See Zarah Leander - Der Wind hat on youtube.
See La Habanera - 1937 - trailer on youtube.
See La Habanera, 1937 Douglas Sirk on youtube.
See 12 18 La Habanera 1937 on youtube.
See La Habanera.1937.avi on youtube.
See Barco-prisión Adeje en La Haba on youtube.
See zarah leander "la habaner on youtube.
See Casa La Paz (Casa Cólogan) on on youtube.
See CITA - LA HABANERA (1989) on youtube.
See Habanera (1937) - Xavier Cugat on youtube.
Description: A reporter investigates the murder of a showgirl, who was the widow of a millionaire. While digging in to the mysterious murder of a showgirl (Vivian Wilcox), intrepid reporter Bob Martin (Robert Lowery) uncovers a connection between that situation and other one he's been working on. An inmate (Lawrence Creighton) holds the key to the crime, but there's one problem: He's deaf and mute. Meanwhile, the murderers (Jan Wiley and Charlie Hall) appear to be working for a very strong person.
Description: This stunning adaptation of Dickens' classic tale was captured live from the Vaudeville Theatre in the West End. Although Nice Expectations has been adapted for movie on two separate occasions, once by David Lean in 1946 and most recently by Mike Newell, it has never been produced for The West End or Broadway, widely believed to be too hard to translate to stage. However, this Jo Clifford adaptation has been universally acclaimed as a triumph on its sellout tour of the UK head of its West End debut. In addition to the production, this ver contain red carpet arrivals from the February 7 premiere and behind the scenes footage exclusively for cinema audiences.
Description: Not so long ago, Ronny Tersago and his gang where at the top of the Flemish showbiz as Clown Norry and Co.. Their heyday are over. Nowadays they are working overtime at night as burglars. Ronny's son Wesley was kicked out of the Amsterdam movie school, filming their passionate performances and crimes, their nocturnal excesses and turbulent personal life. It seemed it was going downhillwith for the gang when suddenly they hit hte jackpot. And then the issues really start..
Description: When 20-year old Nathan loses his career and his girlfriend, he questions his purpose in life. Compounding his struggle, Nathan grew up in a foster home and never met his birth mother. He sets out on a quest to search his mother and somehow come to terms with her rejection of him. His adventure starts by flying to the town where he was born. Upon his arrival, Nathan checks into a hotel and meets Mave the hotel's housekeeper. Encouraged by Mave's wisdom and the support of hotel guest Shelly, Nathan finds the address of his mother, Linda. Linda is a social worker who agonizes over the decision she made with Nathan 20 years ago. In an effort to admonish the guilt of giving up her son, Linda is caught up in the life of a teenage mother-to-be, Tori, who is conflicted by the decision to abort her baby. When Nathan gathers the courage to meet his mother, he uncovers a poor secret that fully redefines what was meant to be for his life.
Description: A sweet housewife has been married to the same crotchety boy for 40 years and she just can't bear other day. She begins to poison his meal just to see if he might change. When he falls ill, both are awakened to the raw reality of life and death.
Description: Cory (Dan Byrd) is a foster kid nobody wants. Carlotta (Academy Award-nominee Julie Harris) is an elderly girl the globe has forgotten. Together, they search friendship and family when they join a traveling circus. Also details Mickey Rooney and Joe DiMaggio, in his last screen appearance.
Description: A reassessment of the role Albert Speer played in the Third Reich. Speer, who was ultimately convicted at the Nuremburg trials and served a 20-year prison sentence, was known for designing many of the Third Reich's buildings and for being Hitler's minister for fight production.
Description: The year is 1936, the nervous atmosphere of the Nazi threat penetrates into the sport. Upgrade boxe Vilda Jakub will compete with German Kurt Schaller. The Nazis decisions are used in order to victory his master even the dirtiest means. Vilda inspect their minigame and focus on the preparation of environmental events. The storyline culminates in the win of one of the two lovers, between which Vilda tense moments in the decision.
Description: Sammy is a quiet and solitary boy who lives from the drug business. The most necessary things in his life are his younger brother, who he is responsible for, and his horse. This short movie reveals everyday life at the marginalized territories in Puerto Rico.
