Plot:
Hell’s Kitchen gives the reform school potboiler The Mayor of Hell the full Dead End treatment and brings a tyro Ronald Reagan along for the ride.

1.15GB | 1h 20m | 640×480 | avi

https://nitro.download/view/E6925E40B899F67/Hell’s_Kitchen_(1939)_WAC_DVDRip_BBM__CG_.avi

Language(s):English
Subtitles:None

The post Ewald André Dupont & Lewis Seiler – Hell’s Kitchen (1939) first appeared on Cinema of the World.

When her husband is accused of murder, an actress tries to prove his innocence.

821MB | 1h 12m | 640×480 | avi

https://nitro.download/view/EFED62708089D81/On_Such_a_Night_(1937).avi

Language(s):English
Subtitles:None

The post Ewald André Dupont – On Such a Night (1937) first appeared on Cinema of the World.

Baruch Mayr, son of an orthodox rabbi from a poor shtetl in Galizia, decides to break with the family tradition and leave the shtetl to become an actor. Due to this behaviour his father bans him from his family. Baruch, who joined a small burlesque troupe is discovered by an Austrian Erzherzogin (archdutchess) who introduces him to the director of the most important Theater in Vienna, the Burgtheater. Baruch receives a contract there and becomes more and more an assimilated jew. But his relation with the Erzherzogin isn’t approved by the Austrian court, so they have to end it. When an old friend of his father, who is always traveling from one Jewish community to the next (and has told him first about the theatres in the world), Baruch becomes a little bit homesick and returns for a holiday to his old shtetl to see his folks and to pick up his childhood sweetheart. But his father wants him not to enter his house, so he returns to Vienna, with his bride. But his old friend does not stop trying to convince his father of his errors.
—Stephan Eichenberg

2.21GB | 2 h 15 min | 739×570 | mkv

https://nitro.download/view/4AB22D86FA5454C/Das_Alte_Gesetz_AKA_This_Ancient_Law__E_A_Dupont_1923_.part1.rar
https://nitro.download/view/101B7C8E64FD3C9/Das_Alte_Gesetz_AKA_This_Ancient_Law__E_A_Dupont_1923_.part2.rar
https://nitro.download/view/8095D3750D9CF72/Das_Alte_Gesetz_AKA_This_Ancient_Law__E_A_Dupont_1923_.part3.rar

Language:German
Subtitles:English, French

The post Ewald André Dupont – Das alte Gesetz AKA This Ancient Law [+extras] (1923) first appeared on Cinema of the World.

The star attraction of the Piccadilly Club is the dancing team of Mabel and Vic. Victor is infatuated with Mabel, but she rejects his advances, since she is in love with Valentine Wilmot, the club’s owner. One night, as Mabel and Vic perform their act, there is a disruption caused by a customer who is unhappy about a dirty plate. When Wilmot goes back to the kitchen to investigate, he finds several employees in the scullery watching Shosho, one of the dishwashers, dancing on a table. That night, Wilmot fires both Shosho and Victor. But the club’s sagging fortunes soon lead him to re-evaluate Shosho’s talent.

“She was Anna May Wong, and in dozens of films in the 1920’s and 1930’s, she confronted the stifling stereotypes of Asians (then invariably referred to as “Orientals”) on the movie screen. Wong’s struggle against race hatred was a complex one; her roles were less a battle against prejudice than a dance with it–and Piccadilly is perhaps the most intricate of those tangos.

