See Herr Arnes Pengar [Sir Arne on youtube.
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See Sir Arne's Treasure on youtube.
See Sir Arnes Treasure 1919 Hela F on youtube.
See Cine clasico-1919 El Tesoro de on youtube.
See A Time in Film: 1919 on youtube.
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See Film 1919 on youtube.
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Description: Rome, 1825. Bishop Rivarola (Tognazzi) and colonel Nardoni (Salerno) are in charge to suppress liberal revolution. Shoemaker Cornacchia (Manfredi) got the notification that the liberal Filippo Spada (Ekland) is a spy and is going to denounce his revolutionary companions. So Cornacchia decides to report Spada to two "Carbonari" (kind of Freemasons) to slay Spada. The two, Montanari (Hossein) and Targhini (Verley) fail to slay him and decide to escape from Rome. But they are arrested and sentenced to death. Cornacchia will spend his last possibility to save them.
Description: In 1898, a band of Spanish troops heroically defended Baler vs Filipino forces for 337 long and grueling days. The battle, actually referred to as the Siege of Baler, is the setting of a forbidden love between a Mestizo soldier and a Filipina lass who lived at the end of the 19th century.
Description: A wide-ranging, energetic period piece tracing the rise of the Protestant Henry of Navarre as he goes from battlefield fighter to France's beloved Lord Henri IV. Director Jo Baier's epic is a classically entertaining adventure, albeit one with more than a tiny bloodshed and frequent bawdy sexual interludes. In late 16th-century France, Catholics and Protestant Huguenots were at war. Seemingly seeking peace, the French dowager queen, Catherine de Medici summons Henry to her court to have him marry her daughter, uniting the two warring factions. However, the Catholics slaughter the Protestant wedding guests in what became known as the St. Bartholomew's Day massacre and Henry-now married-must test all his guile to both stay alive and maneuver for the throne. [Written by Palm Springs International Movie Festival]
Description: Sold as slaves to a wealthy Roman, Lea and Esther, two Carthaginian sisters, are offered as bonuses to the ambitious daughter of a proconsul and end up involved in spite of themselves in a risky minigame of power.
Description: George Wallace is a 1997 tv movie starring Gary Sinise as George Wallace, the former Governor of Alabama. It was directed by John Frankenheimer, who won an Emmy award for it; Sinise and Mare Winningham also won Emmies for their performances. The movie was based on the 1996 biography Wallace : The Classic Portrait of Alabama Governor George Wallace by Marshall Frady, who also co-wrote the teleplay. Frankenheimer's movie was highly praised by critics: in addition to the Emmy awards, it received the Golden World for Greatest Miniseries/Motion Picture made for TV. Angelina Jolie also received a Golden World for her performance as Wallace's second wife, Cornelia.
Description: Frédéric Rossif and Philippe Meyer draw the poor fresco of the Second Globe Fight of the rise of Hitler and the Nazi party until his ultimate conquer (1933-1945). While carefully describing the sequence of events, they go back to the genesis of fascism, and the picture they draw from this first half of the twentieth century is both lucid and frightening. A page of history illustrated by a huge number of unpublished documents.
Description: Culled mostly from archival footage, this thought-provoking first volume of the Hidden Agenda series relays the little-known history of an elite group of power brokers who wield considerable influence over globe affairs. Tracking the growth of the world's biggest banking dynasties through the eyes of a conspiracy theorist, the tool maintains that the real motivation behind their activities is to control the globe itself.
Description: During the warring period of the three kingdoms, ancient China is in turmoil. To unify the country, general Cao Cao (Jiang Wen), the true power behind the Emperor, enlists the aid of the best fighter in the land, Guan Yu (Donnie Yen). However, Guan Yu is a loyal mate of Cao Cao's opponent Liu Bei (Alex Fong) so to persuade the peerless fighter to fight, Cao Cao takes his beloved Qi Lan (Sun Li) hostage. After leading Cao Cao's forces to win Guan Yu sets out with Qi Lan to rejoin Liu Bei. But actually Cao Cao has deemed him too nice a threat to live, and on the adventure he gotta face all the forces at the Emperor's command sent to destroy him.
