Alraune (1918 film)
Alraune is a 1918 Hungarian science fiction horror film directed by Michael Curtiz and Edmund Fritz and starring Géza Erdélyi. Little is known about this film, now believed to be lost, it is a variation on the original legend of Alraune in which a Mad Scientist creates a beautiful but demonic child from the forced union between a woman and a mandrake root. Géza Erdélyi Gyula Gál as Alraune Kálmán Körmendy Margit Lux Rózsi Szöllösi Jenő Törzs Michael Curtiz filmography Alraune, die Henkerstochter, genannt die rote Hanne Alraune Alraune Alraune List of lost films Wingrove, David. Science Fiction Film Source Book Alraune on IMDb Alraune on IMDb Alraune at SilentEra
Turner Classic Movies
Turner Classic Movies is an American movie-oriented pay-TV network operated by Warner Bros. Entertainment, a subsidiary of AT&T's WarnerMedia. Launched in 1994, TCM is headquartered at Turner's Techwood broadcasting campus in the Midtown business district of Atlanta, Georgia; the channel's programming consisted of classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. and Metro-Goldwyn-Mayer. However, TCM licenses films from other studios, shows more recent films; the channel is available in the United States, the United Kingdom, Malta, Latin America, Italy, Cyprus, the Nordic countries, the Middle East and Asia-Pacific. In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian, from whom Turner had purchased the studio less than a year before.
As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; the film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as The Maltese Falcon. Turner Classic Movies debuted on April 14, 1994, at 6 p.m. Eastern Time, with Ted Turner launching the channel at a ceremony in New York City's Times Square district; the date and time were chosen for their historical significance as "the exact centennial anniversary of the first public movie showing in New York City". The first movie broadcast on TCM was the 1939 film Gone with the Wind, the same film that served as the debut broadcast of its sister channel TNT six years earlier in October 1988.
At the time of its launch, TCM was available to one million cable television subscribers. The network served as a competitor to AMC—which at the time was known as "American Movie Classics" and maintained a identical format to TCM, as both networks focused on films released prior to 1970 and aired them in an uncut and commercial-free format. AMC had broadened its film content to feature colorized and more recent films by 2002. In 1996, Turner Broadcasting System merged with Time Warner which, besides placing Turner Classic Movies and Warner Bros. Entertainment under the same corporate umbrella gave TCM access to Warner Bros.' Library of films released after 1950. In the early 2000s, AMC abandoned its commercial-free format, which led to TCM being the only movie-oriented basic cable channel to devote its programming to classic films without commercial interruption or content editing. On March 4, 2019, Time Warner's new owner AT&T announced a planned reorganization that would dissolve Turner Broadcasting.
TCM, along with Cartoon Network, Adult Swim, over-the-top video company Otter Media, will be moved directly under Warner Bros.. Speaking about the move, then-Warner Bros. CEO Kevin Tsujihara explained that TCM was "a natural fit with Warner Bros." due the company's massive film library. In 2000, TCM started the annual Young Composers Film Competition, inviting aspiring composers to participate in a judged competition that offers the winner of each year's competition the opportunity to score a restored, feature-length silent film as a grand prize, mentored by a well-known composer, with the new work subsequently premiering on the network; as of 2006, films that have been rescored include the 1921 Rudolph Valentino film Camille, two Lon Chaney films: 1921's The Ace of Hearts and 1928's Laugh, Clown and Greta Garbo's 1926 film The Temptress. In April 2010, Turner Classic Movies held the first TCM Classic Film Festival, an event—now held annually—at the Grauman's Chinese Theater and the Grauman's Egyptian Theater in Hollywood.
