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Lindsay (1693 KP) rated Searching For Gertrude in Books
Apr 9, 2019
Searching for Gertrude take you on a hunt to find a girl of a young man love. Will he find this true love he lost. The young man is German and he has some issues with his government.
We learn about the laws that are going down in Germany at the beginning of Hitler Resign. The Nazi believed that Germans were not allowed to marry Jews. Will Rulfoff find this love or will Rudolf get his answers by searching for the girl he fell in love with when he was young. Things to go down hill when his love of his life family must move away to Turkey. He is determined to find her.
He goes undercover for his government even though he does not follow or like this government laws and ideas. As a German consulate there are a few surprises along the way will he go against or follow this government as he is now working for them. Find out by reading.
Rosalyn is an American Jew who come to Turkey to be a Nanny. Rudolf stumbles upon her in his search for Gertrude and ask her for help. Does she help him or not you will need to read the story to know for sure.
Rosalyn come to Turkey for her own reason as well. There is twist and turns throughout the book. Will Rosalyn do as she came to do in Turkey. The author does a wonderful job with the plot. I could not put it down and the fact, that she shows the time and era and history behind what going on in Turkey. Is Turkey with Nazi or they Nurteral during the War. If you are a historical fiction reader or just like learn some facts about history. This book is a good one to pick up. Want to learn more about Germany or Nazi Germany and other surrounding areas or Turkey in the 1930’s.
We learn about the laws that are going down in Germany at the beginning of Hitler Resign. The Nazi believed that Germans were not allowed to marry Jews. Will Rulfoff find this love or will Rudolf get his answers by searching for the girl he fell in love with when he was young. Things to go down hill when his love of his life family must move away to Turkey. He is determined to find her.
He goes undercover for his government even though he does not follow or like this government laws and ideas. As a German consulate there are a few surprises along the way will he go against or follow this government as he is now working for them. Find out by reading.
Rosalyn is an American Jew who come to Turkey to be a Nanny. Rudolf stumbles upon her in his search for Gertrude and ask her for help. Does she help him or not you will need to read the story to know for sure.
Rosalyn come to Turkey for her own reason as well. There is twist and turns throughout the book. Will Rosalyn do as she came to do in Turkey. The author does a wonderful job with the plot. I could not put it down and the fact, that she shows the time and era and history behind what going on in Turkey. Is Turkey with Nazi or they Nurteral during the War. If you are a historical fiction reader or just like learn some facts about history. This book is a good one to pick up. Want to learn more about Germany or Nazi Germany and other surrounding areas or Turkey in the 1930’s.
Mark @ Carstairs Considers (2069 KP) rated Charlie Thorne and the Last Equation in Books
Oct 9, 2019
Can Charlie Be as Smart as Einstein?
Meet Charlie Thorne. She is highly intelligent, a great athlete – and twelve-years-old. She is attending college, if you can call only showing up on test days to be attending college, just biding her time until she is legally an adult. Until the day the CIA shows up and strong arms her into helping them on a mission of critical importance. It is believed that Albert Einstein developed an equation in the 1930’s that rivals his theory of relativity in importance, but he hid it to keep it from falling into the wrong hands. While people all over the world have been looking for it for decades, the race to find it has heated up, with the fate of the world potentially in the balance. Because Charlie is so smart, they think she can more easily decode the clues that Einstein left behind. Will Charlie be able to follow the clues to find it?
I was excited to dive into a new series from middle grade author Stuart Gibbs. It takes a little time to set up the characters and the story in the first half, but the second half is packed with action. When I got here, it was nearly impossible to put down. The main characters got some nice character growth over the course of the book. The rest of the characters aren’t quite as sharp, but they are developed enough to keep us engaged in the book. This doesn’t have quite as much humor as some of Stuart Gibbs’s other books, although I did laugh some. The more serious tone is reflected in the more serious nature of the story. There isn’t anything that isn’t appropriate for the intended audience, but there is more violence off the page than in his previous books. Only the most sensitive kids will be bothered by what happens here, however. The ending of this book will leave you ready for Charlie’s next adventure. I know I’m anxious for it.
