amazing manhattan location shots and a surprisingly dark plot make this is a must see for dedicated film buffs .
après avoir joué la comédie et la pantomime, christiane wague, qui tourna dans la première bande de 1500m [ sic ] (l’enfant prodigue) le rôle du pierrot fils, fut engagée à la maison gaumont, où elle fut pendant plusieurs années la protagoniste de films nombreux. douée d’une vive imagination, elle écrivit des scénarios pour les maisons gaumont, lux, le film d’art. sous le pseudonyme le rat du moulin [ … ] elle lutte courageusement pour la défense du film artistique, contre tous les philistins, qui veulent en entraver l’essor. sa grande compétence dans le métier cinématographique rend sa critique fort intéressante [ trans. : after acting in theater and pantomime, christiane wague, who played the role of pierrot’s son in the first 1500m [ sic ] film (l’enfant prodigue), signed to the gaumont company where for several years she played the lead role in many films. gifted with a lively imagination, she wrote scenarios for gaumont, lux and film d’art. under the pseudonym le rat du moulin [ … ] she courageously defends artistic film from all the philistines who seek to hinder its development. her great expertise in the cinema industry renders her criticism extremely interesting ] (n. p .) .
the single most significant new instrument of mass entertainment was the movies. movie attendance soared, from 50 million a week in 1920 to 90 million weekly in 1929. according to one estimate, americans spent 83 cents of every entertainment dollar going to the movies, and three - fourths of the population went to a movie theater every week .
in 1926 wall street journal reported that hole - proofs annual sales had increased from $ 2, 037, 000 in 1916 to $ 9, 220, 000 by 1925. a fascinating study of women’s hosiery advertising in the 1920s by jean elizabeth harrison revealed the following graph study of leg exposure in women’s hosiery advertising from 1920 to 1929 .
had a fashionable edwardian lady of 1909 hopped on to hg well’s time machine and zoomed forward just 20 years, she would have thought she was on an alien planet. compared to her ruffles and curves and un - powdered face, the girls around her as she strolled down paris’s rue de la paix, would have seemed emaciated and in desperate need of clothing cover. she would have been amazed by the sheer legs of the 1929 woman, her painted face, her cropped hair, and above all her independent demeanour as she motored about in the amazing horseless carriage – the auto - mobile .
6.' metropolis', 1 sheet poster, 120 x 160 cm / 47 x 63 inches, farblithografie, bédos et cie, paris, 1927. collection bibliothèque nationale de france, paris. design based upon the original release german poster by heinz schulz - neudamm. boris bilinsky did not design this poster. it is likely that this poster was part of the original french release campaign by ace, though this has not been confirmed. it may have been the fourth poster issued with the press book .
plot :
acting under the cover of a hollywood producer scouting a location for a science fiction film, a cia agent launches a dangerous operation to rescue six americans in tehran during the u. s. hostage crisis in iran in 1980 .
art deco style was the dominant feature, not only in fashion, but in all creative arts right on up to 1939. hollywood enthusiastically endorsed this new demure style from the late 1920’s, with imaginative film sets and stunning gowns adorning their female stars .
ann harding movie debut and also one of fredric march' s earliest talkie roles. it' s a product of the quirky year of 1929. they stumble along saying their lines trying their best to sound natural over the mic. but nobody knew what normal was at the time so it' s charming to watch them almost improvise how to communicate their parts. but that' s all. paris bound is among the films that instantly feels dated and doesn' t have much to offer except for a weak attempt at a' modern marriage' story and watch to ann harding be a young unpolished ann harding .