Description: The first movie in the Seto language in the globe speaks about the brightest heroine of a tiny people, the folk singer Hilana Taarka, a girl who lived her entire life as an outcast in a tiny chimney-less hut; as an unmarried mother of kids in poverty, begging her bread, doing odd jobs and singing. She everytime sang the truth, sometimes bitter, sometimes funny, sometimes cruel. She was feared, despised and coveted. Taarka sang throughout her remarkable life, throughout her fate, from a tiny Seto village to international fame. And she sang well. Really well. Taarka became the Mother of the Song, a legend. But as a woman, as a member of the community, the Seto folks never really agreed her. Taarka - a despised girl and a worshiped singer.
Description: Beginning in 1929 and ending in the show day, Kianoush Ayyari’s strong drama is about so-called honor killing, a taboo topics in modern Iran. The action, which is confined to the closed-off globe of a family house and its grounds, with outside reality only impinging in the form of sounds and rumors, begins with a father murdering his daughter in an act of honor killing. With the complicity of his wife and son, he buries her corpse in the cellar. Family life continues, haunted by the shared knowledge of the murder across few generations. This conspiracy of silence and the film’s exploration of the nature of complicity create for a strong commentary on life in Iran, but Ayyari constructs his fable in such a fashion that ultimately it transcends nationality, culture, and religion and comes to depict the structure and inner workings of totalitarianism itself.
Description: At Joe's Roadside, a famous but rundown Fresh York roadhouse where the wealthy and not-so-wealthy hang out, a wealthy Manhattan woman and a struggling Brooklyn man meet and fall in love. She marries him vs the wishes of her family, believing that love can solve everything, but she later wonders if she made the right choice when she finds herself living in a manner, and with the kinds of people, she hadn't counted on.
Description: Jack, in full puberty, not only has to deal with his parents' divorce, but also feels his globe is falling apart when his dad says him he is living with a man. He slowly comes to terms with his own feelings when the woman he has a crush on turn out to have a gay dad as well and his greatest friend's parents end up not having the excellent marriage Jack thought they had.
Description: A female personal investigator's recent client turns up murdered, and she is thrust into a deadly underworld of bi-sexual strippers, a Chinese Godfather with a taste for young women and the hunt for one very elusive gem.
Description: In the B&W first part, a customs agent, Dr. Amnésio, examines some reels of film, a documentary Orson Welles made about Brazil, and tries to confiscate the material. The color second part shows a party in which those repression agents celebrate their win vs freedom and creativity.
Description: The impotent count Anatol loves to photograph his wife Verena, while she is having fun with another men. Everything changes when Verena falls in love with Toni, a young auto mechanic.
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I love this film. I love it for itself, and I love it for the light it sheds on Sirk's soon Universal pictures of the '50's. The DVD from Kino comes with a brilliant tiny essay by Jan-Christopher Horak where, among another things, he asks the question "But was it (this film) really transgressive?" This same question has been asked about Written on the Wind, Imitation of Life and all the others. And all of us who love Sirk's movies need to ask ourselves this question from time to time. I can tell that what I search transgressive in Sirk's work is the multiplicity of angles and approaches that the movies reveal. They dare to search the beauty and truth in melodrama. They dare to be ironic without snickering. For all the acclaim that Far From Heaven received, no one, as far as I know, commented on the fact that, compared to Sirk, Haynes stacks the deck. None of his minor characters have the emotional or psychological complexity that Sirk's do. They are stick figures for us to laugh knowingly at. They are "camp". But Sirk plunges into his work with such camp icons as Leander (here) and Rock Hudson (elsewhere) and comes up with a text that continues to resonate long after the photos have flickered away. Horak goes on to tell that in this film, Puerto Rico is exciting, exotic and dangerous, a typography of the Other, while Sweden represents "all that is Heimat". A vision of Aryan homeland, and thus a website for subliminal Nazi ideology. Did Sirk do no more than artistically mirror the status quo? I think not.Sirk was a successful director of "women's pictures" in the early days of the Third Reich, just as he was in the America of the '50's. What is oppositional in his work is not any type of obvious political subtext, but an attitude towards photo and material where the despotic Don Pedro is counterpoised with the smothering, nearly incestuous Astree. And both of them are covered in shadows, slats, mirrors, flowers - all of the accoutrements of the Sirkian hothouse atmosphere. Some sickly-sweet, unhealthy thing is everytime insinuating itself into the mise - en - scene. Sirk is like what Walter Benjamin named Baudelaire: a secret agent of his class and society. His missives send photos of that society to its members that correspond to the vision they have of themselves. And underneath that there is other lvl of text. Nothing so obvious as "critique". But portraiture - "la verite en peinture" - sometimes as devastating as Goya's.