I was excited to dive into a new series from middle grade author Stuart Gibbs. It takes a little time to set up the characters and the story in the first half, but the second half is packed with action. When I got here, it was nearly impossible to put down. The main characters got some nice character growth over the course of the book. The rest of the characters aren’t quite as sharp, but they are developed enough to keep us engaged in the book. This doesn’t have quite as much humor as some of Stuart Gibbs’s other books, although I did laugh some. The more serious tone is reflected in the more serious nature of the story. There isn’t anything that isn’t appropriate for the intended audience, but there is more violence off the page than in his previous books. Only the most sensitive kids will be bothered by what happens here, however. The ending of this book will leave you ready for Charlie’s next adventure. I know I’m anxious for it.
Suswatibasu (1701 KP) rated The Zookeeper's Wife (2017) in Movies
Nov 24, 2017 (Updated Nov 24, 2017)
Story is harrowing and essential but film could have been made better
As a massive fan of biopics, The Zookeeper's Wife is an incredibly important tale of a the real life Polish couple who sheltered Jews in their zoo during the Second World War, helping 300 people to escape from Warsaw.
Dr. Jan Zabinski was the director of the Warsaw Zoo in the 1930's, and along with his wife Antonina and young son, they ensured the safety and care of animals in the area. Their life came to an abrupt halt with the German invasion of Poland in 1939, when most of their animals and structures were destroyed in the bombings and siege of the city. The zoo was closed under German occupation, but the Zabinskis continued to occupy the villa, and the zoo itself was used first as a pig farm and subsequently as a fur farm. All the while, Dr Zabinski smuggled Jewish people out of the Warsaw Ghetto and aided their way out of city, not before allowing them to stay in their own house. He was injured while fighting in the Polish resistance, but the couple were given an honorary title by Yad Vashem (Israel's official memorial for Jewish victims of the Holocaust) for their brave efforts.
Similar in the vein of films such as @Schindler's List (1993), there is an element of a saviour complex in these films, but unlike Steven Spielberg's Oscar-winner, it is less extravagant and less well-made, as there was very little engagement with the Jewish characters - focusing more on Antonina, played by Jessica Chastain. It is definitely heart-wrenching watching films based on the holocaust, and there were scenes I had to turn away from, such as when an elderly woman and her mother were shot dead in the streets by soldiers. The script and cinematography weren't at a high standard, however, and as a result the film definitely fell short. I would suggest reading the book @The Zookeeper's Wife - it has far more detail than the film, in which there were glaringly obvious plot holes.
Dr. Jan Zabinski was the director of the Warsaw Zoo in the 1930's, and along with his wife Antonina and young son, they ensured the safety and care of animals in the area. Their life came to an abrupt halt with the German invasion of Poland in 1939, when most of their animals and structures were destroyed in the bombings and siege of the city. The zoo was closed under German occupation, but the Zabinskis continued to occupy the villa, and the zoo itself was used first as a pig farm and subsequently as a fur farm. All the while, Dr Zabinski smuggled Jewish people out of the Warsaw Ghetto and aided their way out of city, not before allowing them to stay in their own house. He was injured while fighting in the Polish resistance, but the couple were given an honorary title by Yad Vashem (Israel's official memorial for Jewish victims of the Holocaust) for their brave efforts.
Similar in the vein of films such as @Schindler's List (1993), there is an element of a saviour complex in these films, but unlike Steven Spielberg's Oscar-winner, it is less extravagant and less well-made, as there was very little engagement with the Jewish characters - focusing more on Antonina, played by Jessica Chastain. It is definitely heart-wrenching watching films based on the holocaust, and there were scenes I had to turn away from, such as when an elderly woman and her mother were shot dead in the streets by soldiers. The script and cinematography weren't at a high standard, however, and as a result the film definitely fell short. I would suggest reading the book @The Zookeeper's Wife - it has far more detail than the film, in which there were glaringly obvious plot holes.
