Quote:
A female cabaret singer is put on trial for murdering a predatory musician.

Wikipedia wrote:
Warner Brothers Studios acquired the U.S. distribution rights but shelved the film in favor of its own scene-by-scene 1937 English language remake, Confession, which starred Kay Francis. Mazurka’s sets were designed by the art director Hermann Warm. It was partly shot on location in Warsaw. The film was made by Cine-Allianz whose Jewish owners Arnold Pressburger and Gregor Rabinovitch were dispossessed during pre-production of the film.

1.30GB | 1h 32m | 696×574 | mkv

https://nitro.download/view/8ED540A579501F6/Mazurka.(Willi.Forst.1935).TVRip.mkv
or
https://fikper.com/CLJWjH7CTi/Mazurka.(Willi.Forst.1935).TVRip.mkv.html

Language:German,French
Subtitles:English

The post Willi Forst – Mazurka (1935) first appeared on Cinema of the World.

This is Willi Forst’s second collaboration with director Géza von Bolvary, made shortly after the far better known “Zwei Herzen im Dreivierteltakt” (in which he didn’t have first billing, though). Again, the script is by Walter Reisch and the music is by Robert Stolz.

In “Ein Tango für Dich”, Forst plays Jimmy Bolt, who is working as a singer and dancer (and occcasionally as a waiter) at a varieté. The man may be talented, but he’s not exactly a big success, and things get complicated when a young orphan girl (Fee Malten) falls in love with the voice of another singer (Oskar Karlweis) but then mistakes Bolt for him…

“Ein Tango für Dich” is an important film in establishing the early Forst screen persona of the stylish singer and dancer, which would come into full focus with the next film, the masterpiece “Das Lied ist aus”. However, Forst here is still a bit more the ‘arrogant’ dandy like in Dupont’s “Atlantik” and not yet quite the undisputedly sensitive, slightly melancholic heartbreaker of many of his later films. But he of course already has that typical Forst charm, and he also gets to sing some very good songs here: “Das Märchen vom Glück” and the beautiful, beautiful “Du bist mein Maskottchen gewesen”, one of my all-time favourite Willi tunes.

As the reviewer of the Film-Kurier wrote in 1930: “We hardly have a second actor who can make even nonsense believable in such a natural manner.” The writer goes on wishing for a more ‘severe’ director (why?), concluding that Forst this way would become the “German-Austrian Maurice Chevalier”. Well, as things worked out, Forst became exactly that (and more) by continuing to work with Bolvary, Reisch, and Stolz.

1.12GB | 1h 22mn | 720×544 | avi

https://nitro.download/view/813CF2B8722D82E/Ein_Tango_fuer_dich_1930.avi
https://nitroflare.com/view/7803FAB17DD47A0/Ein_Tango_f%C3%BCr_dich_1930.ENG.11.srt

Language(s):German
Subtitles:English

The post Géza von Bolváry – Ein Tango für Dich (1930) first appeared on Cinema of the World.

Quote:
“Der Herr auf Bestellung – the gentleman who can be booked” has the Weimar dream team of Walter Reisch as scriptwriter, Geza von Bolvary as director and most importantly, the incomparable Willi Forst as main actor.

This ‘musical burlesque’ tells about a stylish young gentleman (Willi Forst) who works as a so-called ‘Festredner’; an untranslatable term, it indicates a person who makes speeches at important events like marriages etc. for people who don’t feel able to do it themselves. Willi lends his voice to a speech-impaired professor (Paul Hörbiger), but the baroness (Trude Lieske) who falls in love with Hörbiger only does so because of Willi’s voice, and you can guess that this leads to all sorts of complications…

Very ironic but generally good-natured, “Der Herr auf Bestellung” offers a fine reflection on “Schein und Sein”, appearance and reality. Forst impersonating the voice of Hörbiger in all sorts of situations (including an appearance in Japanese samurai armour) is a sight to see, there are occasional bits of slapstick, and in one scene Forst even dances with his car. Additionally, the opening sequence in which Forst does an almost Astaire-style dance and song number must be one of the best he ever commited to celluloid, and the film in general abounds in great Willi songs (written by Robert Stolz) like “Dein Hemdchen ist aus Crepe de Chine” and “Hab’ keine Angst vor dem ersten Kuss”, which are interesting to see in the context of this ultimately rather ‘cold’ film.

