1921-1930

Yasujirô Ozu wrote:
One could say this is the flip side of I Graduated, But… The student-protagonist scribbles his crib notes on his shirt sleeve, but the day of his graduation exam, the girl at his boarding house unwittingly takes the shirt to the launderette So naturally, he flunks. However, those who pass and graduate in high spirits cannot land any job, while the ones who flunked can continue to bum around living off their parent’s money. It’s a vignette. Although Ryu Chishu has appeared in my previous films, it was the first time I let him have a go at a more significant role.Read More »

Quote:
Roddy, first son of the rich Berwick family, is expelled from school when he takes the blame for his friend Tim’s theft. His family sends him away and all of his friends leave him alone. Roddy decides to go to Paris where he spends what little money he has and starts working as a dancer. He soon becames a victim of alcoholism. Roddy manages to move to England’s colonies but some sailors send him back to his rich family hoping for a reward.Read More »

Synopsis
On a streamer bound for Algeria, Pierre Hofer meets and is enchanted by the beautiful Claudie Duvernet, who is travelling to Algeria to collect her vast inheritance. Claudie is being pursued by some unscrupulous relatives, including the cruel Manuel, who intend to rob her of her new-found fortune. Fortunately, Pierre is on hand to thwart their schemes…Read More »

Quote:
R-1 (Ein Formspiel)

“The title R-1, EIN FORMSPIEL VON OSKAR FISCHINGER survives on two different films, one composed entirely of STAFFS … and one composed of small fragments of many different experiments – wax, model planets, atoms, etc. – including a great deal of STAFFS footage. For convenience, I will use the title R-1 to refer to this second, mixed film which appears to be a revised version of the first ….Read More »

When farmer Rog dies, his son Peter stays, but Johannes can not be satisfied with such a condition (and servant Maria’s love) and finds a job as old Count Rudenberg’s secretary. His ambition leads him to charm Gerda, the Count’s unique daughter. But when he discovers that Count’s second wife Helga will soon inherit a field that only he knows his underground is full with petroleum, he changes his allegiance… Greed and death.Read More »

Plot Outline :
Modot and Lys, simply called the Man and the Woman, are the lovers who allow nothing to prevent them from demonstrating their feelings for each other. They want to make love, but must first overcome a number of seemingly insurmountable obstacles: the church, bourgeois social etiquette, and their own psychological handicaps.
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Plot: Joel and Priscilla have been in love since they were children. Mark announces his engagement to her without obtaining her permission. While Joel and Mark are at sea Mark is abandoned in Singapore by the Ship’s Mate Finch who, upon their return, convinces the townspeople that Joel abandoned his brother. Joel escapes jail, takes the ship to Singapore, finds his brother insane with drink and returns him to the ship. There is a mutiny.Read More »

Quote:
From his early silent works, the great Russian film director, Herr Yakov Protazanov, made literary adaptations from equally great Russian writers, as is the case with “Chiny I Lyudi” ( Ranks And People ) (1929) in which three short stories by Chekhov, “Anna On The Neck”, “Death Of A Petty Official” and “Chameleon” were assembled for the silent screen.
“Anna On The Neck” tells the story the young and beautiful Anna (Mariya Strelkova ) who has just married an old but rich civil servant. Anna thinks her marriage will rescue her father and her two brothers from a miserable life of poverty. Anna becomes disenchanted fast when her rich husband turns out to be an avaricious and severe man. Anna’s sad life changes when she attends a posh ball and every man there, including the mayor, is charmed by her. Anna’s husband hopes to get business advantages through this but Anna is thinking of revenge.Read More »

Jean Grémillon’s first talkie, the 1930 LA PETITE LISE, is anything but talky. While opening
and closing with soulful afro-Latin strains, something just above silence reigns throughout
the film. Grémillon is already orchestrating the auditory menace of nuanced sound sculpting
that would later pervade REMORQUES (1941), setting forth evolving rhythmic figures at an
atmospheric whisper. Grémillon grafts this aural frieze onto smoldering b&w photography.
Truly, the frame is often smoking for purposes of motif.Read More »