RəX Regent (349 KP) rated Judgment at Nuremberg (1961) in Movies
Feb 19, 2019
“He that is without sin among you, let him cast the first stone at her.”
It has been over 20 years since I first saw this as teenager, but watching it again with little memory of the specifics, I was both a little disappointed but also very impressed.
With a title like “Judgement at Nuremberg,” you can be forgiven for expecting a film about the trial of the Concentration Camp guards or Hermann Goering, but instead we are given something much more subtle and subversive. This follows a fictionalised account of the “Judges Trial”.
Here, Spencer Tracey’s U.S. Judge leads a panel of three peers as they preside over a trial of four NAZI judges, the focus of their crimes is not of there actions during the war but those in the mid 1930’s and their perversions of justice in aiding Hitler’s NAZI’s to oppress their own people.
The film also asked a myriad of uncomfortable questions, not only taking aim at the long dead National Socialist movement, but the world as a whole, including the U.S.A. Sighting parallels from Allied nations who claim cultural superiority after winning the war yet only being a stone’s throw away from the same attitudes.
But this is not just subverting the perceptions of jurist prudence, it is a drama, a head to head between Tracey and his German counterpart in the doc, Bert Lancaster. It is also a vehicle for a host of Oscar worthy performances from an all star cast, ALL of which excel in their roles, some more subtly than others.
The standouts are Montgomery Cliff and Judy Garland, both of whom would pass away soon after this film was release at relatively young ages. Kramer’s cinematography is impressive too, as it keeps the camera moving around the courtroom through the lengthy cross-examination scenes, keeping the tension high and the interest alive through this three-hour drama.
With a healthy dose of melancholy, jaded and brutalised characters and foreshadowing the impending Cold War, this is a film which understands war and the often forgotten fact that even though Wars have a start and and end date, they take decades to build up and never really end.
With a title like “Judgement at Nuremberg,” you can be forgiven for expecting a film about the trial of the Concentration Camp guards or Hermann Goering, but instead we are given something much more subtle and subversive. This follows a fictionalised account of the “Judges Trial”.
Here, Spencer Tracey’s U.S. Judge leads a panel of three peers as they preside over a trial of four NAZI judges, the focus of their crimes is not of there actions during the war but those in the mid 1930’s and their perversions of justice in aiding Hitler’s NAZI’s to oppress their own people.
The film also asked a myriad of uncomfortable questions, not only taking aim at the long dead National Socialist movement, but the world as a whole, including the U.S.A. Sighting parallels from Allied nations who claim cultural superiority after winning the war yet only being a stone’s throw away from the same attitudes.
But this is not just subverting the perceptions of jurist prudence, it is a drama, a head to head between Tracey and his German counterpart in the doc, Bert Lancaster. It is also a vehicle for a host of Oscar worthy performances from an all star cast, ALL of which excel in their roles, some more subtly than others.
The standouts are Montgomery Cliff and Judy Garland, both of whom would pass away soon after this film was release at relatively young ages. Kramer’s cinematography is impressive too, as it keeps the camera moving around the courtroom through the lengthy cross-examination scenes, keeping the tension high and the interest alive through this three-hour drama.
With a healthy dose of melancholy, jaded and brutalised characters and foreshadowing the impending Cold War, this is a film which understands war and the often forgotten fact that even though Wars have a start and and end date, they take decades to build up and never really end.
Phillip McSween (751 KP) rated The Rocketeer (1991) in Movies
Feb 12, 2018
Hated it
Me trying to find something I liked about The Rocketeer: "Well that part was cool. Yeah, but it was quickly ruined by x,y, and z. Besides, the terrible part that happened right after made it all for nothing. Ok, but what about...Nope, that was pretty crappy too."
If Batman Vs. Superman: Dawn of Justice has taught us anything it's that sometimes superhero movies get it wrong. Not only does The Rocketeer get it wrong, it steps on its own feet before it can even get off the blocks properly. Oftentimes we have the case of decent actors getting placed with a dud of a script, but that's far from the situation here. Sure the actors didn't have much of a chance with the awful writing, but I have the strangest feeling that even if the writing had been superb these actors still would have found a way to muck it up. It's that bad. I'm talking grind your teeth bad.