Hosted by Robert Osborne, the four-day long annual festival celebrates Hollywood and its movies, featured celebrity appearances, special events, screenings of around 50 classic movies including several newly restored by The Film Foundation, an organization devoted to preserving Hollywood's classic film legacy. Turner Classic Movies operates as a commercial-free service, with the only advertisements on the network being shown between features – which advertise TCM products, network promotions for upcoming special programs and the original trailers for films that are scheduled to be broadcast on TCM, featurettes about classic film actors and actresses. In addition to this, extended breaks between features are filled with theatrically released movie trailers and classic short subjects – from series such as The Passing Parade, Crime Does Not Pay, Pete Smith Specialties, Robert Benchley – under the banner name TCM Extras (formerly On
The Red Samson
The Red Samson is a 1917 Hungarian film directed by Michael Curtiz. The production is based upon the 1890 novel The Bondman by Hall Caine. Gyula Csortos as Samson Woronzow Ica von Lenkeffy as Edith Thursten Tivadar Uray as Michael Woronzow László Csiky as Edward Thursten János Bodnár as Ivan Woronzow Irma Lányi as Samson's mother Lajos Réthey Michael Curtiz filmography The Red Samson on IMDb
Mary Kid was a German actress. She appeared in more than forty films during the Weimar Republic, but her career came to an end in the early sound era. Harun al Raschid Jealousy Semi-Silk Love and Trumpets Rags and Silk Upstairs and Downstairs Accommodations for Marriage We Belong to the Imperial-Royal Infantry Regiment White Slave Traffic The Glass Boat The Lady with the Tiger Skin Lützow's Wild Hunt The False Prince I Was a Student at Heidelberg Circus Renz The Beloved of His Highness Rasputin Scampolo The Duty to Remain Silent Song The Missing Wife The Mistress and her Servant Lieutenant of His Majesty Diary of a Coquette General Babka The Uncle from Sumatra The Charmer Kennst Du das Land Hardt, Ursula. From Caligari to California: Erich Pommer's Life in the International Film Wars. Berghahn Books, 1996. Mary Kid on IMDb
Michael Curtiz was a Hungarian-born American film director, recognized as one of the most prolific directors in history. He directed classic films from the silent era and numerous others during Hollywood's Golden Age, when the studio system was prevalent. Curtiz was a well-known director in Europe when Warner Bros. invited him to Hollywood in 1926, when he was 39 years of age. He had directed 64 films in Europe, soon helped Warner Bros. become the fastest-growing movie studio. He directed 102 films during his Hollywood career at Warners, where he directed ten actors to Oscar nominations. James Cagney and Joan Crawford won their only Academy Awards under Curtiz's direction, he put Doris Day and John Garfield on screen for the first time, he made stars of Errol Flynn, Olivia de Havilland, Bette Davis. He himself was nominated five times and won twice, once for Best Short Subject for Sons of Liberty and once as Best Director for Casablanca. Curtiz introduced to Hollywood a unique visual style using artistic lighting and fluid camera movement, high crane shots, unusual camera angles.
He was versatile and could handle any kind of picture: melodrama, love story, film noir, war story, Western, or historical epic. He always paid attention to the human-interest aspect of every story, stating that the "human and fundamental problems of real people" were the basis of all good drama. Curtiz helped popularize the classic swashbuckler with films such as Captain Blood and The Adventures of Robin Hood, he directed many dramas which today are considered classics, Angels with Dirty Faces, The Sea Wolf and Mildred Pierce. He directed leading musicals, including Yankee Doodle Dandy, This Is the Army, White Christmas, he made comedies with Life With Father and We're No Angels. Curtiz was born Manó Kaminer to a Jewish family in Budapest, Austria-Hungary, in 1886, where his father was a carpenter and his mother an opera singer. In 1905, he Hungaricised his name to Mihály Kertész. Curtiz had a lower to middle-class upbringing, he recalled during an interview that his family's home was a cramped apartment, where he had to share a small room with his two brothers and a sister.
