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
Cinema of Hungary
Hungary has had a notable cinema industry from the beginning of the 20th century, with Hungarians who affected the world of motion picture both inside and outside the borders. The former could be characterised by directors István Szabó, Béla Tarr, or Miklós Jancsó, the latter by William Fox, who founded Fox Studios, Alexander Korda, playing a leading role in start of Britain's film industry, or Adolph Zukor, founder of Paramount Pictures. Examples of successful Hungarian films include Merry-go-round, Werckmeister Harmonies, Kontroll; the story of the Hungarian Cinema begins in 1896, when the first screening of the films of the Lumiére brothers was held at 10 May in the cafe of the Royal Hotel of Budapest. In June of the same year and Zsigmond Sziklai opened the first Hungarian movie theatre at the 41. Andrássy street, named the Okonograph, where they screened Lumiére films using French machinery; the inhabitants of the elite neighborhood despised this new form of entertainment, the theatre soon closed.
But film screenings in cafés, the centers of Budapest's public life, were becoming more and more widespread, by 1911, over 100 movie theater operated in the capital. The first film shooting took place in 1896, recording the festivities of the Millennium Celebration. Employees of the Lumiéres recorded the march at the Buda Castle; the first Hungarian cameraman was Zsigmond Sziklai. The first consciously made Hungarian film was'A tánc' directed by Béla Zsitkovszky, which came to life as an illustration to one of the shows of the Uránia Scientific Theatre. Gyula Pekár asked for a moving picture from the projectionist of the Uránia. Zsitovszky an optician, shot the picture on the roof terrace of the theatre with renowned actors and ballerinas of the Operaház theatre; the 24 cinematographic short-films were premiered on 30 April 1901. The infrastructure of the Hungarian cinema scene was built up during the first decade of the 20th century. By 1910, 270 permanent theatres operated in the country, including large capacity film palaces like the Royal Apollo.
Film distribution was organized by the end of the decade. The first company to lend film-shooting apparatus was the Projectograph, founded by Mór Ungerleider in 1908; the company shot films, offering documentaries and newsreels, thereby making the first steps for the country's film industry. The literary and artistic scene enthusiastically supported the new form of expression. Writers of the Nyugat circle saw filmmaking as a sign of closing up to modern European Literature, became avid movie theatre goers. Frigyes Karinthy became a dramaturg to Alexander Korda, the first prominent director and movie critic; as early critics found most of the films vulgar and frivolous, film-makers stressed the informative, educational virtues of the technology while their first creations could not reinforce these claims. The first company to have artistic goals was the Hunnia Studio, founded in 1911, formed as an offshoot of the Vígszínház theatre. A characteristic style of early Hungarian cinema was the cinema sketch, a hybrid form of theatre and film.
Each short projection was followed or interrupted by live stage actors acting their own characters from the screen. The genre inspired many prominent writers of the time, including Frigyes Karinthy. Comedians used this form to perform various jokes and scenes utilizing its hybrid nature, one well-known performer being Gyula Gózon. Mór Undergleider started a professional journal on the subject of cinema, called Mozgófénykép Híradó; the journal published articles of numerous renowned writers, theatrical directors and scientists about motion picture, including the pioneering film-theory articles of the 18-year-old Alexander Korda. However, the theoretical forebodings and possibilities outlined in Mozgófénykép Híradó were not realized on by the country's unfolding film production. During 1919 March–August, under the short-lived Hungarian Soviet Republic, the Hungarian cinema industry was the first one to be nationalized fully; the journal Vörös film was started to popularize the shift. A number of filmmakers welcomed the change, as the government provided protection against competing foreign movies.
The aftermath of the First World War left the sprouting Hungarian movie industry in ruins. Native experts of the field, like directors Michael Curtiz or Alexander Korda left the country during or after the disarray making significant career abroad, like in Hollywood. During the twenties, foreign companies made use of the economical crisis by gaining hold of nearly all of the country's theatres. French and Italian movies were all over Hungarian screens, leaving little ground for immature Hungarian productions; the few companies that operated at the time, like the Corvina Studio, drifted towards bankruptcy. The downfall was avoided by government support, creating protective laws; the year 1925 saw the creation of the Hungarian Movie Industry Fund, a new law forced distributors to finance a Hungarian movie after every 30 imported ones. Theatres were forced to air the newsreels created by the Office of Hungarian Film. In 1929 the government of István Bethlen began to tax imported movies, but the fee was lowered for companies that produced Hungarian movies.
The Movie Industry Fund bought the bankrupt Corvina Studio in 1927, founding the Hunnia Movie Company with the intention to produce full-length feature films. The studio became the cornerstone for professionals in the following years, its mission became difficult with the ec
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
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
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
1917 in film
1917 in film was a fruitful year for the art form, is cited as one of the years in the decade which contributed to the medium the most, along with 1913. Secondarily the year saw a limited global embrace of narrative film-making and featured innovative techniques such as continuity cutting; the year is an American landmark, as 1917 is the first year where the narrative and visual style is typified as "Classical Hollywood". January - Panthea is released, the first film from the company that Joseph Schenck formed with his wife, Norma Talmadge, after leaving Loew's Consolidated Enterprises. February - Buster Keaton first meets Roscoe "Fatty" Arbuckle in New York and is hired as a co-star and gag man. April 9 - Supreme Court of the United States rule in Motion Picture Patents Co. v. Universal Film Manufacturing Co. which ends the Motion Picture Patents Company appeal and results in the end of the company. April 23 - Release in the United States of the short The Butcher Boy, the first of Roscoe "Fatty" Arbuckle's series of films with the Comique Film Corporation, Buster Keaton's film debut.