To its credit, the film doesn't dupe you as it gets off to a terrible start almost immediately. Twenty minutes in and I was already thinking of the number of different things that I could have been doing rather than watching The Rocketeeer. Was it all bad? No, but mostly. The redeemable parts were quickly ruined by their own contradictions. Perfect example, everytime main character Cliff Secord (Billy Campbell) donned the Rocketeer suit, the action was pretty sweet to watch. Considering the fact that he wasn't in the suit for even a full half hour, things soured pretty quickly.
Corny moments abound in the film. I was hoping for a base that was more serious and less campy and all I can say is: Mission Not Accomplished. Between the absolute joke of a villain, the lame plot twist, and a number of other things, I don't know what bothered me the most.
The Rocketeer is the story of an aviator who is on the run from the mob after discovering a jet pack in the 1930's. Yeah, now that I think about it, the plot should have told me everything I needed to know about expectations. Skip it. I give it a 10.
If Batman Vs. Superman: Dawn of Justice has taught us anything it's that sometimes superhero movies get it wrong. Not only does The Rocketeer get it wrong, it steps on its own feet before it can even get off the blocks properly. Oftentimes we have the case of decent actors getting placed with a dud of a script, but that's far from the situation here. Sure the actors didn't have much of a chance with the awful writing, but I have the strangest feeling that even if the writing had been superb these actors still would have found a way to muck it up. It's that bad. I'm talking grind your teeth bad.
To its credit, the film doesn't dupe you as it gets off to a terrible start almost immediately. Twenty minutes in and I was already thinking of the number of different things that I could have been doing rather than watching The Rocketeeer. Was it all bad? No, but mostly. The redeemable parts were quickly ruined by their own contradictions. Perfect example, everytime main character Cliff Secord (Billy Campbell) donned the Rocketeer suit, the action was pretty sweet to watch. Considering the fact that he wasn't in the suit for even a full half hour, things soured pretty quickly.
Corny moments abound in the film. I was hoping for a base that was more serious and less campy and all I can say is: Mission Not Accomplished. Between the absolute joke of a villain, the lame plot twist, and a number of other things, I don't know what bothered me the most.
The Rocketeer is the story of an aviator who is on the run from the mob after discovering a jet pack in the 1930's. Yeah, now that I think about it, the plot should have told me everything I needed to know about expectations. Skip it. I give it a 10.
Mark @ Carstairs Considers (2069 KP) rated Love and Death Among the Cheetahs in Books
Aug 7, 2019
Honeymoon Safari with Murder
Lady Georgiana and Darcy have finally wed, and Darcy has a surprise – an extended honeymoon in Kenya. Georgie is excited to get to see local wildlife, but once they arrive, she quickly learns that Darcy is hoping to get some information on a notorious jewel thief that is rumored to be making an appearance in the country soon. The couple are quick to settle into the British colony in the country, but they begin to realize that not everyone is as friendly as they first appear. Then a murder interrupts their trip. Can they figure out what is happening?
Those who are fans of Darcy (like me), will be pleased with his presence in this book. As is befitting a honeymoon, he and Georgie are true partners in figuring out what is happening around them. Not that he steals the show from Georgie, who still figures out just about everything along the way. We do get the usual slow start, which allows us a little time to hear from most of the series regulars before heading down to Kenya. And let me say their trip made me very happy for how travel has advanced since the 1930’s. Even when we arrive in Kenya, it takes a bit of time for the murder to take place, but once it does, the mystery is well worth the wait with some great secrets that Georgie and Darcy must bring to light. I did have a hard time keeping all of the British colonists straight, but that never got in the way of following the mystery. My bigger complaint is an event that takes place in the middle of the book that seems force to have Darcy and Georgie where they are needed for the plot. I appreciated how the book worked in the world politics of the time without feeling out of place in the series. And I also appreciated the ability to be an arm chair traveler since I can’t take a vacation this year, although it really made me want to go on a safari of my own.