"Many times we are hungry", he added. After graduating from high school, he studied at Markoszy University, followed by the Royal Academy of Theater and Art, in Budapest, before beginning his career. Curtiz became attracted to the theater, he built a little theater in the cellar of his house when he was 8 years old, where he and five of his friends re-enacted plays. They set up the stage, with scenery and props, Curtiz directed them. After he graduated from college at age 19, he took a job as an actor with a traveling theater company, where he began working as one their traveling players. From that job, he became a pantomimist with a circus for a while, but returned to join another group of traveling players for a few more years, they played Ibsen and Shakespeare depending on in what country they were. They performed throughout Europe, including France, Hungary and Germany, he learned five languages, he had various responsibilities: We had to do everything—make bill posters, print programs, set scenery, mend wardrobe, sometimes arrange chairs in the auditoriums.
Sometimes we traveled in trains, sometimes in stage coaches, sometimes on horseback. Sometimes we played in town halls, sometimes in little restaurants with no scenery at all. Sometimes we gave shows out of doors; those strolling actors were the kindest-hearted people I have known. They would do anything for each other, he worked as Mihály Kertész at the National Hungarian Theater in 1912. That same year, he directed Hungary's first feature film, Ma és holnap, in which he had a leading role, he followed. He was on the Hungarian fencing team at the 1912 Olympic Games in Stockholm. In 1913, Curtiz began living in various cities in Europe to work on silent films, he first went to study at Nordisk studio in Denmark, which led to work as an actor and assistant director to August Blom on Denmark's first multireel feature film, Atlantis. After World War I began in 1914, he returned to Hungary, where he served in the army for a year, before he was wounded fighting on the Russian front. Curtiz wrote of that period: The intoxicating joy of life was interrupted, the world had gone mad...
We were taught to kill. I was drafted into the Emperor's Army... After that, many things happened: destruction, thousands forever silenced, crippled or sent to anonymous graves. Came the collapse. Fate had spared me, he was assigned to make fund-raising documentaries for the Red Cross in Hungary. In 1917, he was made director of production at Phoenix Films, the leading studio in Budapest, where he remained until he left Hungary. However, none of the films he directed there survived intact, most are lost. By 1918, he had become one of Hungary's most important directors, having by directed about 45 films. However, following the end of the war, in 1919, the new communist government nationalized the film industry, so he decided to return to Vienna to direct films there. Curtiz worked at UFA GmbH, a German film company, where he learned to direct large groups of costumed extras, along with using complicated plots, rapid pacing, romantic themes, his career started due to his work for Count Alexander Kolowrat, with whom he made at least 21 films for the count's film studio, Sascha Films.
Curtiz wrote that at Sas
Liliom is a 1909 play by the Hungarian playwright Ferenc Molnár. It was well-known in its own right during the early to mid-20th century, but is best known today as the basis for the Rodgers and Hammerstein musical Carousel; the play takes place in Budapest, in a waiting area just outside Heaven. The story concerns Liliom, a tough, cocky carousel barker who falls in love with Julie, a young woman who works as a maid; when both lose their jobs, Liliom begins mistreating Julie out of bitterness — slapping her once — although he loves her. When she discovers she is pregnant, he is deliriously happy, unbeknownst to Julie, he agrees to participate with his friend Ficsur, a criminal, in a hold-up to obtain money to provide for the child. Liliom is unwilling to leave Julie and return to his jealous former employer, the carousel owner Mrs. Muskat, feels that the robbery is his only way left to obtain financial security; the hold-up is a disaster, but Ficsur escapes, Liliom kills himself to avoid capture.
He is sent to a fiery place Purgatory. Sixteen years he is allowed to return to Earth for one day to do a good deed for his now teenage daughter, whom he has never met. If he succeeds, he will be allowed to enter Heaven, he fails in the attempt, is sent to Hell. The ending, focuses on Julie, who remembers Liliom fondly. A contrasting subplot involves Julie's best friend and Wolf Beifeld, a rather pompous hotel porter who marries Marie and becomes the wealthy owner of the hotel at which he once worked; the two have seven children, who never appear onstage in Molnár's play. There is a carpenter in Liliom, in unrequited love with Julie, who, in contrast to Liliom, has a stable job. Liliom was a failure in Hungary when it was staged there in 1909, but not when it was staged on Broadway in an English translation by Benjamin Glazer in 1921; the production starred Joseph Schildkraut, Eva Le Gallienne, with supporting roles played by such actors as Dudley Digges and Helen Westley. Ivor Novello starred as Liliom in 1926 in London, with Charles Laughton, in one of his first stage roles, as Ficsur.
