An aspiring songbird (Charlene Choi) gets a chance to prove her worth when she is asked to ghost-sing on a pop star’s (Niki Chow) album.

Gwong.yat.cham.Tin.Hau.AKA.Diva.Ah.Hey.2003.DVDRip.x264-PTP.mkv

General
Container:	Matroska
Runtime:	1h 40mn
Size:	1.73 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	716x480 ~> 853x480
Aspect ratio:	16:9
Frame rate:	23.976 fps
Bit rate:	2 069 kb/s
Audio
Chinese 5.1ch AC-3 @ 384 kb/s

https://nitro.download/view/A3ABE6DDC171DEC/Gwong.yat.cham.Tin.Hau.AKA.Diva.Ah.Hey.2003.DVDRip.x264-PTP.mkv

Language(s):Cantonese, English, Japan
Subtitles:English, Chinese

The post Joe Ma – Gwong yat cham… Tin Hau AKA Diva: Ah Hey (2003) first appeared on Cinema of the World.

Plot:
The sparkling screwball comedy And So They Were Married was originally released as Johnny Doesn’t Live Here Any More. French-Canadian girl Simone Simon leases a Washington DC apartment from Marine William Terry. Since the Nation’s Capital is overcrowded (wartime, don’t you know), Simon must put up with a steady parade of Terry’s old cronies and girlfriends, all of whom have keys to the apartment. She also becomes the romantic bone of contention between Terry and his sailor pal James Ellison. The last half of the film is dominated by Robert Mitchum as a Chief Petty Officer, who wants to rent the apartment for himself and his wife.

1.07GB | 1h 15mn | 640×480 | avi

https://nitro.download/view/6254612C6DA36EF/Johnny_Doesn’t_Live_Here_Any_More_(1944)_WAC_DVDRip_BBM__CG_.avi

Language(s):English
Subtitles:None

The post Joe May – Johnny Doesn’t Live Here Any More (1944) first appeared on Cinema of the World.

Quote:
The story is pleasent fluff where Franz Lederer has to marry a rich woman in order to be chief executive of a big firm. He pretends to be in love Käthe von Nagy’s bar girl and just guess how this story could end.

1.07GB | 1:37:05 | 512×384 | avi

https://nitroflare.com/view/7FFA46AEF266E2B/Ihre_Majestät_die_Liebe.avi

Language(s):German
Subtitles:English

The post Joe May – Ihre Majestät die Liebe AKA Her Majesty Love (1931) first appeared on Cinema of the World.

Synopsis:
Clifford Pyncheon’s (Vincent Price) father, Gerald (Gilbert Emery), decides that in his dying days, the family’s mansion must be sold to clear their debts. Gerald also believes it will remove the family of a curse — a result of their many misdeeds over the years that allowed their once-prominent lifestyle. However, Gerald’s other son, Jaffrey (George Sanders), has different ideas as to what should be done with the property, and frames Clifford for murder in an attempt to keep the mansion.

2.19GB | 1h 28mn | 788×576 | mkv

http://nitroflare.com/view/E1F6E894FE6B55F/The_House_of_the_Seven_Gables_(1940)_–_Joe_May.part1.rar
http://nitroflare.com/view/020883B3C2E197C/The_House_of_the_Seven_Gables_(1940)_–_Joe_May.part2.rar
http://nitroflare.com/view/FD51CDE8172E7AB/The_House_of_the_Seven_Gables_(1940)_–_Joe_May.part3.rar

Language(s):English+commentary
Subtitles:English (muxed)

The post Joe May – The House of the Seven Gables (1940) first appeared on Cinema of the World.

Synopsis:
Constantly quarreling couple decide to try the jealousy angle when a naive young couple comes along.