1.16GB | 1 h 20 min | 768×576 | mkv

https://nitro.download/view/36D9D34698BA09C/Der_Herr_auf_Bestellung_1930.Sky.digital.mkv
http://nitroflare.com/view/B2089E590F81D46/Der_Herr_auf_Bestellung_1930-sky2019.ENG.02.srt

Language:German
Subtitles:English

The post Géza von Bolváry – Der Herr auf Bestellung (1930) first appeared on Cinema of the World.

Quote:
I don’t hesitate to call “Das Lied ist aus” one of the great masterpieces of early German cinema. It is one of the best and most stylish of all the Weimar musical sound films, and it’s unusual for its strongly melancholic undertone and unhappy ending. It can also be regarded as one of the defining films for the team of actor Willi Forst, director Geza von Bolváry and scriptwriter Walter Reisch. Forst fully established his screen persona here: the witty, elegant, but also fragile and thoughtful gentleman, although he was a much too versatile actor to be pinned-down to such keywords. Forst is paired here with the equally stunning Liane Haid, very charming and womanly, and the chemistry these two have has rarely been achieved again in later films with Forst (but check out “Der Prinz von Arkadien” with the same team!).

1.36GB | 1 h 34 min | 762×572 | mkv

https://nitro.download/view/A9AA9F51527F438/Das_Lied_ist_aus_1930.Sky_digital.mkv
http://nitroflare.com/view/F846E0E3F4CCEB9/Das_Lied_ist_aus_1930.Sky_digital.ENG.03.srt

Language:German
Subtitles:English

The post Géza von Bolváry – Das Lied ist aus AKA The Song Is Over (1930) first appeared on Cinema of the World.

Silvia Breuss wrote:
It is one of those hidden big-city asylums where light-shy existences meet. Many paths lead into the demimonde of Café Elektric, but only a few lead out again. Women looking for the buyers of their bodies in the glow of the street lamps find their way in, as do night owls and all kinds of sinister figures. Truth meets deception here, drive meets dreams and feelings, possession and money meet dependence. Gustav Ucicky’s atmospherically dense “film of manners”, still captivating today in its direct and unsentimental portrayal of the Viennese milieu, with the young Willi Forst and Marlene Dietrich in her first leading role, was intended to show “how easy it is in our time to stray from the right path”. The signpost for three great careers.

The final reel of the film is considered lost. The end of the story is told in an insert.

632MB | 1h 17mn | 720×540 | mkv

https://nitro.download/view/B815B1B506452E7/Cafe.Elektric.1927.WEB.540p.mkv

Language:German intertitles
Subtitles:None

The post Gustav Ucicky – Café Elektric (1927) first appeared on Cinema of the World.

“Frauen sind keine Engel” was made on a moderate budget and has generally found not as much attention as that which has been rightfully accorded to his ‘Viennese trilogy’ made at about the same time. Please don’t expect the outward splendour of some other Forst films, even though script, acting and direction leave nothing to be desired. However, like many of Forst’s more important films this one not only provides great entertainment, but is also a thorough examination of the relation of fiction/art and reality.

So, on a simple level, this is a very entertaining and witty story about a slightly arrogant film director (Axel von Ambesser) travelling on an ocean liner who is constantly pestered by young girls who devise all sorts of schemes to attract his attention because they want to get a role in a film. He is equally pestered by his best friend, a scriptwriter (Richard Romanowsky, who reminds me a little of Edward Everett Horton in this role), who thinks he could use these going-ons as the basis for a new screenplay. But then the film director overhears the talk of a young woman (Marte Harell, magnificent as always) with a police officer who wants to arrest her for having killed her husband. And soon the director finds himself in love with the lady and wants to help her to get away from the police. All very well, but it slowly transpires that some things may be quite a bit different from what they appear to be…

Filmportal.de calls the film ‘remarkably self-reflexive’, and that is actually putting things mildly. The more the story develops, we find ourselves on dizzyingly different levels of ‘fictions’ and maskerades being played. And if one knows that the role of the film director was originally to be played by Forst himself, then even Margot Hielscher’s singing of “Bel Ami” early in the film gets a meaning that goes far beyond a simple attempt at cashing-in again on Forst’s greatest success as a singer and director. Saying more would mean very serious spoilers, but once you’ve watched the film, you may want to read the analysis of the film in Francesco Bono’s book on Forst to sort things out a bit:
link

https://nitro.download/view/335628C7D3A84A8/1943_-_Frauen_sind_keine_Engel.mkv
http://www.nitroflare.com/view/5920E60815DB121/Frauen_sind_keine_Engel_%28Willi_Forst_1943%29.srt

Language:German
Subtitles:English

The post Willi Forst – Frauen sind keine Engel (1943) first appeared on Cinema of the World.