Those who are fans of Darcy (like me), will be pleased with his presence in this book. As is befitting a honeymoon, he and Georgie are true partners in figuring out what is happening around them. Not that he steals the show from Georgie, who still figures out just about everything along the way. We do get the usual slow start, which allows us a little time to hear from most of the series regulars before heading down to Kenya. And let me say their trip made me very happy for how travel has advanced since the 1930’s. Even when we arrive in Kenya, it takes a bit of time for the murder to take place, but once it does, the mystery is well worth the wait with some great secrets that Georgie and Darcy must bring to light. I did have a hard time keeping all of the British colonists straight, but that never got in the way of following the mystery. My bigger complaint is an event that takes place in the middle of the book that seems force to have Darcy and Georgie where they are needed for the plot. I appreciated how the book worked in the world politics of the time without feeling out of place in the series. And I also appreciated the ability to be an arm chair traveler since I can’t take a vacation this year, although it really made me want to go on a safari of my own.
Bugatti Type 46 & 50: The Big Bugattis
Book
The Bugatti Type 46 was announced in the autumn of 1929. The new Bugatti chassis, at almost twelve...
BankofMarquis (1832 KP) rated A Star Is Born (2018) in Movies
Oct 9, 2018
4th time IS the charm
I, like many, rolled my eyes when I heard that Bradley Cooper (of all people) was tabbed to write, direct and star in the 4th film adaptation of A STAR IS BORN. I was not a big fan of the Streisand/Kristofferson version from the 1970's, have vague memories of the Garland/Mason version from the 1950's and never saw the original Gaynor/March version from the 1930's. But when I heard that Lady Gaga was cast in the female lead of this film, I was intrigued and decided to check it out.
And...I'm glad I did as A STAR IS BORN now resides atop my list of BEST PICTURES OF 2018!. The music, acting, directing and story all work well in conjunction with each other to bring this tearjerker new, relevant life for a whole new audience.
For those of you not familiar with the plot, A STAR IS BORN tells the tale of an up and coming performing talent who is taken under the wing of an aging, on the decline, alcoholic superstar performer. We watch her rise and his fall.
In the lead role of Ally, Lady Gaga is outstanding. From her first musical performance to the last, you can clearly see that she has the musical chops, bravura and heart to pull off these scenes and this character. She really brings it here and you are drawn in whenever her character is on-stage, performing. As an actress she is better than "fine". You can see some moments of acting skill and depth, but you do see some of her lack of experience in her acting in some of the quieter scenes. All that said, I will be shocked if she is NOT nominated for an Oscar for this performance - she certainly is going to be nominated (and will probably win) as well for Best Song.
Complimenting her - and holding the screen, and our attention throughout - is Bradley Cooper's performance of Superstar-on-the-decline Jackson Maine. His Country/Rock legend lives up to the billing in voice, musical performance and attitude. This is Cooper's finest performance of his career, nuanced and crushing, drawing us in while simultaneously pushing us away. He is, easily, the front-runner for the Best Actor Oscar.
Complimenting these two are Andrew Dice Clay (interestingly enough) as Ally's father , who brings a multi-faceted character to life. He is star-struck, hopeful, protective and angry - always wishing for the best for his daughter, and protecting her from those that will prey on her. I would say he could be nominated for Best Supporting Actor, but he is not the Best Supporting Actor in this film, not by a long shot.
That Best Support Actor performance belongs to Sam Elliott who plays Cooper's (much) older brother. Cooper and Elliott's characters have a love/hate relationship with deep familial scars. As often happens with Supporting Roles, Elliot's performance shines and then is elevated to another level from one scene late in the film. He'll easily get an Oscar nomination - and will probably, finally, earn the Oscar he deserves.
But this film isn't all about acting. The Direction by Cooper (who will probably be nominated in all 3 categories - acting, writing and directing) is sharp and to the point. He films the musical scenes with skill and doesn't let the camera get too crazy while driving his lens close in to the actor's faces during the quiet scenes, drawing us in to this pair.