Review:
The screen edition of the Kern-Hammerstein musical play is a skillfully photographed work which includes among its ballads, songs and snatches some of the most distinguished melodies of this cinema season. From the Music Hall’s screen and also the throats of John Boles and Gloria Swanson, “Music in the Air” sends out in a high-hearted cavalcade all the gay, tender and superbly romantic lyrics which warmed the flinty heart of Broadway back in the Winter of ’32. The reporter, after listening to “I’ve Told Every Little Star,” finds his typewriter keys jogging along to the rhythms of the music. Then there are “One More Dance,” “The Song Is You,” “We Belong Together” and “There’s a Hill Beyond a Hill,” which is the particular favorite of this columnar ear.Mr. Kern’s matchless songs are enough to insure “Music in the Air” a position among the superior musical pictures. The photoplay as a whole is always a step or two behind its score, but since it manages to avoid a good many pitfalls of the operettish type of entertainment, perhaps we should be grateful for its numerous virtues. For one thing it confines its spectacle effects to the village capers of light-hearted Hungarian lads and maidens. Although the narrative is pretty kittenish in its burlesque of the artistic temperament, it is a definite improvement over most of its recent predecessors, and it is actively pleasant even when it fails to be properly robust in its comedy.As a setting for his partner’s music, Mr. Hammerstein is telling about the kindly music-master of Ebendorf who composes “I’ve Told Every Little Star,” and then drives off to Munich to see his old college friend, now a celebrated music publisher. His pretty daughter and the young village schoolmaster, who love each other with a pure Theocritean devotion, go along with him to see the sights. When the rural visitors reach their destination they find themselves in the midst of a temperamental quarrel between the lyric writer and the prima donna of an impending operetta. The quarrelsome artistes promptly pair off with the rural sweethearts in order to annoy each other. The writer promises the lass that he will put her in a show. The prima donna causes the boy to lose his head and almost persuades him to run off to Venice with her. After all the comic interchange of high pressure temperament, the country visitors are glad to crawl back to Ebendorf and the innocent diversions of smalltime life.Joe May, the German director of “Music in the Air,” tells this musical comedy story in a spirited style and he has succeeded in pacing the narrative briskly enough to avoid the prolonged periods of aridity to which the musical films have accustomed us. Miss Swanson makes an agreeable return to the screen as the prima donna. The years have not scarred her loveliness, and in addition she possesses a pleasing voice and a gift for light comedy. June Lang, in her screen début, reveals a charming face and manner as the guileless country maid. John Boles owns the most cultivated voice in the troupe, and he also is able to dash through the comic episodes with considerable success. It is in the comparatively minor rôles, though, that “Music in the Air” proves to be most personable. There are the delightful Al Shean in the music-master part, which he played on Broadway, Joseph Cawthorn as the crotchety orchestra conductor, Reginald Owen as the music publisher, and Roger Imhof as the good burgomaster of Ebendorf. “Music in the Air” is an agreeable addition to the holiday entertainment lists.The symphony orchestra at the Music Hall offers Tchaikovsky’s “Capriccio Italienne.” Leon Leonidoff’s stage pageant, “Whim-wham,” is in three scenes: “Wings of Love,” “Rhythms in Melody” and “My Guiding Star.”
— Andre Sennwald (New York Times).

867MB | 1h 23mn | 636×480 | mkv

http://nitroflare.com/view/7F9B7A43A4D39BC/Music_in_the_Air_1934____TCM-CG_.mkv

Language:English
Subtitles:None

The post Joe May – Music in the Air (1934) first appeared on Cinema of the World.

Synopsis wrote:
One of the last great German Expressionist films of the silent era, Joe May’s Asphalt is a love story set in the traffic-strewn Berlin of the late 1920s. Starring the delectable Betty Amann in her most famous leading role, Asphalt is a luxuriously produced Ufa classic where tragic liaisons and fatal encounters are shaped alongside the constant roar of traffic.

thespinningimage.co.uk wrote:
In Berlin, a policeman called Holk is summoned to a jeweller’s shop, where a beautiful young woman has tried to steal a diamond. En route to the police station, the woman takes Holk back to her apartment on the pretext of collecting some papers and ends up seducing him. Soon he finds himself caught between his duty and the woman he is falling in love with.

Asphalt was one of the last films of the silent German Expressionist era – like Fritz Lang, director Joe May soon made the move to Hollywood, although failed to find the success there that Lang did. In Asphalt, May sets a simplistic morality tale against the backdrop of modern, bustling city – there are none of the political overtones of other films of the time, but the picture remains both a technical triumph and a touching story of doomed love.

May opens the film with a bravura display of the cinematic techniques that were being pioneered at the time, capturing the industrial fury of modern Berlin. The director overlays frames of traffic as cars thunder through the city and performs some dramatic crane shots over the crowds and across the streets, all part of a massive set at the renowned UFA studios. Eventually, he comes to focus on just four characters – dedicated, hardworking cop Holk, his loving parents with whom he lives, and Mutter, the sultry would-be jewel thief who steals his heart.