On a vacation in Puerto Rico, Astree (Zarah Leander) falls in love with nobleman Don Pedro de Avila and marries him. Our storyline starts ten years later, when things have begun to come awry... And things are heating up for Don Pedro who, as patron of the island, has to contend with a pair of scientists who have arrived in Puerto Rico with plans to search a cure for Puerto Rico Fever, which de Avila doesn't wish publicised as existing, since it would be terrible for tourism.I love La Habanera. I've seen it twice so far. I was lucky enough to tape it one time when it was on TV, so actually i've got this tiny copy of it sitting on my shelf that i can watch whenever I like (there are no DVD or VHS releases of any Sirk movies in Australia - and I wouldn't have selected La Habanera if i was going to order some Sirk from overseas).It's melodrama, and designed as crap for the masses - but there's just something pretty about everything in it. The noble beauty in Don de Avila's face during the courtship scenes at the beginning, which has turned to harshness and brooding intensity when we slash to ten years later. His burning eyes and face burn up the screen. Some of my another favorite things in it are the ceiling fanatic during the card game, the light through the slats in the scientists' room, the face of Dr Luis Gomez, the stage where Dr Nagel goes out in the road on a windy night and finds the fever sufferer, and, greatest of all, the superb pond in the middle of the room during the stage where Ms Leander sings the Habanera, and in which we see the reflection of the room.There is a poetry to the photos that you may not notice unless you come in half-way through (like I did, on my first viewing), so that you can't really follow what's event in the plot. Doing this was a revelation for me. I was forced to just look at the cute pictures, and i found, to my surprise, that there was something transfixing and poetic about them.Second run through, when I watched it from the beginning, I found I also loved the storyline and the characters, which was a bonus. I found myself caught up in this tiny globe Sirk had made for me. And the seemingly outlandish soap-opera lines somehow seemed perfect!10/10. Mainly from surprise at how passionate i've grown for what is essentially a easy melodrama.
I recently watched Veit Harlan's 1940 Nazi propaganda "Jud Suss," "the most hateful" movie ever made. I had to see more of its star, the actor Ferdinand Marian.The first eighteen mins of "La Habanera" constitute one of the most beautiful, economical sequences in film. The camera glides like the most sinuous and strong of ballroom dancers; shots and sound collect artistic power like the carefully placed words in a sonnet. On the dramatic seaside cliff of a tropical isle, Astree (Zarah Leander), a sheltered Swedish tourist, watches Flamenco. The camera caresses everything it sees: sea, foam, rock face, palm fronds, the costume of the Flamenco dancer, her pride in her skill, Spanish and Indian physiognomies. With variations that create your heart ache, like the notes of a fugue, the same visual motifs replay throughout the film: exotically costumed girls performing for audiences, caged birds, boys telling goodbye, water, both wild and domesticated, fruits, flowers, and light filtered and fractured by venetian blinds, mosquito nets, ceiling fans, and snow. The ear as well as the eye is invited to participate in the dream: the shrill call of a bigoted aunt, "Astree, Astree!" frosts the most tender of moments, the bullfight crowd roars. "La Habanera" engulfs you; you're on vacation. Director Douglas Sirk's artistry never lets up till the final frame; symmetry serves as the strands of his web. "La Habanera," the game song, is insistently seductive as a toreador – you wish to sway with his hips and allow him dictate movement – and then it is grating and cruelly taunting – you wish to slam shut the window and silence the singers – and, finally, it is heartbreakingly poignant – you wish to follow, but realize that you no longer can.A jeep driver with one flower behind his ear, other in his teeth, and a song in his heart picks up Astree and