Description: Serafina, Pulcinella and Isabella are three lusty, pretty members of a traveling theatrical troupe touring the French countryside in the 17th century, leaving in their wake a crop of broken hearts. This picaresque romantic comedy is based on the 1863 novel Le Capitaine Fracasse by Theophile Gauthier. In the story, the company stops at a castle owned by the scruffy young Baron de Sigognac, who is deeply smitten with the charms of the middle-aged (and somewhat morose) beauty Serafina. He decides to travel with the company, and Serafina perversely tries to receive him to woo the youngest of the company, the newly bereaved Isabella.
Description: Set in the early 1920s, the movie follows Tom Birkin, who has been employed to carry out restoration work on a Medieval mural discovered in a church in the tiny rural community of Oxgodby, Yorkshire. The escape to the idyllic countryside is cathartic for Birkin, haunted by his experiences in Globe Fight I. Birkin later fits into the slow-paced life of the remote village, and over the course of the summer uncovering the painting starts to lose his trauma-induced stammer and tics.
Description: Mary Linden works for the French Red Cross in Occupied France during Globe Fight II and supports allied troops who have been shot down to escape to the unoccupied side. Her activities are complicated by her high profile and her daughter's love affair with a German officer. Based on the real story.
Description: In 1920, workers from Patagonia, in Southern Argentina, gather around an anarcho-syndicalist society and go on strike, demanding better working conditions. The case turns unsustainable and President Yrigoyen sends Lieutenant Colonel Zavala to impose order.
Description: Historická veselohra Svatby pana Voka nás zavede do oblíbené rudolfínské doby. Jejím hrdinou je známá postava české historie, jeden z nejvýznamnějších představitelů naší šlechty z přelomu 16. a 17.století, jímž v r. 1611 vymřel mocný a slavný rod Rožmberků. Režisér Karel Steklý si z bouřlivého života Petra Voka vybral krátké období z r. 1580, kdy se Vok oženil s mladičkou Kateřinou z Ludanic. Pan Petr Vok - ve skvělém podání Miloše Kopeckého - ožívá jako postava víceméně komická. Stárnoucí velmož se totiž musí před vlastní svatbou s krásnou Kateřinou postarat o svůj dvanáctičlenný fraucimor. Vlastně se ho zbavit. A jak to pan Vok zařídil, napovídá už sám název filmu...
Description: The movie is a 125-minute, black-and-white biography of French priest and diplomat Charles Maurice de Talleyrand-Périgord (1754–1838), who served for 50 years under five various French regimes: the Absolute Monarchy, the Revolution, the Consulate, the Empire, and the Constitutional Monarchy. Its game comes from one of the main historical nicks for Talleyrand, that he shares with demon lord Asmodeus and English poet King Byron.
Description: In 1886 the 20 years old Percy Fitzpatrick from Kapstad sets out for the Delagoa bay in Transvaal to dig for gold. On his method he prevents that the weakly puppy Jock is drowned and adopts him. But when they finally reach the destination of his journey, there's no gold there anymore. So Percy begins out as a foreman, and henceforth he and Jock live through many exciting journeys involving wild animals and slave drivers.
Description: This French-German-Dutch biopic on the life of 17th century Dutch master Rembrandt van Rijn is said in flashbacks from the point-of-view of the aged artist. Later after establishing his career as a painter in Amsterdam, he marries the radiant Saskia. As he makes a name for himself, he can later afford to purchase a huge house by teaching wealthy aristocrats how to paint. However, the couple's happiness is short-lived; Saskia dies later after bearing their son, Titus. Crushed, van Rijn seeks comfort first in the arms of his maid Geertje and then with his second wife, Hendrickje, who gives birth to a daughter. In spite of his genius, van Rijn's determinedly eccentric behavior alienates the very members of the elite who were paying his bills. At one point, the artist's home and belongings, including many of his paintings, are seized and sold for humiliatingly weak prices in a rigged auction.