Schildkraut and Le Gallienne repeated their roles, Sayre Crawley played the Magistrate in the first Broadway revival of the play, in 1932. In 1939, Orson Welles directed and played the title role in a one-hour radio adaptation for his CBS The Campbell Playhouse program; the production costarred Helen Hayes as Julie and Agnes Moorehead as Mrs. Muskat, the carousel owner, infatuated with Liliom, it was broadcast live on October 22, 1939. In 1940, a second American stage revival, starring Burgess Meredith and Ingrid Bergman, with Elia Kazan as Ficsur and Joan Tetzel as Louise, played in New York. In 1945, at the suggestion of the Theatre Guild, Richard Rodgers and Oscar Hammerstein II wrote Carousel, an American musical adaptation of the play; this was produced by the Theatre Guild and became one of the great classics of musical theatre. Though the musical adaptation took liberties with Molnár's play, changing the ending so that the ex-barker is successful in trying to help Louise upon his return to Earth, Molnár applauded Carousel.
The character of Louise is made more poignant in the musical, in which she is snobbishly taunted and rejected because her father was a thief. It is the Liliom character who gives her the confidence she needs to face life. In Carousel, the characters of Marie and Wolf Beifeld in Liliom become Carrie Pipperidge and Mr. Snow who, a fisherman in the musical, is made more pompous than in the original play, his children are the ones who so viciously taunt Louise, although, in order to keep Carrie a sympathetic character, Hammerstein keeps her unaware of this. Both Carrie and Mr. Snow are made into rather comical figures in the musical, in contrast to the serious Marie and Wolf Beifeld in Liliom. Carousel Americanizes the story, setting it in Maine during the last part of the nineteenth century, including a New England clam bake as the setting for some of the more cheerful songs in the show; the names of most of the other characters were changed as well. Liliom became Billy Bigelow, the criminal Ficsur became Jigger Craigin, Mother Hollunder, the boarding house keeper, became Julie's cousin Nettie.
There is no carpenter character in Carousel. There is an added layer of social commentary in Liliom, deliberately omitted from Carousel; the intended holdup victim in Molnar's play, a payroll clerk named Linzman, is Jewish, as is Wolf Beifeld. In Carousel, Linzman becomes Mr. Bascombe, the wealthy owner of the cotton mill at which Julie once worked. In Liliom, Liliom encounters Linzman only once, during the robbery. In Carousel, Billy Bigelow has met Bascombe much earlier during the play. Bascombe finds him and Julie together and kindly offers not to fire Julie, who has stayed out past the mill workers' curfew, if she allows him to take her back to the mill, she refuses. However, many elements of Liliom are retained faithfully in Carousel, an unusual step in the 1940s for a musical play based on such a serious drama. Molnár's basic plotline for Liliom and Julie is adhered to, as is much of his dialogue. Billy Bigelo
Sodom and Gomorrah (1922 film)
Sodom und Gomorrha: Die Legende von Sünde und Strafe is an Austrian silent epic film from 1922. It was shot on the Laaer Berg, Vienna, as the enormous backdrops specially designed and constructed for the film were too big for the Sievering Studios of the production company, Sascha-Film, in Sievering; the film is distinguished, not so much by the strands of its opaque plot, as by its status as the largest and most expensive film production in Austrian film history. In the creation of the film between 3,000 and 14,000 performers and crew were employed. Richard Berczeller - Lot Lucy Doraine - Mary Conway / Lea, Lot's wife / Queen of Syria Walter Slezak - Edward Harber / Galilean goldsmith Victor Varconi - Priest / Angel of the Lord Kurt Ehrle - Harry Lighton / sculptor Georg Reimers - Jackson Harber Erika Wagner - Agatha ConwayThe cast of thousands included among the extras: Paul Askonas, Willi Forst, Béla Balázs, Hans Thimig, Franz Herterich and Julius von Szöreghy. In 1920s America, Mary, a young girl exposed from her infancy to evil influences, is in love with Harry, a sculptor, but for the sake of financial gain becomes engaged to be married to the rich banker Jackson Harber, a much older man, the former lover of her mother.