her overbearing, very chesty dowager aunt. They encounter Don Pedro de Avila, the island's padrone, astride a black horse. His face is framed by a wide-brimmed black hat and embroidered lapels. This romance-novel character escorts the Swedish ladies to a bullfight. Don Pedro communicates his masterful inhabitation of his body. His steps spring; his arm, greeting spectators, sweeps with the majesty of inherited noblesse oblige; his hand nonchalantly tosses a handkerchief into a deferential peon's proffered hat, thus releasing a raging bull. When Don Pedro smiles his warm, crinkly-eyed smile at Astree, it is as if the sun is rising in the east. He is manly; when the bullfighter fails, it is he, at Astree's command, who dispatches the bull "with one thrust to the heart." He is attentive; Astree drops her fanatic in the bullring, and Pedro retrieves it, snaps it open, and returns it to Astree with a gesture that Nijinski should not perform with more seductive grace. Don Pedro accompanies Astree and Aunt Anna to their ship; he walks backward, away from the ship; there is a tension in his step as if he were a mime imitating a boy telling goodbye to his love who is leaving aboard a ship. He pauses behind dockside exports to light a cigarette; even that casual, mundane transport conveys erotic power. Within seconds, Astree has jumped ship; she's in his arms and her fate is sealed.Fast forward ten years. Don Pedro, much aged, addresses Astree, nowhere to be seen. In her place, across an elegant armchair, drapes a lovely, lacey cloud, reminiscent of a brides' wedding gown. With a riding crop, Don Pedro tentatively taps, then seductively strokes, this white dress. His aggression rising, again, using the riding crop, he lifts the dress, as if lasciviously lifting a woman's hem. He then grabs the dress, manhandles it, rips it viciously, and throws it down. Only then does a very changed Astree enter. Her youth is gone. She, who had been so wild, gay, and impetuous, is actually sober and resigned. Sirk has conveyed the previous ten years in Don Pedro's treatment of Astree's dress. Worship and passion morphed into obsession and then descended into oppression and contempt. Astree says Don Pedro that she's come to despise the island, and him; she deeply regrets ever leaving cold, blond, superior Sweden.Later, in a climactic scene, before hurting Don Pedro badly, Astree performs a profoundly sentimental gesture. She dons a traditional Caribbean costume Pedro had given her. By wearing this dress at a key moment, Astree gives Don Pedro a gift. Similarly, director Douglas Sirk, who was the husband of a Jewish wife, gives the audience, a gift. This stage undercuts the "Swede = superior; Caribbean = inferior" message. As Astree sings, Don Pedro watches her; he becomes ecstatic; it is clear that no matter how Nazi ideology or melodramatic convention dictate that this film end, no one will ever love Astree as her racially "inferior," dark lover has. Pedro breathes her in like air; she moves him as his drug of choice. You know from watching her watching him that Don Pedro has given Astree the most unforgettable nights of her life.There's so much else to talk about in this film, from the goofy font used in the opening game sequence to Astree's emotionally incestuous interactions with her strikingly cold, blond son. There's "Rosita," the male cross-dresser and Frieda-Kahlo imitator who plays Pedro's housekeeper. Rosita dresses like a nun, part of the film's anti-Catholic, pro-science, as well as anti-Caribbean, pro-Swedish, subtext. There's Dr. Gomez, a Simon-Abkarian lookalike, who, in a very funny scene, is regaled by a gallbladder-obsessed hypochondriac. There's Puerto Rico fever, perfidious islanders and the heroic Swedish doctor who wars both. There's the breathtakingly pretty Zarah Leander, marketed as Nazi Germany's substitute for Greta Garbo and Marlene Dietrich. But what this movie amply demonstrates is that Ferdinand Marian was a compelling actor worthy of remembrance for so much more than having been coerced to appear in "Jud Suss," the "most hateful" movie ever made.
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