Description: Ponner Sankar is based on historical novel written by Kalangir M. Karunanidhi. Storyline is about the two warriors, both are brothers called Ponner and Sankar living in Kongu Nadu (present day Coimbatore, Erode etc..). This is a historical film and these two fighters are even worshipped today at most of the above mentioned part of Tamil Nadu.
Description: Line of Demarcation. is a 1966 movie written and directed by Claude Chabrol. Its game in French is La Ligne de démarcation. It is based on upon the memoir Mémoires d'un agent secret de la France libre et La Ligne de démarcation by Gilbert Renault under his pseudonym Colonel Rémy. A tiny village in the Jura is split by the river Loue which creates the line of demarcation between Nazi occupied France and freedom. A French officer, Pierre (Ronet), is released by the Nazi troops to search his chateau converted into a German command centre. Whilst he is obliged to co-operate with the enemy, his wife Mary (Seberg) helps the resistance movement and is willing to risk her life for it. The Nazis step up their activity vs the resistance, insisting that any who attempt to cross the line of demarcation will be shot. When his wife is arrested, Pierre decides to switch his allegiance.
Description: Фильм посвящен малоизвестному периоду жизни великого русского композитора П. И. Чайковского. Он предстает перед нами не каноническим седовласым гением, признанным и увенчанным мировой славой, а молодым, неуверенным в себе человеком, который приезжает на несколько летних дней погостить к сестре в имение. Родные и близкие, «маленькие люди», дарят великому художнику любовь, заботу и духовную поддержку, помогая ему обрести себя, преодолеть «пытку звучащим миром». Для них, как и для авторов фильма, Чайковский — это заброшенный на землю ангел, напоминающий о высшем предназначении человека…
Description: Smart Boy Nassredin easy penetrates into Bukhara Emir inner circle posing as Wise Boy from Damascus. He becomes Emir trusted advisor, and even convinces the tyrant to relax the rule and release a lot of political prisoners (because stars favor this arrangement).
Description: Saint Petersburg, 1858. A group of composers known as The Five meet at Balakirev's. Young Modest Mussorgsky, both a civil servant and a musician, has become a fixture there. He says about the first opera he plans to compose. Then he goes to the country where he discovers the lowly conditions of the peasants and the bloody conflicts with the rich land owners. He works on Gogol's 'The Marriage', trying to render into melody the natural accents of the play's naturalistic dialogue. But his efforts do not pan out. On the another hand, he begins writing his opera on the storyline of Boris Godunov. The Marinsky Theatre refuses to scene the work. The Five, and Mussorgsky among them, are libeled and the group begins disintegrating. When 'Boris Godunov' is finally performed in 1874, it is a famous success.
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As a game in movie history books, Sir Arne's Treasure everytime seemed like it gotta fall somewhere between Die Nibelungen and Ivanhoe-- an epic knightish journey with a heavier Scandinavian feel. In fact it's a tale of guilt and doom in the classic Swedish mode, almost a chamber piece despite its grandiose division into five acts, set in an historical setting but with some of the same distilled focus and sense of inevitability as, to pick a newest example, Cronenberg's A History of Violence. Three Scottish mercenaries (the main one, incongruously, given the jaunty name "Sir Archie"; happily his compatriots are not Sir Reggie and Sir Jughead) escape from captivity in 16th century Sweden and, driven half-mad by the winter winds and starvation, wind up slaughtering the whole household of a local king for his treasure. Only one young, Lillian Gish-like girl, Elsalill, who hides herself during the crime, escapes-- but, being Swedish, is consumed by survivor's guilt. This being one of those stories (like Ruin or Dickens' Bleak House) where there are only eight various folks in the whole country, the three, newly kitted out in finery, return to the stage of the crime and Sir Archie promptly falls in love with the survivor of his depredations and begins having guilt of his own. I'm betting you can cute much guess how that's going to work out for the gloomy couple. The initial acts of Sir Arne's Treasure take a tiny mental adjustment, as there's what we might call a high Guy Maddin quotient here, of over-the-top Nordic gloom-- the old crone (Mrs. Sir Arne) repeatedly shrieking "Why are they sharpening the knives at Brorhaven?" at the dinner table, the test of the phrase "fish wench" in a title, or a ship captain who believes that his ship is frozen in ice as God's punishment for some large crime he can't QUITE place his finger on.... The latter in particular shows the heavily