, his euphorically reviewed, highly influential tour de force about mutiny on the eponymous naval vessel, had brought him both acclaim and infamy. infected with wanderlust, eisenstein won permission from stalin to leave russia on a short research trip. he took off in august 1929, with twenty - five dollars in his pocket. he returned home, reluctantly, just under
during the ensuing whirlwind—to berlin, paris, london, then on to hollywood—eisenstein met with the world’s leading intellectuals, actors, and avant - garde artists: james joyce, jean cocteau and robert desnos in france, george bancroft in germany, charlie chaplin, marlene dietrich and gary cooper in the united states. his grand tour often gets overshadowed by his disastrous film collaboration in mexico with the novelist upton sinclair—framed in peter greenaway’s 2015 movie eisenstein in guanajuato— but british culture was a significant and often neglected long - term source of interest .
this classic film poster presents the three incarnations of the film' s heroine maria - firstly, as the innocent, madonna - like maria (bottom - right) who is captured, stripped naked and placed in rotwang' s transformation machine; secondly, as the steely - cold female robot (centre), crafted by the mad scientist rotwang in the image of his beloved hel; and thirdly, as the evil, false maria (top left) who brings death and destruction down upon joh fredersen' s metropolis. the bottom left of the image features a chaotic collage of technological artefacts, a modernistic rubbish dump reflecting the second half of the film during which the robot takes control of the workers and the machines of the city are left to run themselves to the point of destruction .
has' an american in paris' been honking up the wrong key? : deceptive cadence the composition is so popular that old - timey taxi horns gershwin called for are rented by orchestras all over the country. but a musicologist says they' ve been using the wrong ones .
of all the new appliances to enter the nation' s homes during the 1920s, none had a more revolutionary impact than the radio. sales of radios soared from $ 60 million in 1922 to $ 426 million in 1929. the first commercial radio station began broadcasting in 1919, and during the 1920s, the nation' s airwaves were filled with musical variety shows and comedies .
technicolor’s 1932 answer to this decline was even more expensive. the new three - strip process provided much more accurate color representation but also demanded more exacting mechanics and processing. it was a desperate move. technicolor’s annual revenue had fallen to $ 500, 000, from a high of $ 5 million in 1929. only the disney studio was willing to experiment with the new process .
it appeared in the weeks following the wall street crash in october 1929 that the hemline index theory by economist george taylor in 1926 was coming to pass with the unveiling of the chatillon - mouly - rousse autumn collection, where some outfits (not the entire collection) by designer jean patou presented a dramatic drop in hemlines to the ankle and skirts hanging on the natural waist again .
it' s not a pretty face, i grant you, but underneath its flabby exterior is an enormous lack of character. i like paris. it' s a place where you don' t run into old friends, although that' s never been one of my problems .
rob fisher, the musical score adapter and supervisor of the new staging of “an american in paris” currently on broadway, said that he agreed that the a, b, c and d labels were names and not pitches, but that the show had ended up using the standard horns .
russ knutson, the owner of chicago percussion rental in illinois, who rents out tuned horns for “an american in paris” and has played them on occasion, said in an interview that he thought that the currently accepted a, b, c and d pitches “fit exactly in the score. ”
his first book of poems, wand and quadrant, was published in 1953 by collection merlin in paris. three years later a. a. m. stols of the hague published devil, maggot and son. he moved back to london in 1958, and in the years that followed he went on to produce poetry, translations of villon and neruda, plays, film scripts, songs, and sketches. he has been a contributor to the satirical magazine private eye since 1960, and has published two collections from his column “true stories” in books of the same title .
robert rousseau de beauplan,' metropolis', la petite illustration, paris, 372, 3 march 1928, 12p. special issue dedicated to metropolis. includes a copy of the bilinsky metropolis photomontage # 1, similar to the ciné - miroir version of 16 april 1927, but without inscriptions .
love parade, the * * * * - the first truly delightful original screen musical has jeanette macdonald as a queen who makes rakish guardsman maurice chevalier her consort. director ernst lubitsch enriched this, his first sound film, with his signature
touch
of sexy, sophisticated wit .
recent digitizations of trade newspapers and magazines do help to shed light on such historical oversights, yet the relative anonymity of pre - 1910 films means that in publications such as ciné - journal (created in 1908), films are listed by title, genre, and length without names of cast members or filmmakers. although the gaumont troupe of the immediate prewar years are familiar to film historians, it seems by then mendelys was no longer with gaumont as her name does not appear in the luxurious gaumont palace programmes of the early teens. furthermore mendelys was not in attendance the day her husband attended an interview at the cinémathèque française to discuss the career of feuillade, although actresses alice tissot, renée carl, and yvette andréyor all were. nor is she named by carré in his interview with the historical committee the same year. however, mendelys was consistently at the heart of the french cinema industry, from prewar filmed pantomime and gaumont sound experiments to the emergence of newspaper film criticism and the vogue for film acting in the 1920s. though largely forgotten, her career cannot in fact be untangled from the major transitions in french film culture during the silent era .
