Lorenzo, who's 16 and born to a wealthy family in Parma, tries to make things right toward a showgirl, Aida, whom his older brother has mistreated. In extending kindness and standing up for... See full summary »
In Venice, forty-old-year old Serge Fabergé has just been given the best advertisement director award. While taking a walk on the Piazza San Marco, Serge meets Evelyn Nicholson, a ... See full summary »
A man seeks revenge but will he destroy himself in the process? After a long jail term for a crime he did not commit, a man is torn between revenge (which will probably destroy him) or ... See full summary »
On trial for murder, Larry Ballantyne regurgitates an unbelievable story. He recounts how he philanders to other women while his rich loving wife Gretta tries to keep him in line. According... See full summary »
Focuses on the Weimar Republic (1918-1933) and its 'collective spirit' in cinema. The purpose of film as a cultural tool is examined. Based on celebrated sociologist Siegfried Kracauer's seminal book 'From Caligari to Hitler' (1947).
Compassionate small-town lawyer Richard Clarke moves to New York City to seek his fortune, but is unsuccessful until he takes a friend's advice and tries to convince the world he's a ... See full summary »
Eddie 'Rochester' Anderson
This example of cinema vérité was shot in Saint Pauli, the red light district of Hamburg. Indeed, the local police district and the working girls of the area are credited.
The story, such as it is, concerns Friedrich Gnaß -- he has a sort of Paul Muni look to him -- who spots a trinket in a jewelry window, performs a bit of smash-and-grab, and flees into the Saint Pauli district, where no one thinks of anything but the moment -- if indeed, that much. The film-makers don't glorify their subjects, but neither do they look down on them. Indeed, there is no emotional center to the movie, yet it easily maintains interest, thanks to some beautiful compositions by cinematographer A.O. Weitzenberg and excellent editing by Carl Behr.
There are a few musical interludes, and a final number which can only be called a paean to hopelessness. The last is apparently to give some gravitas to the entire affair, but the effect tends to make the rest of the movie seem a bit ridiculous. Still, the rest of the movie has enough of interest to make this a superior work.
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