FREE ON DAILYMOTION Ernst Lubitsch - Trouble In Paradise

FREE ON DAILYMOTION (DU FINDEST DEN GANZEN FILM FREI AUF DAILYMOTION) When I look at adult people in a modern cinema film, it usually fails because there are simply none. Grey youths probably fit better. In Ernst Lubitsch's Trouble In Paradise it's different: Here, unbelievably grown-up people appear who can only be found in the cinema. They are cosmopolitan, cynical, cultured - almost that they leave a trace of slime. Herbert Marshall plays a jewel thief, Miriam Hopkins a thieving woman who admires him and Kay Francis a rich widow who thinks she can buy him. They live in a pure cinema world full of exquisite costumes, butlers, Venetian hotels, lofts in Paris, cocktails and lots of jewels. Impressive how they move in all the adornment! The Love Triangle was Lubitsch's favourite plot, especially when there is a sexual rivalry. Here we realize from the beginning that the thief Gaston Monescu (Marshall) and the pickpocket Lily Vautier (Hopkins) are meant for each other. Not only because they like each other, but also because their profession basically excludes civilians. When Gaston meets Mariette Colet (Francis), both know that it can't last long. The sexual undertones are played out surprisingly openly, at least Lubitsch's film was made in 1932, before the censorship of American movies took over. So we can be sure that none of the three characters runs the risk of thinking sex is love. Lily and Mariette know what they want and Gaston knows that he has! He masterfully hides his true feelings behind the mask of cultivated jokes. Herbert Marshall fills every scene with suspense, simply because he eludes the emotional script through his play. His whole appearance is so elegant that he seems to float through the room! He knows exactly the requirements of a social comedy and finds the right tone to talk to a lady. The dialogues of Lubitsch's favourite author Samson Raphaelson sound like foreplay from Marshall's mouth... Take another look at the scene where he dines with Lilly. He pretends to be a baron, she a countess: "You know," says Lily, "when I first saw you, I thought you were an American." - "Thank you," he replies seriously. (...) "Then I heard your name and found out you were just one of us," she enthuses. - "Disappointed?" - "No, proud. Very proud". Then they kiss and steal from each other. Something feverish resonates in the dialogues and that's what makes Lubitsch's Screwball Comedy so special. Lubitsch had his very own way of transforming the given material through his style: The famous "Lubitsch Touch", which allowed him to express certain things unsaid anyway. The most amazing thing about this style exercise, however, is the fact that his characters still seem to be alive. There is a lot of irony in this director's game, but we are allowed to let ourselves fall into his movies. Ernst Lubitsch is our greatest director in Berlin. Born in 1892, he began to direct himself in 1915. In 1923 he moved to Hollywood to make a lot of successful silent movies. During the 20's and 30's you can call him the regent of the Paramount Studios. Best were his musicals and comedies, where Trouble In Paradise is his masterpiece! Finally, one publicist pointed out the "Lubitsch Touch", which the director himself didn't want to accept. In Trouble In Paradise it's a small wonder how the actors lend dignity to their comic-like characters! In fact, each of the characters here seems full of life experience and with a certain heaviness. Lubitsch's comedy is full of melancholy, even in the funniest moments! Just the scene in which Gaston and Mariette say goodbye to each other. It's clear, both love each other and yet they stole from each other. They try to defuse this situation with a gallant joke - and so does Lubitsch's whole comedy.

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FREE ON YOUTUBE William Friedkin - Killer Joe

This isn't a movie! It must be hell! Did I like Killer Joe? Or did I hate the movie? Anyway, Killer Joe left me speechless. Killer Joe is flawlessly staged and shows raven-black humor. The focus is on the Smiths, the stupidest family ever shown in a film that is NOT a comedy. They live in a trailer somewhere in Texas. Killer Joe himself uses a police car from Dallas, so it has to play somewhere nearby. Killer Joe himself is not stupid. But he makes the mistake of never realizing how stupid the Smiths are! Matthew McConaughey plays killer Joe during the phase of his career, because he was a character actor before he mutated into a Hollywood lover, only to switch back to the character business afterwards. His killer Joe is a cop who also works as a contract killer. He is hired by Chris Smith (Emile Hirsch), who owes money to drug dealers. So that they don't kill him, he suggests his father Ansel (Thomas Haden Church) to hire killer Joe to kill his mother. Little sister Dottie (Juno Temple) overhears the plan and thinks it's a good idea. Who would miss her? Who needs her? Note: It's Chris' mother, the first woman Smith. Besides there is another woman Smith: Sharla (Gina Gershon), the stepmother, made up in such a way that we finally understand what a slut is! The Smiths live in a world of chained pitbulls, burning barrels and monster truck videos. A world where the TV is on all the time (at least until killer Joe hits it on the floor). Anyway, almost everyone in this movie gets beaten to the ground once. There are broken noses, bruises and so on. Of course, there is also a lot of naked skin and sex, like when Dottie gets deflowered. Director William Friedkin, New Hollywood legend and promising queerhead of our time, has earned himself the NC-17 rating! Already before he had attracted attention with the claustrophobic masterpiece "Bugs" and had easily gained a new following. Not only in our small video store! Killer Joe ran first in small program cinemas, in order to change then into the large cinemas. At that time we also tried Killer Joe in our open air season: The audience laughed in the right places, even applauded, went out and talked about how disgusting it all was.