And of course, with this type of film, it will hinge on how good the music, and the musical performances, are - and this film delivers the goods in that space. There is memorable song after memorable song, performed strongly by both Cooper and Lady Gaga. They are good separately, but are INCREDIBLE when they perform together.
I cannot say enough good things about this film - it IS that good. Check this film out, you'll be glad you did, and you'll be able to say that you've seen the front-runner for all the OSCARS of 2018.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
And...I'm glad I did as A STAR IS BORN now resides atop my list of BEST PICTURES OF 2018!. The music, acting, directing and story all work well in conjunction with each other to bring this tearjerker new, relevant life for a whole new audience.
For those of you not familiar with the plot, A STAR IS BORN tells the tale of an up and coming performing talent who is taken under the wing of an aging, on the decline, alcoholic superstar performer. We watch her rise and his fall.
In the lead role of Ally, Lady Gaga is outstanding. From her first musical performance to the last, you can clearly see that she has the musical chops, bravura and heart to pull off these scenes and this character. She really brings it here and you are drawn in whenever her character is on-stage, performing. As an actress she is better than "fine". You can see some moments of acting skill and depth, but you do see some of her lack of experience in her acting in some of the quieter scenes. All that said, I will be shocked if she is NOT nominated for an Oscar for this performance - she certainly is going to be nominated (and will probably win) as well for Best Song.
Complimenting her - and holding the screen, and our attention throughout - is Bradley Cooper's performance of Superstar-on-the-decline Jackson Maine. His Country/Rock legend lives up to the billing in voice, musical performance and attitude. This is Cooper's finest performance of his career, nuanced and crushing, drawing us in while simultaneously pushing us away. He is, easily, the front-runner for the Best Actor Oscar.
Complimenting these two are Andrew Dice Clay (interestingly enough) as Ally's father , who brings a multi-faceted character to life. He is star-struck, hopeful, protective and angry - always wishing for the best for his daughter, and protecting her from those that will prey on her. I would say he could be nominated for Best Supporting Actor, but he is not the Best Supporting Actor in this film, not by a long shot.
That Best Support Actor performance belongs to Sam Elliott who plays Cooper's (much) older brother. Cooper and Elliott's characters have a love/hate relationship with deep familial scars. As often happens with Supporting Roles, Elliot's performance shines and then is elevated to another level from one scene late in the film. He'll easily get an Oscar nomination - and will probably, finally, earn the Oscar he deserves.
But this film isn't all about acting. The Direction by Cooper (who will probably be nominated in all 3 categories - acting, writing and directing) is sharp and to the point. He films the musical scenes with skill and doesn't let the camera get too crazy while driving his lens close in to the actor's faces during the quiet scenes, drawing us in to this pair.
And of course, with this type of film, it will hinge on how good the music, and the musical performances, are - and this film delivers the goods in that space. There is memorable song after memorable song, performed strongly by both Cooper and Lady Gaga. They are good separately, but are INCREDIBLE when they perform together.
I cannot say enough good things about this film - it IS that good. Check this film out, you'll be glad you did, and you'll be able to say that you've seen the front-runner for all the OSCARS of 2018.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
RəX Regent (349 KP) rated Pandora's Box (1929) in Movies
Feb 18, 2019
Pandora’s Box was one of the last films of the silent era, a period of transition to sound which I believe set the art of cinematography back a decade.
In short. Pandora’s Box looks stunning! Using the frame to its fullest, with a combination of wide framing and exploiting the art of the close up as Lulu herself, would the men around her, as well as driven by brilliant performances by most of the cast. But kudos needs to go to the star, Louise Brooks, as she portrays Lulu, the alluring flapper girl who can work her innocent, secutive magic on anyone, men and women alike.
But this is not limited to the narrative’s characters as her performance is subtle and underplayed, oozing out the silver screen and seducing the audience with same allure. If looks could kill, then this movie has them all.
With a sparse use of inter-titles, the film relies on both the physicality of the cast and imaginative cinematography to convey the seductive and danger of the events as they unfold over the two and bit hour runtime. Fritz Korner in particular rivals Brooks with the intensity of his performance as the ill fated husband of the girl about town.
