7 German Expressionist Films You Probably Haven’t Heard Of

Aside from The Cabinet of Dr. CaligariNosferatu or Metropolis, how many German Expressionist films can you name? (Or maybe I should say, how many semi-German-Expressionist-ish films can you name? That’s an easier question.) After all, Caligari didn’t spring forth from thin air, and you’ve always heard that German Expressionism was kind of a big deal.

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I guess this was influential, or something.

 

To help with that question, I’ve compiled a handy list of Weimar-era rarities that you may or may not have heard of before. Keep in mind that “true” German Expressionism is, technically, a very specific genre that used deliberately artificial-looking sets and props, and relied on emotion and psychology instead of realism. Thus, most of these entries are examples of that type of film. (By the way, if you’ve been following my blog for awhile, you’ll probably remember #1 and #2 since I covered them in the past. If you’re a newbie, though–enjoy!)  Continue reading

San Francisco Silent Film Festival 2018: The Mighty Recap

Now that I’m home from California, here is my recap of this year’s fabulous festival! Fun fact: portions of this post were written while sitting at the bar of the Pig ‘N’ Whistle restaurant on Hollywood Boulevard, next door to Grauman’s Egyptian Theatre…not an office I get to use every day!

Opening Night Presentation: Wednesday, May 30

I arrived in San Francisco in the mid-afternoon of May 30th, and after doing a bit of sight-seeing among those windy hills (but no cable car-riding–drat those eternal lines!) I took one of those historic streetcars down to the Castro theater. Ah, beautiful Castro theater, how I’ve missed thee. After missing the 2017 fest, it felt “right” to finally be back.

The 23rd San Francisco Silent Film Festival began with a tribute to the late Frank Buxton, who had a lengthy and busy career in TV, movies, and radio (he was a writer on Happy Days and directed episodes of Mork and Mindy, to name a few things). He had been an indispensable member of the festival board, and it was clear how much he was already missed.

Then the lights went down, the great curtains parted to reveal the screen–I do love that quiet, magical moment of anticipation–and the 5-day festival of beautiful restorations and the world’s finest live accompaniment had begun!

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A Halloween Post Roundup!

Happy Hallowe’en, everyone!

This wonderful illustration is from Dennison’s Bogie Book, a book of Halloween decoration and party ideas that seems to have been published every year, with updates I presume. This comes from the 1925 edition–isn’t it priceless? Here’s another  illustration:

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To celebrate this spooky holiday, here’s a roundup of all my Halloween-inspired posts from the past. Counting my posts from this month, this includes the films: Continue reading

A Mesmerizing Talent: The Life And Career Of Conrad Veidt

“I only fell in love once with a movie actor. It was Conrad Veidt. His magnetism and his personality got me. His voice and gestures fascinated me. I hated him, feared him, loved him. When he died it seemed to me that a vital part of my imagination died too, and my world of dreams was bare.”

Quoted from one of the documents compiled in British Cinemas and Their Audiences by J.P. Mayer. 

He had a lean, chiseled face that could’ve belonged to a regal nobleman, a sickly poet, or a sinister villain. His blue eyes could burn with the fury of a madman, or grow wide and distant as if trying to forget terrible secrets. But they could become warm and friendly too, especially if you were chatting with this tall, distinguished man about his greatest passion: dramatic acting. “I must have the dramatic, the ecstatic,” he told an interviewer in 1928, “something with great mental force.”

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Known today for such horror classics as The Cabinet of Dr. Caligari and The Man Who Laughs, Hans Walter Conrad Veidt (nicknamed “Connie”) came from a quiet and sensible background. Continue reading

Thoughts On: “The Cabinet of Dr. Caligari” (1920)

All a horror film need promise is horror — the unspeakable, the terrifying, the merciless, the lurching monstrous figure of destruction. It needs no stars, only basic production values, just the ability to promise horror.  —Roger Ebert

When I was little, my family had this big book full of pictures of movie stars and scenes from classic films.

Some I knew–I loved The Wizard of Oz so much that once I watched it every day for a week, and I’d grown up with people like Jimmy Stewart and Lucille Ball. But at the beginning of the book, where the pictures of the silent film stars were (all I knew back then were a couple names, Chaplin and Mary Pickford) there was one still labelled “The Cabinet of Dr. Caligari (1919).”

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This is the one.

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