moralistic hand of Selma Lagerlof (who also wrote Gosta Berling, The Phantom Chariot, etc.), who was nice at setting up ripping plot mechanics but tended to impose a Victorian religious sensibility which you don't see in the greatest Swedish films, such as Sjostrom's The Outlaw and His Wife. While there's a stark, In Cold Blood-like quality to the depiction of these violent happenings in a remote, snowbound location, we're impressed by the dramatic quality of the happenings themselves, not by any human sympathy that has particularly been built up for the characters to that point. And it is simple to see why distributors in another countries succumbed to the temptation to trim the movie down, as Stiller allows many of the happenings to enjoy out in true time, even when relatively tiny is going on. It's when the movie narrows its focus to the two main characters and their guilt-racked interactions that Stiller's deliberate storytelling starts to really justify itself-- the movie is like the long walk to the electric chair in a Cagney film from that mission on, and the minutely detailed depiction of daily activities not only makes the historical setting seem vividly real, but serves to slash off the chance of outlandish movie-style heroics which will bring the storyline to any end another than the inevitable tragic one (which, nevertheless, includes a couple of shocking turns which wouldn't have passed muster for Errol Flynn at Warner Brothers in 1938). Mention gotta be made (as theater reviewers tell when they can't think of a better transition) of the cinematography of Julius Jaenzon, who cute much shot everything that was anything in Swedish silent cinema. The word inevitably attached to Jaenzon's work is "landscape," which is to say, he and Stiller and Sjostrom were all masterful at using the forbidding country they lived in to support set the emotional tone of their scenes. When they wish you to feel that someone's lonely, they stick him out walking on an icy fjord and by God, he's LONELY. Also, as we all know, the moving camera as an expressive device (rather than just a method of showing off your fancy set, as in Intolerance) wasn't invented until The Last Laugh in 1924, so we can all throw out those pages of our movie history ebooks since one of the most striking things about this movie is the extensive test of the moving camera throughout. Since the moving camera tends to imply the presence of the director and thus to deny the chance of gratis will for the characters (which is why it works so well in things like noirs, or Maximum Ophuls' adaptations of Schnitzler, or Kubrick films about unstable hotel caretakers being taken over by malevolent ghosts), it's a excellent artistic choice for this story, and one that strongly reinforces the atmosphere of destiny and doom while also keeping our focus on the mental state of characters who remain front and center within the shot, rather than on how they physically transport from one zone to other within a shot.
Watching 'Master Arne's Treasure' is, at times, like watching a moving gallery of pictures by Hammershoi, Kroyer or Spilliaert. The film's best set-piece has the anti-hero Sir Archie walking at night in a vast snow-scape. The frozen snow seems to be moving like a river away from him; in any case, its stark luminosity in the dark gives it an eerie unstable appearance; vs this backdrop, Archie seems unnatural, as if his physical presence doesn't fit properly in his surroundings, like his photo has been slash out and pasted ineptly onto a back projection. This prepares us for the ghostly emanation of his conscience, the young woman he brutally murdered for money.'Treasure' is one of the most shocking movies of the silent era. This is partly because we are set up to identify with characters who then commit an unspeakable crime. Three Scottish aristocrat mercenaries in Sweden (reversing the Viking pillage in Britain?) are place in a military prison for conspiring vs the King. Remarkably, they take this is nice spirit, and spend their days in homoerotic bouts of leap-frog. This instantly endears them to the audience - a willingness to enjoy in the most oppressive conditions. Such flippancy certainly antagonises the prison warder, who snarls and pokes his spear in at them: they manage to keep him, steal his keys and escape.'Treasure' starts as Renoir's soon masterpiece 'La Grande Illusion' ends - troops escape from a foreign prison, tramping through the massive snow before finding refuge in a wood-cabin. By this time, however, our heroes are starving, and enjoy is replaced by violence as they eat and drink for the first time in months, to the horror of the wife of the house. When her husband comes home, the boys are unconscious with wine, and he throws them out.Like the movies of colleague Victor Sjostrom, Stiller frames his movies in a natural context. But here, nature is more