And then there’s Alice Roberts, the Countess, who is widely thought to have the first lesbian to be seen on screen. Only Belgian actress’s second film in her short career, is played very Germanic, yet sympathetic as she too, has been drawn under Lulu’s spell.
This was made during the period in which German cinema was ruling, driving the art form from the nickelodeon to the theatre, but this was about to change in the 1930’s with advent of the sound and the golden age of American cinema. But as this film proves, you do not need sound to tell or show a good story.
Granted, the central story is pretty mediocre; a simple tale of a damaged woman who instinctively uses her allure to get her own way yet not as a diva, just an instinctive manipulator, casting her spell far and wide until that spell leads her into the hands London serial killer, Jack The Ripper (Gustav Diessl). But she is never portrayed as evil or scheming, just as herself as those around her are drawn to her aide.
There is little of the pantamine action or motives that you can expect from this genre even now, 90 years on.
But German director G.W. Pabst manages to create a multi-layered tale, deepened by psychological and social subtext, achieved as much because of the relationship he garnered with the star, Brookes, as he played on her natural talents to bring one of cinemas most defining roles to the screen. This would be the first of two collaborations between the director and the wayward starlet that year.
Pandora’s Box is yet another example of how German Cinema was leading the world back in the 1920’s; and even though the second world war may have brought this golden era to an abrupt end, it’s legacy lives on today with the styles, both in front and behind the camera, still being honoured by entire film industry now and hopefully for decades to come.
In short. Pandora’s Box looks stunning! Using the frame to its fullest, with a combination of wide framing and exploiting the art of the close up as Lulu herself, would the men around her, as well as driven by brilliant performances by most of the cast. But kudos needs to go to the star, Louise Brooks, as she portrays Lulu, the alluring flapper girl who can work her innocent, secutive magic on anyone, men and women alike.
But this is not limited to the narrative’s characters as her performance is subtle and underplayed, oozing out the silver screen and seducing the audience with same allure. If looks could kill, then this movie has them all.
With a sparse use of inter-titles, the film relies on both the physicality of the cast and imaginative cinematography to convey the seductive and danger of the events as they unfold over the two and bit hour runtime. Fritz Korner in particular rivals Brooks with the intensity of his performance as the ill fated husband of the girl about town.
And then there’s Alice Roberts, the Countess, who is widely thought to have the first lesbian to be seen on screen. Only Belgian actress’s second film in her short career, is played very Germanic, yet sympathetic as she too, has been drawn under Lulu’s spell.
This was made during the period in which German cinema was ruling, driving the art form from the nickelodeon to the theatre, but this was about to change in the 1930’s with advent of the sound and the golden age of American cinema. But as this film proves, you do not need sound to tell or show a good story.
Granted, the central story is pretty mediocre; a simple tale of a damaged woman who instinctively uses her allure to get her own way yet not as a diva, just an instinctive manipulator, casting her spell far and wide until that spell leads her into the hands London serial killer, Jack The Ripper (Gustav Diessl). But she is never portrayed as evil or scheming, just as herself as those around her are drawn to her aide.
There is little of the pantamine action or motives that you can expect from this genre even now, 90 years on.
But German director G.W. Pabst manages to create a multi-layered tale, deepened by psychological and social subtext, achieved as much because of the relationship he garnered with the star, Brookes, as he played on her natural talents to bring one of cinemas most defining roles to the screen. This would be the first of two collaborations between the director and the wayward starlet that year.
Pandora’s Box is yet another example of how German Cinema was leading the world back in the 1920’s; and even though the second world war may have brought this golden era to an abrupt end, it’s legacy lives on today with the styles, both in front and behind the camera, still being honoured by entire film industry now and hopefully for decades to come.
BankofMarquis (1832 KP) rated Young Frankenstein (1974) in Movies
Apr 20, 2020
My All Time Favorite Comedy
There are certain films that I can revisit time and time again and the effects of the film do not diminish for me and I would argue that they get better with age...and with repeated viewings.
