“The pandemonium of everyone, everywhere suddenly declaring all at once ‘and I too was molested by my father, or my mother; I too have recovered memories which have basically obliterated my chances of any kind of comfortable adult sexuality’—it seemed at that moment almost unthinkable to slant a movie—even going back into the German romantic . . . → Read More: 113. CAREFUL (1992)
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DIRECTED BY: Fritz Lang/(version prepared by Giorgio Moroder) FEATURING: Gustav Fröhlich, Brigitte Helm, Alfred Abel, Rudolf Klein-Rogge PLOT: Freder, son of the man who rules Metropolis, discovers the plight of the subterranean workers who make the city run when he falls in love with a proletarian female preacher; his new lover is replaced . . . → Read More: CAPSULE: GIORGIO MORODER PRESENTS METROPOLIS (1927/1984) Robert Wiene’s 1924 film, The Hands of Orlac is the first of several film adaptations of Maurice Renard’s story of a concert pianist who hands are amputated and replaced with the hands of a murderer. Of the remakes, the most notable is unquestionably Karl Freund’s 1935 Mad Love with an all star 30′s cast of Peter Lorre, . . . → Read More: ROBERT WIENE’S THE HANDS OF ORLAC (1924) Kino International included Paul Leni‘s 1924 Waxworks in its German Horror Classics collection. While the usual Kino craftsmanship has gone into remastering and merchandising, the inclusion of Leni’s breakthrough film is a bit of a misclassification. Waxworks is not a “horror” film. It is representative of what may possibly be the most experimental period in the medium of . . . → Read More: PAUL LENI’S WAXWORKS (1924) In 1927 Universal Studios chose their new emigree star director Paul Leni to turn John Willard’s hit stage play, The Cat and the Canary, into a work of German Expressionist art. Carl Laemmle was clearly envious of the types of films being produced in Europe and Leni had proven himself with the critical success of Waxworks (1924). . . . → Read More: PAUL LENI’S CAT AND THE CANARY (1927) *This is the first of a three part series on the films of Paul Leni. Paul Leni’s credentials as an avant-garde painter and art director served him well. A Jewish German refugee, he came to the United States in 1927 at the invitation of Universal Studios. His first film for them was the old dark . . . → Read More: PAUL LENI’S THE MAN WHO LAUGHS (1928) “For Suspiria I was inspired by… everything that German Expressionism means: dreams, provocations, unreality, and psychoanalysis.”–Dario Argento DIRECTED BY: Dario Argento FEATURING: Jessica Harper, Joan Bennet, Allida Valli, Stefania Casini PLOT: Suzy, an American ballet student, is accepted to a German dance academy, but when she arrives there one stormy night she is denied . . . → Read More: 67. SUSPIRIA (1977) DIRECTED BY: Edgar G. Ulmer FEATURING: Boris Karloff, Bela Lugosi PLOT: A young couple find themselves caught between the machinations of a doctor bent on revenge and a mad engineer in the latter’s Art Deco mansion, built on the graves of the soldiers he sold out in a World War I battle. WHY . . . → Read More: BORDERLINE WEIRD: THE BLACK CAT (1934) . . . → Read More: REPORT: THE COMPLETE METROPOLIS [1927] (2010 RESTORATION) AKA Tim Burton’s The Nightmare Before Christmas DIRECTED BY: Henry Selick FEATURING: Voices of Chris Sarandon, Danny Elfman, Catherine O’Hara, Ken Page PLOT: Jack Skellington, the Pumpkin King of Halloweentown, discovers Christmas and tries to recreate it, with ghoulish results. WHY IT’S ON THE BORDERLINE: As a children’s film, The Nightmare Before Christmas . . . → Read More: BORDERLINE WEIRD: THE NIGHTMARE BEFORE CHRISTMAS (1993) |
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