2 items from 2011
In the 1920s those seeds planted the decade before took hold, and there are notable examples of early horror on both sides of the Atlantic. The most significant of these, and perhaps the most famous, is F.W. Murnau’s masterpiece, Nosferatu: A Symphony of Horror. It is the first of countless adaptations of Bram Stoker’s Dracula, though famously made without the permission of the Bram Stoker estate. Although included amongst the Expressionist movement, what’s startling today is the movie’s lyrical use of natural light and exterior shots (of running water, animals etc.); visually it is in stark contrast to Caligari’s jagged mindscapes. They both create otherworldliness in different ways, one by giving us distorted images we can relate to, and the other by alienating us with carefully employed images of nature.
The best vampire movies from this to Let the Right One In (2008) take the myth seriously, »
- Adam Whyte
Conrad Veidt is Turner Classic Movies' "Summer Under the Stars" performer of the day. An international star since the 1920s, Veidt worked in Germany, the United Kingdom, and Hollywood — twice. [Conrad Veidt Movie Schedule.] In the late '20s, Veidt was the star of unusual Hollywood fare such as Paul Leni's The Man Who Laughs (1928), in the title role as a man with a grin-like scar where his mouth should be, and Paul Fejos' The Last Performance (1929), as a magician in love with pretty Mary Philbin — a Universal star who also happened to be Veidt's leading lady in The Man Who Laughs. With the arrival of talking pictures, Veidt returned to Germany, but with the ascent of the Nazis he fled first to England and later to the United States. In the Hollywood of the early '40s, Veidt became everybody's favorite Nazi in movies such as Nazi Agent, Escape, and Casablanca. »
- Andre Soares
2 items from 2011
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