Focused on a director and his leading actress while they are off the set. They discuss the discrepancies between film and digital cinema, Western and Eastern food, and try to capture an ... See full summary »
Extremely rare work of Robert Wiene. From the director and year of excellent "The Cabinet of Dr. Caligari" this work was eventually overshadowed by the success of Caligari. It has a dreamy atmosphere, like another world or something.
Hans Heinrich von Twardowski,
A Romanian police officer teams up with a small crew of old friends from the World War II Jewish Resistance to pull off a heist by convincing everyone at the scene of the crime that they are only filming a movie.
An account of the life of Jesus Christ, based on the books of the New Testament: After Jesus' birth is foretold to his parents, he is born in Bethlehem, and is visited by shepherds and wise... See full summary »
This subject will give rise to unrestrained laughter and will infect your entire audience with the jovial microbe. A learned man is seen in his laboratory studying microbes. His friend ... See full summary »
First film ever that was shot by two cameras. Set in 1854-1855, in Sevastopol and Yalta during the Crimean War. Admirals Kornilov (Mozzhukhin) and Nakhimov (Gromov) organize the defense ... See full summary »
An amazing film for that era... This was the first feature film to last 2 hours (from which about 20 minutes are lost).
Ionut Niculescu and Tudor Caranfil discovered in 1985 the movie's scenario, begun by Petre Liciu and continued by Aristide Demetriade and Constantin Nottara. This led to the establishment of the real director: Aristide Demetriade, not Grigore Brezeanu, as thought before. Brezeanu, along with Leon Popescu were producers.
Carol I was not present in the film (although the Royal House gave a sum of money for the production) except for the final parade which was set not in 1877/78, but in 1912 (actually a cut from a news reel, like a "30 years later..."). In the movie he was impersonated by Aristide Demetriade, the director himself. The critics emphasized the merit of make-up artist Pepi Machauer (who also played czar Alexander).
Also, this was not the first Romanian film ever. Previous titles are:
Papusa (The Doll), a theater play, 1911 Amor fatal (Fatal Love), a theatre play, 1911 Insir'te, margarite!, a fairy tale, 1911/2
More info from wikipedia (with some minor corrections):
In December 1911, the theatrical magazine Rampa published a note under the heading The Cinema in the Theatre (signed by V. Scânteie) indicating that "The Maestro Nottara is in the course of making a patriotic work re-creating the Romanian War of Independence on film, so that today's generations might learn the story of the battles of 1877, and for future generations a live tableau of Romanian bravery will remain".
As a result, the director of the Bucharest branch of the Gaumont-Paris studio, Raymond Pellerin, announced the premiere of his film Războiul din 1877-1878 (The 1877-1878 War), scheduled for 29 December 1911. A "film" made in haste, with a troupe of second-hand actors and with the help of General Constantinescu, who commanded a division at Piteşti, from whom he had obtained the extras needed for the war scenes, "Războiul din 1877-1878" was screened a day before by the prefect of the capital's police, who decided that it did not correspond with historic fact. Consequently, the film was confiscated and destroyed, Raymond Pellerin was declared persona non grata and he left for Paris, while the "collaborationist" general saw himself moved to another garrison as a means of discipline.
On 5 May 1912, the magazine Flacăra (The Flame) brought to its readers' attention the fact that "as it is known, a few artists have founded a society with the goal of producing a film about the War of Independence... Such an undertaking deserves to be applauded". The initiators were a group of actors: C. Nottara, Aristide Demetriade, V. Toneanu, Iancu Brezeanu, N. Soreanu, P. Liciu, as well as the young Grigore Brezeanu, associate producer and the creative force behind the whole operation. Since a large amount of money was needed for the production, they also brought into this effort Leon Popescu, a wealthy man and owner of the Lyric Theatre. The group received strong backing from government authorities, with the army and all necessary equipment being placed at its disposal, plus military advisers (possibly including Pascal Vidraşcu). The camera and its operator was brought from abroad, and the print was prepared in Parisian laboratories. Could Grigore Brezeanu have been the film's director? No source from that time gives credence to such a hypothesis. On the contrary, they present him as "initiator", producer of the film, beside members of the National Theatre and Leon Popescu. Furthermore, it appears that it was he who attracted the financier of the entire undertaking. In 1985, the film critic Tudor Caranfil discovered among Aristide Demetriade's papers his director's notebooks for Independenţa României, unequivocally confirming that he was the film's director. Thus, the film's production crew was as follows: Producers: Leon Popescu, Aristide Demetriade, Vasile Toneanu, Nicolae Soreanu, Petre Liciu, Grigore Brezeanu, Constantin Nottara, Pascal Vidraşcu. Screenwriters: Petre Liciu, Constantin Nottara and Aristide Demetriade. Director: Aristide Demetriade. Cinematographer: Franck Daniau. Makeup and hairstylist: Pepi Machauer.
On 1 September 1912, at the Eforie cinema, the largest movie theater in Bucharest, the premiere of Independenţa României took place. Despite all its shortcomings as the theatrical game of the actors, the errors of an army of extras uncontrolled by direction which provoked unintended laughter in some scenes and rendered dramatically limp those of the beginning, the film was well received by spectators, being shown for several weeks. Through this realization, through the dimensions of its theme, through the distribution method chosen, through the genuine artistic intentions, through its professional editing (for the time), the creation of this film can be considered Romania's first step in the art of cinematography.
And yet he who had realized this work, the man who kept the whole team together, the theater director Grigore Brezeanu, was left disappointed. The press of the time made ostentatious mention of Leon Popescu, who financed the film and made sure to distance the other financiers, buying their part; no such praise was heaped on the artistic makers of the film. This caused producer Grigore Brezeanu to say in an interview given to the magazine "Rampa" and published on 13 April 1913: "My dream would have been to build a large film studio. I have come to believe that this is impossible. First of all, we are missing a large capital investment. Without money we cannot rival the foreign studios...A studio, according to our financiers, is something outside art, something in the realm of agriculture or the C.F.R. Hence I have abandoned this dream with great regret."
29 of 30 people found this review helpful.
Was this review helpful to you?