In the Crimea, the Reds and the Whites aren't done fighting, and Jeanne discovers that the man she loves is a Bolshevik (when he kills her father). Penniless, she returns to Paris where she... See full summary »
Antinea. the Queen of Atlantis, rules her secret kingdom hidden beneath the Sahara Desert. One day two lost explorers stumble into her kingdom, and soon realize that they haven't really ... See full summary »
Pierre is a young and handsome circus rider whose mother has long tolerated his amorous adventures but becomes genuinely concerned when he actually falls in love. She reveals to him that ... See full summary »
Georg Wilhelm Pabst
A Russian emigrant sings in a Shanghai nightclub under the assumed name of Kay Murphy. All she dreams of is a peaceful life with her daughter Vera. But this is only a pipe dream as she has ... See full summary »
Georg Wilhelm Pabst
German language version of Don Quixote by Georg Wilhelm Pabst, shot simultaneusly with the English and French versions and, like those, starring Feodor Chaliapin Sr., but with a different supporting cast.
16th Century German doctor upsets the status quo with new "German" methods of treating illness.
G. W. (PANDORA'S BOX) Pabst's celebratory film about the "revolutionary" 16th century German philosopher/doctor (known as Paracelsus and actually born in Switzerland) holds more than just historical interest as a Nazi approved subject. Though Pabst's sound films never achieved the prominence of his silent work, this is a well produced biopic with real surprises, especially when Paracelsus gives credit to Gypsy (!) folk remedies or when an Expressionist dance number symbolizes the entry of the plague (St. Vitus' Dance) into the closed town. Suddenly we're in Powell/Pressburger territory. Often obvious and slow, but certainly worth investigation, and not all that different from similar Hollywood produced biopics on ZOLA and LOUIS PASTEUR by director William (Wilhelm) Dieterle, a former colleague from Pabst's early UFA days. In fact, Dieterle's 1939 HUNCHBACK OF NOTRE DAME has many visual and thematic similarities. The romantic subplot, straight out of Die Meistersinger, only adds to the usual discomfort of watching a Goebbels approved Nazi era production.
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