Such is the case with Mel Brooks' Universal Horror film spoof/satire YOUNG FRANKENSTEIN from 1974. It is a work of comedic genius and features some of the most memorable characters in motion picture comedy history.
Co-Writen by Brooks and Gene Wilder, Directed by Brooks and starring Wilder, Marty Feldman, Peter Boyle, Teri Garr, Cloris Leachman and the great Madeline Kahn, this film sends up the black and white Universal Horror films of the 1930's not by making fun of them, but by lovingly recreating them and then exaggerating the scenes/circumstances.
Wilder is at his manic best as Dr. Frederick Frankenstein - the grandson of the original Frankenstein - who is brought to Transylvania and soon takes up his grandfather's work. He works through a controlled rage throughout the film until such times where the rage (and his hair) comes bursting forth in maniacal energy that is a comic tour-de-force.
He is surrounded by an outstanding collection of misfits, most notably Marty Feldman's servant/assistant Igor who is game for just about anything. Under-rated is the comedic performance of Teri Garr as Frankenstein's lab assistant Inga who not only has good looks ("what knockers") but can hold her own with Wilder and Feldman in a scene. Peter Boyle is earnest and scary and vulnerable (all at the same time) in his portrayal of "the Monster" who just wants to be understood - the "Puttin' on the Ritz" scene shows some fine comedic chops in an actor that up to this point had not really done comedy (his Emmy nominated work in EVERYONE LOVES RAYMOND is years in the future).
But it is the work of 2 female comediennes that drives this film to another level. Madeline Kahn as Frederick's fiance, Elizabeth, commands (and steals) every scene she is in while the inscrutable Cloris Leachman is deadpan perfection as castle housekeeper Frau Bleucher (horse whinny).
Director Brooks keeps the jokes coming at a fast a furious pace, but keeps the pace and the story going as well. This is much more than "just a collection of jokes" - it is a very good movie.
This film falls squarely in my "Top 10 All Time Favorite Films" - and my #1 comedy of all time.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)
Such is the case with Mel Brooks' Universal Horror film spoof/satire YOUNG FRANKENSTEIN from 1974. It is a work of comedic genius and features some of the most memorable characters in motion picture comedy history.
Co-Writen by Brooks and Gene Wilder, Directed by Brooks and starring Wilder, Marty Feldman, Peter Boyle, Teri Garr, Cloris Leachman and the great Madeline Kahn, this film sends up the black and white Universal Horror films of the 1930's not by making fun of them, but by lovingly recreating them and then exaggerating the scenes/circumstances.
Wilder is at his manic best as Dr. Frederick Frankenstein - the grandson of the original Frankenstein - who is brought to Transylvania and soon takes up his grandfather's work. He works through a controlled rage throughout the film until such times where the rage (and his hair) comes bursting forth in maniacal energy that is a comic tour-de-force.
He is surrounded by an outstanding collection of misfits, most notably Marty Feldman's servant/assistant Igor who is game for just about anything. Under-rated is the comedic performance of Teri Garr as Frankenstein's lab assistant Inga who not only has good looks ("what knockers") but can hold her own with Wilder and Feldman in a scene. Peter Boyle is earnest and scary and vulnerable (all at the same time) in his portrayal of "the Monster" who just wants to be understood - the "Puttin' on the Ritz" scene shows some fine comedic chops in an actor that up to this point had not really done comedy (his Emmy nominated work in EVERYONE LOVES RAYMOND is years in the future).
But it is the work of 2 female comediennes that drives this film to another level. Madeline Kahn as Frederick's fiance, Elizabeth, commands (and steals) every scene she is in while the inscrutable Cloris Leachman is deadpan perfection as castle housekeeper Frau Bleucher (horse whinny).
Director Brooks keeps the jokes coming at a fast a furious pace, but keeps the pace and the story going as well. This is much more than "just a collection of jokes" - it is a very good movie.
This film falls squarely in my "Top 10 All Time Favorite Films" - and my #1 comedy of all time.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)