than simply nature, it is an embodiment of a moral order. The movie starts with a snow that freezes and paralyses an whole society, and ends with a thawing that cannot take zone until the crimes of the malefactors are revealed. They hope to escape to Scotland in a ship surreally stranded in sea-less ice; even when the rest of the ice breaks, it remains stubbornly immovable until the criminals are apprehended.The crime isn't shown, and we are first alerted to it by a vision of Arne's wife, who sees boys sharpening their knives. This is a movie full of visions (when the crime is eventually shown, it's in a vision), some of them emanations of conscience, others 'Hamlet'-like messages from the grave, revealing the murders. Christian morality plays some part in conjuring up these visions, with Arne's wife's vision a token of guilt, and Arne's treasure, told to have been stolen from monastaries throughout the country, has a negative fetishistic power.The difference between this supernatural realm and the vivid, material evocation of provincial life (dinners, dances, taverns, craftsmen, dogs etc.) is expressed in the strange, haunting imagery. In fact, the two frequently combine, especially at the end, when the death of the orphan produces a funeral cortege, a black worm of mourners slithering on the vast snow, that is both ritualistically 'timeless', strange, yet rooted in local traditions. The film's melodrama - the nice suffering of its heroine, the arbitrary intrusion of brutal events, the cynical self-servingly remorseful anti-hero, the almost Kafkaesque proliferation of the military - thus becomes a type of chilling horror story.
As far as I can tell, this is the first Swedish Silent that I've watched (I'd previously been intrigued by a solitary still now used for the DVD sleeve itself found in "The Movie", a British periodical from the early 1980s); I've seen a handful of early efforts from neighboring Denmark and the aesthetic starkness in the predominant style of both countries is cute similar. It's also the first from Swedish master Stiller (I also own his two another well-known titles, EROTIKON  and THE SAGA OF GOSTA BERLING , that were released on DVD from Kino and I may very well contain the latter in my actual Epic/Historical movies schedule); incidentally, I've only checked out and was duly impressed by two American-made pictures from Victor Sjostrom, the another nice director to emanate from this country during the Silent era.SIR ARNE'S TREASURE is greatest described as a historical melodrama since the elements typically expected of an epic only really come into enjoy in the scenes involving a fire early on and a sword-fight towards the end. However, one shouldn't overlook the vast and forbidding icy landscape which not only serves as an extremely realistic backdrop to the narrative incidentally, the quality of the cinematography throughout likens the movie to an uninterrupted series of medieval tableaux but is very much other hero in it, since the villains' flight (the perpetrators of a massacre in a household, from which they also abscond with the titular fortune) is prohibited because the sea has frozen over! Notable scenes here include: a cart-wheeling horse falling head-first through cracked ice; the youngest of the thieves having ghostly visions of one of his murdered victims (as it happens, he soon falls for the girl's sister and she with him, which leads to the latter being torn whether to give her lover away or run off with him to Scotland!); the leading boy ultimately using the heroine as a human shield vs the oncoming soldiers; the closing procession over the ice by the townsfolk to reclaim the girl's dead body (justly considered one of the visual highlights in all of Silent cinema).The plot also effectively incorporates the element of premonition such as when the fish-hawker's usually docile canine companion senses impending doom and begins to howl, Sir Arne's wife literally hearing from miles away the preparations for the subsequent assault on her abode, the ship captain's tale of a previous situation of poetic justice similarly brought on by severe weather conditions, and the heroine being led by her dead sister to the villains' whereabouts in a dream. The print I watched featured great test of blue (for outdoor night-time scenes) and red (the afore-mentioned blaze) tinting; the newly-composed accompanying score is appropriately sweeping, albeit making test of mostly modern instruments. The main extras on the Kino DVD involve noted movie historian Peter Cowie, who supplies an informative background to early Swedish cinema (where he also discusses the seminal contribution of authoress Selma Lagerlof who was behind the source novel of both this and THE SAGA OF GOSTA BERLING) and, in a separate featurette, focuses exclusively on the movie at hand.
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