Born Wong Liu Tsong in Los Angeles’ Chinatown in 1901, Wong was fascinated with the screen, hanging about early film shoots so much that she became well-known to film crews. She made a startling appearance in a tiny part in one of first color films–1922’s The Toll of the Sea–at the age of 12. More successes in memorable small parts followed, such as that of a Mongolian spy in Douglas Fairbanks’ The Thief of Baghdad in 1924, and by the middle of the decade, Anna May Wong, along with Sessue Hayakawa, had come to exemplify the attraction-repulsion filmmakers (and American audiences) had for the East. Wong frequently played characters whose loveliness initially compelled men toward them, but whose treachery propelled them away, often toward a demure white heroine. Wong’s talents – she was one of the most mesmerizing of silent screen faces, and one of the ablest of actors in the sound cinema – helped fuel a huge cycle of Orientalist films, such as the eerie Lon Chaney vehicle Mr. Wu, and a clutch of more prosaic films whose titles betray Wong’s presence, including Streets of Shanghai, The Chinese Parrot, and Chinatown Charlie. Her roles were often written as thanklessly one-dimensional parts, a collection of Asiatic fatales, dutiful Chinese daughters, and childlike servants, but Wong’s strategy was to get inside these characters, and recreate them as entrancing and sympathetic figures, not on the basis of her “exotic” Chinese ethnicity, but through the sheer force of her abilities as a performer to deepen and broaden the limited range of characters she was allowed to play. In a period in which whites frequently played Asian characters (Montana-born Myrna Loy frequently played Black Widow-type “temptresses,” and the stereotyped Chinese-American detective Charlie Chan was played by Swedish actor Warner Oland), Wong stubbornly sought to invest Asian characters with uniqueness, and with a mystery borne not of race, but of the complexities of individual human psychology.

But by 1929, Wong had become frustrated with the American cinema’s steadfast racism, and went to England to make Piccadilly with celebrated German director E.A. Dupont. Dupont was famed for such films as 1925’s Variety, works which explored the interiors of convoluted psyches, and the exteriors of decadent societies. Dupont’s camera was as fluid as his films’ moral stances, and Wong leapt at the chance to escape the Victorian attitudes toward race of the American cinema.

The combination of the talents of Dupont and Wong, as this masterfully reconstructed print shows, brought extraordinary results. Here, Wong plays Shosho, a dishwasher in an outré nightclub, who soon becomes the obsession of the club’s owner. In Piccadilly, Wong bursts the seams of stereotyping, waving Shosho’s exoticism as a proud banner. Like another American in European films, Josephine Baker, Wong challenges us with the implications of stereotype, insisting on our attention in every scene she appears in. Although fellow American Gilda Gray was the nominal star of Piccadilly, to say that Anna May Wong steals the film is an understatement: Wong’s is a Brink’s heist of a performance. Her sword dance scene is one of the highlights of late silent cinema. Wong’s Shosho is an integral part of Dupont’s vision of marvelous excess; she seems to be part of Alfred Junge’s surreal art direction for the film come to life, and yet, she maintains a sparkling sex appeal and a vast psychological depth that is Wong’s alone. Dupont’s camera offers Wong several long dreamy close-ups, transforming her into a Jazz Age siren like Louise Brooks or Clara Bow.

Anna May Wong’s performance in Piccadilly was hailed throughout Europe as one of the year’s very best. Wong’s reception in England was liberating. Her screen fame there was such that she appeared not only in another film, The Flame of Love, but also made a cameo appearance in the lavish revue film, Elstree Calling, as “herself.” The live stage in England called, as well; she appeared in Circle of Chalk with a young Laurence Olivier. Feted everywhere she went, Wong became every bit the toast of the real Piccadilly. Certain that her triumph in England would accord her new respect from American producers, Wong returned to the U.S.

But Hollywood producers hadn’t gotten a reputation for thickheadedness for nothing. With very rare exceptions (Josef von Sternberg’s Shanghai Express was one of them), Wong’s post Piccadilly career picked up where she’d left off in 1928. She returned to make three more films in England in 1934, but further success in Europe still did not open Hollywood’s eyes. By the mid 1940’s, Anna May Wong had essentially retired from the screen. After her death in 1961, she was largely forgotten, until film historians began excavating Hollywood films of the 1920’s and 1930’s for previously slighted portrayals by ethnic performers. Those efforts have turned up Piccadilly, now exquisitely restored by the British Film Institute. Finally, after all these years, Wong’s struggle for respect has been won. In an age that recognizes cinematic pioneering in the portrayal of minorities, Anna May Wong has emerged, belatedly, as an honored ancestor.”
— Kevin Hagopian, Penn State University

From BFI DVD

Extras – Introduction to the music – Neil Brand
Prologue to the sound version of Piccadilly