In terms of events, very little actually happens in Asphalt – in a modern picture, the entire 90 minute running time would probably just be compressed into the first act. So it’s a testament to the skill of both the actors and the director that the film is quite as watchable as it is. Else Heller, playing Mutter, is by turns cunning, sultry and fragile – her ambiguous performance is played largely with her eyes, and we are never sure if we are watching the ‘real’ Mutter, or just an act. Albert Steinrück is a more straight-forward, stoic hero, but the haunted, terrified look on his face after he returns home after committing a terrible act towards the end makes for one of the film’s most striking moments.

May’s direction remains impressive throughout, although the more dramatic technical trickery is largely kept for the opening sequences. Nevertheless, the lighting, editing and camerawork help create an atmosphere charged with a sense of doomed inevitability, and the scenes between Heller and Steinrück carry an undeniable erotic charge. For all its innovation, Asphalt is obvious a film of its era – the only dialogue is supplied by occasional inter-titles, and a melodramatic, sometime rather inappropriate score provides the soundtrack. Within two years, Fritz Lang’s groundbreaking masterpiece M would make the likes of Asphalt seem positively quaint by comparison, but this remains a little known but important part of cinema history. .

http://nitroflare.com/view/746D21965662677/Asphalt_%281929%29.mkv

Language(s):German
Subtitles:English

The post Joe May – Asphalt (1929) first appeared on Cinema of the World.

A jealous & vindictive Rajah sends a powerful Yogi to entice a famous English architect into constructing a marvelous mausoleum in which to inter the prince’s faithless wife.

THE Indian TOMB: THE MISSION OF THE YOGI is a perfect example of the grand German cinema epics created during the silent era. Berlin film mogul Joe May turned the full resources of his modern Maytown studio over to the production, using 300 workmen to create the lavish sets necessary to tell such an exotic tale.

May contracted with authoress Thea von Harbou to write the script for THE Indian TOMB, based on her 1917 novella. May assigned young Fritz Lang as her co-writer. Lang, who married von Harbou after starting the writing project, desired to direct the films, but he was deemed too inexperienced for such an important project by the financiers and May enthusiastically became the director himself. Furious, Lang left May’s employ; it would be more than 35 years before he was able to direct his own Indian TOMB films.

THE Indian TOMB: THE MISSION OF THE YOGI was an artistic triumph, presenting wonderful vistas & sequences to delight the viewer’s imagination. Right from the eerie prolog, when an Indian holy man is literally disinterred from his living grave, the film grips the audience with a promise of high adventure & mysticism. Further scenes, including those set in the Tiger Arena adjoining the Maharajah’s Palace, or the Cave of the Penitents situated below it, add intricate strokes to the broad canvas which is THE Indian TOMB.

Conrad Veidt is mesmerizing as the troubled Rajah. With large, hypnotic eyes set in a bony face, he seems forever contemplating terrible memories. Veidt gives a measured, stylized performance, moving very slowly and deliberately, almost somnambulistic in his actions. The one short scene where he lets his longing & heartbreak push through to the surface is startling just from the sheer pent-up passion released for a few seconds – as if a mighty dam is breached and almost immediately sealed again.

Today, Conrad Veidt is remembered in America almost entirely for his villainous Major Strasser in CASABLANCA. This is a shame, as there was so much more to his life. Cultured & sophisticated, Veidt was considered to be one of the best (and one of the most handsome) actors in Germany, and he was a tremendous matinée idol in the 1920’s. Later, he became courageously outspoken in his anti-Nazi sentiments and he found it safer to relocate to England and eventually to America. In Hollywood, Veidt continued to denounce the evils of the Third Reich. Tragically, he was not to live long enough to see the inevitable defeat of Hitler. Completing only one further film after CASABLANCA, Conrad Veidt died of a heart attack while playing golf on April 3, 1943. He was 50 years old.

Equally intriguing is Bernhard Goetzke as the mysterious, implacable Yogi. Imparting menace in every movement, he is a worthy henchman to the Rajah. Olaf Fønss as the architect & Mia May (the director’s wife) as his courageous fiancée, present a refreshingly middle-aged view of romantic love.

http://nitroflare.com/view/9B852F73F51F9E4/The_Indian_Tomb_Part_I_-_The_Mission_of_The_Yogi__1921_.avi

silent
no pass

The post Joe May – Das Indische Grabmal: Die Sendung des Yoghi AKA Mysteries of India, Part I: Truth (1921) first appeared on Cinema of the World.