April 25 - Thomas Lincoln Tally, in a meeting in New York, co-founds the First National Exhibitors Circuit. June - Thomas H. Ince and Mack Sennett leave Triangle Film Corporation following Stephen Andrew Lynch taking control. September 13 - Release in the United States of The Gulf Between, the first film made in Technicolor System 1, a two-color process. November 9 - World's first feature-length animated film is made in Argentina by Quirino Cristiani December 18 - Foundation of Universum Film AG, as a propaganda film company, in Berlin. Movette, another revision of the 17.5 mm film format, is made available. U. S. A. unless stated January 8 - Great Expectations, starring Jack Pickford January 22 - Easy Street, starring Charlie Chaplin, Edna Purviance January 22 - Her Right to Live, directed by Paul Scardon, starring Peggy Hyland, Antonio Moreno, Mae Costello, John S. Robertson January 29 - A Man There Was, directed by Victor Sjöström - February 2 - The Marriage of Luise Rohrbach, directed by Rudolf Biebrach, starring Henny Porten, Emil Jannings - February 18 - The Bad Boy, starring Robert Harron, Mildred Harris, Colleen Moore March 3 - The Tornado, directed by John Ford March 5 - The Poor Little Rich Girl, starring Mary Pickford March 7 - The Torture of Silence, directed by Abel Gance - April 15 - Teddy at the Throttle, a Keystone comedy starring Gloria Swanson April 16 - The Cure, a Charlie Chaplin short.
April 23 - The Butcher Boy, starring "Fatty" Arbuckle with Buster Keaton May 7 – Kidnapped, directed by Alan Crosland, starring Raymond McKee, Joseph Burke, Ray Hallor May 14 - A Romance of the Redwoods, directed by Cecil B. DeMille, starring Mary Pickford May 19 - One Law for Both directed by Ivan Abramson May 20 - Souls Triumphant, starring Lillian Gish May 21 - A Reckless Romeo, a'Fatty' Arbuckle short. May - Frank Hansen's Fortune directed by Viggo Larsen - June 17 - The Immigrant, starring Charlie Chaplin and Edna Purviance June 24 - Wild and Woolly, starring Douglas Fairbanks June 25 - A Kentucky Cinderella, starring Ruth Clifford June 25 - The Rough House, a'Fatty' Arbuckle / Buster Keaton short. June - The Labour Leader, directed by Thomas Bentley, starring Owen Nares, Fay Compton - July 5 - Big Timber July - The Picture of Dorian Gray - August 12 - Golden Rule Kate, a drama western starring Louise Glaum August 20 - His Wedding Night, a'Fatty' Arbuckle / Buster Keaton short. August 27 - The Little American, starring Mary Pickford.
DeMille. August 27 - Straight Shooting, directed by John Ford August 28 - Brcko in Zagreb - August - The Gay Lord Quex directed by Maurice Elvey and starring Ben Webster and Irene Vanbrugh - September 13 - The Gulf Between, All color movie. September 22 - Rebecca of Sunnybrook Farm, starring Mary Pickford September 30 - Camille, starring Theda Bara September 30 - Oh Doctor!, a'Fatty' Arbuckle / Buster Keaton short. September 30 - The Sultan's Wife, starring Gloria Swanson September - Fear directed by Robert Wiene and starring Conrad Veidt - October 14 - Cleopatra, starring Theda Bara October 21 - Satan Triumphant - October 22 - The Adventurer, a Charlie Chaplin short. October 29 - Coney Island, a'Fatty' Arbuckle / Buster Keaton short. November 9 - El Apóstol, animated by Quirino Cristiani - November 11 - A Little Princess, directed by Marshall Neilan, starring Mary Pickford, Norman Kerry, ZaSu Pitts November 12 - Harrison and Barrison, directed by Alexander Korda, starring Márton Rátkai - November 25 - All Aboard, a Harold Lloyd short November 26 - The Silent Man, starring William S. Hart December 10 - Tom Sawyer, starring Jack Pickford December 24 - Bucking Broadway, directed by John Ford, starring Harry Carey December - Raffles the Amateur Cracksman, starring John Barrymore Bestia, starring Pola Negri - The Colonel, directed by Michael Curtiz, starring Bela Lugosi - Dombey and Son directed by Maurice Elvey and starring Hayford Hobbs - Le Cygne - Der Magische Gürtel The Man Without a Country, starring Florence La Badie Mothers of Men, starring Dorothy Davenport Runaway Romany, directed by George Lederer.
Harold Lloyd Charlie Chaplin Lupino Lane Buster Keaton January 2 - Vera Zorina, actress January 5 - Jane Wyman, actress January 10 - Hilde Krahl, actress (died 199
Avalanche (1923 film)
Avalanche is a 1923 Austrian silent film directed by Michael Curtiz, produced by Arnold Pressburger. Victor Varconi as George Vandeau Mary Kid as Marie Vandeau Walter Marischka as The Child Lilly Marischka as Kitty Mathilde Danegger as Jeanne Vandeau Michael Curtiz filmography Avalanche on IMDb