1.67GB | 1 h 49 min | 768×576 | mkv

https://nitro.download/view/BF470D594A0E013/Piccadilly.mkv
https://nitro.download/view/E12B09C860F0C80/Neil_Brand_on_composing_for_Piccadilly.mkv
https://nitro.download/view/8329AB36D8E5919/Prologue_from_the_sound_version_of_Piccidilly.mkv
or
https://fikper.com/nUGKka3ptN/Piccadilly.mkv
https://fikper.com/vSvlD0yCbo/Neil_Brand_on_composing_for_Piccadilly.mkv
https://fikper.com/DVnFdesUUO/Prologue_from_the_sound_version_of_Piccidilly.mkv

Language:English
Subtitles:None

The post Ewald André Dupont – Piccadilly [+ Extras] (1929) first appeared on Cinema of the World.

Baruch Mayr, son of an orthodox rabbi from a poor shtetl in Galizia, decides to break with the family tradition and leave the shtetl to become an actor. Due to this behaviour his father bans him from his family. Baruch, who joined a small burlesque troupe is discovered by an Austrian Erzherzogin (archdutchess) who introduces him to the director of the most important Theater in Vienna, the Burgtheater. Baruch receives a contract there and becomes more and more an assimilated jew. But his relation with the Erzherzogin isn’t approved by the Austrian court, so they have to end it. When an old friend of his father, who is always traveling from one Jewish community to the next (and has told him first about the theatres in the world), Baruch becomes a little bit homesick and returns for a holiday to his old shtetl to see his folks and to pick up his childhood sweetheart. But his father wants him not to enter his house, so he returns to Vienna, with his bride. But his old friend does not stop trying to convince his father of his errors.
—Stephan Eichenberg

2.72GB | 2h 14mn | 1280×720 | mkv

https://nitroflare.com/view/D3D0203AEF18E86/Ewald_Andre_Dupont-Das_Alte_Gesetz-1923-webdlKG.mkv

Language:German Intertitles
Subtitles:English

The post Ewald André Dupont – Das alte Gesetz aka This Ancient Law (1923) first appeared on Cinema of the World.

Storyline:
Prologue: The murderer “Boss” Huller – after having spent ten years in prison – breaks his silence to tell the warden his story. “Boss”, a former trapeze artist, and his wife own a cheap side-show that displays ”erotic sensations”. But he longs for his former glamorous life in the circus. When he meets the orphan Berta-Marie, he falls under her spell and leaves his wife and young son behind. He makes Berta-Marie his partner in a new trapeze number. One day, the famous trapeze artist Artinelli takes note of them and engages them for his trapeze show in Berlin. Their salto mortale becomes an immediate sensation. Calculatedly and cold, Artinelli seduces Berta-Marie and destroys “Boss'” happiness. Written by Christian Taube

Critic:
Emil Jannings, who is best remembered for his acting in “The Last Laugh” and “Passion”, fills the principal role. He is theatric at times, but his performance is a masterly one. He is not alone in this feature, and it may be a matter of opinion as to whether Lya de Putti and Warwick Ward, an English actor, are not even better than Mr. Jannings in their portrayals. Certainly Jannings has the least conventional role and more to tell by his expressions. However, Miss de Putti and Mr. Ward give an extraordinarily brilliant account of themselves and they rise to the occasion in episodes that are by no means easy to handle.

This is a production which not only shows the way in which a story should be unfurled, but impresses one with the magic of the camera in picturing effects, such as the torrent of thoughts rushing through a maddened mind, and the views of the audience from the eyes of a hurtling trapeze performer.
– Mordaunt Hall, The New York Times, June 28, 1926

5.46GB | 1h 51mn | 960×720 | mkv

http://nitroflare.com/view/69C5634F8C233CE/variety.1925.720p.bluray.x264-usury.mkv

Language(s):German
Subtitles:English

The post Ewald André Dupont – Varieté (1925) first appeared on Cinema of the World.

Also filmed by Dupont in German (Menschen im Käfig) and French (Le cap perdu) versions with different casts.

1.29GB | 1 h 25 min | 687×576 | mkv
https://nitroflare.com/view/24DBE845F754828/Cape.Forlorn.1931.DVDRip.x264-KG.mkv

Language(s):English
Subtitles:None

The post Ewald André Dupont – Cape Forlorn AKA The Love Storm (1931) first appeared on Cinema of the World.