2 items from 2011
Above: If you ever wondered what a pharaoh's nursery would look like...
He was born Manó Kertész Kaminer in Hungary in 1886, began directing as Kertész Mihály, switched to Mihály Kertész in 1917, and was known in Hollywood as Michael Curtiz. The film that got him there, Moon of Israel (1924), sees him credited in English as Michael Courtice. But despite the dancing letters of his name, he was remarkably consistent in his approach.
Warner Brothers imported him from Austria, and Jack Warner would soon come to bemoan the prolific and successful emigré's tendencies to indulge in frequent tracking shots that seemed to have little to do with the plot, and to focus on set design and visuals over actors and story. Yet somehow, perhaps due to that elusive and phantasmal "genius of the system", Curtiz's approach meshed with the Warners house style to create movies where incessant gliding across glossy obsidians and »
By Doug Gerbino
Warner Archive has just released three classic silent (or part-silent) films. The Merry Widow (1925), Don Juan (1926) and Noah's Ark (1929). These three films are among the best-remembered hits of the late silent, early sound era. First, let's start with The Merry Widow (1925, MGM). This film stars Mae Murray and John Gilbert and was directed by Erich von Stroheim. Much has been documented about von Stroheim's excesses as a director. This was his first film after the infamous debacle known as Greed. Hollywood legend has it that while going through the daily rushes of this film with MGM chief Irving Thalberg, von Stroheim showed a single 10-minute take of one the character's shoe closet. When Thalberg questioned the 10 minute shot of shoes, von Stroheim said, "This is to establish that the character has a foot fetish." Thalberg supposedly replied, "And you have a footage fetish!" Loosely based on the »
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2 items from 2011
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