Harry attempts suicide. By her abandoned behaviour, including her attempted seduction not only of Harber's adolescent son, but of Eduard's tutor, a priest, Mary drives Harber to the verge of suicide as well; the first historical sequence shows Mary as the Queen of Syria who cruelly executes a young goldsmith and jeweller. Back in the present, Mary has arranged an assignation with both Harber and Eduard, neither knowing of the intentions of the other, at night in a summerhouse. While waiting for them she falls asleep: an Expressionist dream shows Harber and Eduard fighting over her, Eduard killing his father; this is succeeded by the main historical sequence, the wickedness and destruction of Sodom, in which Mary now appears as Lea, Lot's wife. The dreams shock Mary into a realisation of the true nature and consequences of her behaviour, she returns in penitence to Harry; the producer was Sascha Kolowrat-Krakowsky, who according to contemporary film magazines came up with the idea, while on a trip to United States to discover more about the American film industry, of making an epic film with many extras in Austria, as such films - "Intolerance" seems to have been a particular model - were popular at that time in the US and Kolowrat-Krakowsky had America in view as an additional potential market.
For this purpose he founded the Herz Film Corporation in New York City as a branch of his Austria company Sascha-Film. In the film, produced between 1920 and 1922, Mihaly Kertész directed, his Hungarian wife Lucy Doraine played the leading role of Mary Conway. Walter Slezak played Edward, the young son of her fiancé. Among the extras, according to their own accounts, were Willi Forst, Hans Thimig, Paula Wessely and Béla Balázs; the film is unique in Austrian film history on account of its sheer scale, in which it reputedly surpassed the American epics, the Italian films of classical antiquity and the German historical dramas. Thousands of craftsmen, decorators, stuccoists and set builders, cameramen, mask makers and tailors, with assistants and extras the unemployed and juveniles, found employment for three years during the making of the film, in an Austria crippled by inflation and unemployment. Thousands of costumes, beards, standards, horse harnesses and other such things were made specially for the production on site.
Béla Balász referred to it as "prop madness". Sodom und Gomorrha cost more than five times the planned budget and in films, on the basis of such expensive experiences, expenditure on props was drastically reduced; the outdoor shoots were made at the Laaerberg near Vienna, in the Lainzer Tiergarten, in Laxenburg, in Schönbrunn and on the Steirischer Erzberg. The Laaerberg was suitable for filming, as at this time it was a waste area, with a few clay pits filled with water. Just for the preliminary construction and erection of the backdrops several thousand workers were required. During filming between 300 and 500 actors were always needed, for crowd scenes as many as 3,000. In addition similar quantities of horses were required for some scenes. At the end of the film the temple was supposed to collapse, for which pyrotechnicians were appointed to blow it up. However, there were accidents, causing deaths, which were to have legal consequences; the director was acquitted, but the chief pyrotechnician was arrested for 10 days and fined 500,000 Kronen.
Many of those of worked on this film became leading names in their fields. The cameraman Franz Planer made a career in Hollywood, as did the director Michael Curtiz and the actor Walter Slezak, who emigrated a few years later. Gustav Ucicky, employed as a cameraman became a successful director in Germany and Austria; the set designer and builder Julius von Borsody worked for decades longer in this capacity in Austrian films. After the film was finished, Michael Curtiz and Lucy Doraine were divorced; the film's architectural masterpiece, designed by three architects, was the "Temple of Sodom", counted as one of the world's great film structures of the time. Under the direction of the architect Julius von Borsody his assistants Hans Rouc and Stefan Wessely worked with specialist companies such as Mautner und Rothmüller the Österreichische Filmdienst on the monumenta