FREE ON YOUTUBE Talking Heads - Stop Making Sense

Stop Making Sense hinterlässt einen überwältigenden Eindruck! Gar nicht die hektische Energie einer Rockband auf der Bühne, sondern reine Lebensfreude! Weshalb sollte man sich einen Konzertfilm ansehen? Normalerweise werden als Gründe angegeben: 1) Die Musik 2) Die Kinematographie. Stop Making Sense ist anders. Hier ist es die physische Wirkung, die wir meinen zu spüren! Die Talking Heads im Konzert, das muss man sich wie ein sportliches Workout vorstellen. Vielleicht wie Aerobic. Mitgeschnitten wurden zwei Konzerte der Band in New York, wobei sich der Film ganz auf das ungeheure Talent von David Byrne konzentriert. Seine Bühnenpräsenz hat etwas von Pantomime - und die besten Effekte auf der Bühne werden durch Kostüme und Handleuchten erzielt. Fast wirkt es wie Schattentheater. Am Beginn aber erleben wir Byrne ganz leise und konzentriert. Auf einer nackten Bühne allein mit Ghettoblaster. Er schaltet ihn ein und singt Psycho Killer. Dann setzt der Bass ein und nach und nach die ganze Band. Das Tempo nimmt zu. Die Musik der Talking Heads darf von Musik Nerds auf viele Einflüsse untersucht werden. Für mich hört man am stärksten den Rock'n Roll der 50er durch, aber auch Country Sänger wie Hank-Williams. Wahrscheinlich erreichten sie dadurch, dass man auch Reggae oder Gospel durchhört auch Menschen, die Rock nur noch als Lärm empfanden. Die Talking Heads dagegen klangen wie Musik!(...)

Film List: Magic Realism Comedies

comedies, in which we feel like in a fairy tale...

FREE ON YOUTUBE Into The Wild

Who read Jon Krakauer's novel of the same name? Did you then imagine - if only for a moment after reading it - living in a lonely hut, somewhere out by a lake? I mean DRAUSSEN, not somewhere in Brandenburg near Berlin! Does it seem tempting to you to plant beans there and go hunting? A pure life. The fulfillment. The search for meaning. In the past this would have been interesting for me, too, and that's why I read Krakauer's novel with fascinated fear. In the centre, a twenty-year-old university graduate who dissolves his lawyer's fund in order to enter the "territory" (in the language of Mark Twain). He drives west until he can't go any further, then north into the wilderness of Alaska. In his luggage, a handful of books and edible wild plants. His role model seems to be Jack-London and yet I'm not sure if he really read it. This is followed by Sean Penn's fascinating film adaptation. Appearance Christopher (Emile Hirsch), an idealistic dreamer. He is the pride of his parents with good grades in law school. Why did he disappear from their lives? Why didn't he explain himself? In his diaries he describes himself in the third person as a heroic adventurer. A loner who renounces civilization and returns to the womb of nature(...)

FREE ON YOUTUBE Hannah Takes The Stairs

Isn't Greta Gerwig great? She looks so open-minded and reasonable. We almost think we know her. Gerwig could sit in a hip cafe in Neukölln on Monday morning. With a well-dressed Penguin book in his hand.  Type: Pleasant, smart university graduate who has no benefit for the job market. Gerwig looks real. Not like the typical Hollywood actress, who is polished on all corners and edges. In some pictures Gerwig looks like a student, then again as beautiful as a real movie star! Aaaach, isn't she great? And her film direction? Mumblecore? What was it like with "Mumblecore"? Films produced on an incredibly low budget. It plays non-actors or semi-professionals or something like that. Everything (or almost everything) is improvised. The semi-professional actors appear as students, unemployed artists or young employees in low-paid jobs. Mostly they sit around somewhere (for example in a cafe) and talk about their relationship problems. Hannah Takes The Stairs is set in Chicago. It's summer. Greta Gerwig works for a media company and suffers from her narcissistic boyfriend and his affairs with neurotic students. A perfect example for the "genre" of Mumblecore! Hannahs (Gerwig) biggest wish is: "I wanted to be the funny one". Isn't she? I mean: Yes, she is neurotic, sarcastic and quite cute. Her odyssey through modern relationship life was conceived as a non-film by director/screenwriter/editor Joe Swanberg. A collaboration of all greats of Mumblecore like Gerwig or Bujalski(...)

FREE ON YOUTUBE Breaking Glass

This is a film that makes you melt away! A film after a true event. It all starts with the phone ringing in a London indie studio. The receptionist who picks up the phone does it for the first time, because it's her first day at work. On the phone, a casting agency. They demand Hazel O'Connor. The receptionist is visibly surprised! She IS Hazel O'Connor! That's exactly what she tells the callers, but they say: "Oh no, this one's a singer." At the same time O'Connor was reading a book called "Bring Out the Magic in Your Mind". It's about thinking positively. To live one's dreams simply by focusing very strongly on them. O'Connor wanted to make it as a singer and songwriter, but she had only composed four songs. It was her brother who showed her how to write songs and with him she hung around in London most of the time. It was the late 70s and O'Connor's brother played as a pre-program for the Buzzcocks. London had so much to offer; The Specials, The Clash and the Rich Kids with singer Midge Ure! O'Connor wanted to be part of it and wrote more songs. Albion Records believed in her, but offered her only a pound as a reward. A pound! To pay the rent, she worked as a receptionist. Albion Records were new to the business and had produced a single artist until then: Ian Gomm, who in turn had a recording studio where the Stranglers were also customers. Do you realize how much fun Breaking Glass is?(...)