21 march 1933 potsdam day. weill flees berlin by car with caspar and erika neher, arriving in paris on 23 march. he stays first at the hôtel jacob and the hôtel splendide, and soon moves to the home of charles and marie - laure de noailles, 11 place des etats - unis .
new york, berlin, paris, nice, são paulo, prague, amsterdam… all had their symphonies of sorts in the late 1920s. but what about britain? is there a british city symphony? you be the judge, as perhaps the closest example of the form from these isles comes onto the bfi player as part of our britain on film collections. the city in question is not london or birmingham, nor edinburgh, glasgow, cardiff or belfast, but liverpool – a keystone of the british empire through its historic dockyards and feted by the bankers’ magazine in 1851 as the ‘new york of europe’ .
musicologist mark clague of the university of michigan is editing a critical edition of george and ira gershwin' s music. when clague looked back at the original score and a very early recording of an american in paris, he made a discovery: we' ve been using the wrong taxi horns for 70 years .
as a teenager my view of the world was bleak. i was the only one of my small group of misfit friends to leave home to go away to college. not long before i did, i saw agnès varda’s film, vagabond. i can’t remember if i saw it at the local art ho…
paris is a 1929 american pre-code musical comedy , featuring irene bordoni . it was filmed with technicolor sequences : four of ten reels were originally photographed in technicolor . paris was the fourth color movie released by warner bros. ; the first three were the desert song , on with the show and gold diggers of broadway , all released in 1929 . ( song of the west was actually completed by june 1929 but had its release delayed until march 1930 ) . the film was adapted from the cole porter broadway musical of the same name . the musical was porter 's first broadway hit . no film elements of paris are known to exist , although the complete soundtrack survives on vitaphone disks . the sound tape reels for this film survives at ucla film and television archive . paris was the fourth movie warner brothers had made with their technicolor contract . the filmmakers used a color ( technicolor ) process of red and green , at the time it was the third process of technicolor . 
paris is a 1929 american pre-code musical comedy, featuring irene bordoni. it was filmed with technicolor sequences: four of ten reels were originally photographed in technicolor. paris was the fourth color movie released by warner bros.; the first three were the desert song, on with the show and gold diggers of broadway, all released in 1929. ( song of the west was actually completed by june 1929 but had its release delayed until march 1930). the film was adapted from the cole porter broadway musical of the same name. the musical was porter's first broadway hit. no film elements of paris are known to exist, although the complete soundtrack survives on vitaphone disks. the sound tape reels for this film survives at ucla film and television archive. paris was the fourth movie warner brothers had made with their technicolor contract. the filmmakers used a color (technicolor) process of red and green, at the time it was the third process of technicolor.
paris is a 1929 american pre-code musical comedy, featuring irene bordoni. it was filmed with technicolor sequences: four of ten reels were originally photographed in technicolor. paris was the fourth color movie released by warner bros.; the first three were the desert song, on with the show and gold diggers of broadway, all released in 1929. ( song of the west was actually completed by june 1929 but had its release delayed until march 1930). the film was adapted from the cole porter broadway musical of the same name. the musical was porter's first broadway hit. no film elements of paris are known to exist, although the complete soundtrack survives on vitaphone disks. the sound tape reels for this film survives at ucla film and television archive. paris was the fourth movie warner brothers had made with their technicolor contract. the filmmakers used a color (technicolor) process of red and green, at the time it was the third process of technicolor.