Student Raskolnikow, who has written an article about laws and crime, proposing the thesis, that un-ordinary people can commit crimes if their actions are necessary for the benifit of ... See full summary »
Joe May's sensual drama of life in the Berlin underworld is in many ways the perfect summation of German filmmaking in the silent era: a dazzling visual style, a psychological approach to ... See full summary »
For Balduin, going out to beer parties with his fellow students and fighting out disputes at the tip of the sword have lost their charms. He wants to find love; but how would he, a ... See full summary »
Elizza La Porta,
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 »
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 »
Orgon is a man of property duped by the false piety of the penniless Tartuffe. Orgon takes him into his house, believing him a paragon of virtue. Orgon orders his daughter to reject her ... See full summary »
When Reverend Robert Henley and his sister Faith arrive in the town of Hell's Hinges, saloon owner Silk Miller and his cohorts sense danger to their evil ways. They hire gunman Blaze Tracy ... See full summary »
Young man shows his millionaire grandfather a play based on Molière's Tartuffe, in order to expose the old man's hypocritical governess who covets his own inheritance.
This is a film that really shows the talent of Emil Jannings and why he was so popular in Germany. He is assisted by Lil Dagover. The story is surprisingly lecherous for its time, though the overall tale is simple. I have not read the Moliere tale, but I have to imagine that it goes into a great deal more depth than this.
Professor Jan-Christopher Horak notes that "the frame story is shot realistically, with Freund and Murnau consistently emphasizing depth through movement from background to foreground, and by opening and closing doors in such a way that they are literally in the spectator's face." I did not notice all that, but I will take his word for it.
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