Society-girl thrill seeker Lydia causes the death of motorcycle policeman and is prosecuted by her fiancé Daniel who describes in lurid detail the downfall of Rome. While she's in prison she reforms and Daniel becomes a wasted alcoholic.
The owner of a Waxmuseum needs for three of his models stories to be told to the audience. For that reason he has hired a writer, who after one look athe owner's pretty daughter, starts ... See full summary »
In the castle Vogeloed, a few aristocrats are awaiting baroness Safferstätt. But first count Oetsch invites himself.. Everyone thinks he murdered his brother, baroness Safferstat's first ... 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,
During a dinner, given by a wealthy baron and his wive, attended by four of her suitors in a 19th century German manor, a shadow-player rescues the marriage by giving all the guests a ... See full summary »
A poor student rescues a beautiful countess and soon becomes obsessed with her. A sorcerer makes a deal with the young man to give him fabulous wealth and anything he wants, if he will sign... See full summary »
Based on Moliere's classic seventeenth century comedy, this version of TARTUFFE has the eponymous antihero (Emil Jannings) being ultimately outwitted by the family; at the same time the head of the family Orgon (Werner Krauss) remains as blissfully unaware of how to distinguish truth from falsity as he did at the beginning. F. W. Murnau's version is set in a large, rambling house, full of wide staircases and plenty of doors. He proves himself a master of the camera; his close-ups focusing on the pockets as Tartuffe stashes away his ill-gotten gains while pretending to embrace religion, or on Elmire's (Lil Dagover's) breasts, as Tartuffe tries and fails to keep his hands from touching them. Jannings is given full rein to show off his range of facial expressions as Tartuffe; here is a genuinely evil man who believes he can do anything under the cloak of religion. What makes this TARTUFFE most interesting, at least for students of history, is the specially-added prologue and epilogue, in which a young man (André Mattoni) shows his wealthy grandfather (Hermann Picha) the film of TARTUFFE, in order to alert him to the old man's hypocritical governess (Rosa Valetti), and her designs on his fortune. The young man is impoverished, but shown to be much more able to understand human behavior than his grandfather. Through this device Murnau takes a pot-shot at how capitalism and wealth often destroys judgment, creating a covetous society in which everyone is out for themselves. This could be a microcosm of Germany in the mid- Twenties, before the Nazi accession to power. This TARTUFFE moves along at a brisk pace, complemented by a jaunty soundtrack. Worth watching.
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