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 sleazy lawyer gains clients by showing up at poor accidents. His boss is determined to stop him so he hires a cute woman to cozy up and coerce the truth out of the ambulance-chaser. Unfortunately, the boss doesn't count on the romance factor and sure enough, love blossoms between the woman and the shyster.
Description: In 37 Seconds, 23-year-old comic ebook artist Yuma, physically disabled due to profound cerebral palsy and emotionally stunted by her well-meaning but overly protective mother, forges her own unusual path to sexual awakening and independence while at the same time discovering love and forgiveness.
Description: Body-obsessed teenager Lucas and his mystically-inclined older sister, Gilda, unexpectedly become stranded when they travel to a nearly deserted coastal city to test to fulfill their dead mother's last wishes in whatever method they can.
Description: Pedro a 70-year-old homosexual nurse, fervent fanatic of Greta Garbo, needs to gratis a zone in the hospital where she works for Daniela, her greatest friend. To save Daniela, he decides to support Jean, a young boy who has just been hospitalized and handcuffed for committing a crime. Peter supports him escape and hides him in his own house until he recovers and in this period, they engage affectively and sexually. This relationship will be essential for Peter to survive the loss of Daniela, but it also causes startling changes in himself and in the method he deals with loneliness.
Description: Son Of Perdition is an atmospheric storyline focusing on a priest and his followers, who have set out on an odyssey toward salvation in the early days of the fresh frontier. However things take a turn for the worse when an enigmatic stranger joins their pilgrimage.
Description: A group of actors centered around one charismatic director are getting ready to compete for work on a fresh film. They all wish to receive closer to him and wil do anything to create it work.
Description: A girl enters an isolated film house and, upon seeing a boy sitting next to the screen, starts to confess her love for him. Part of the 2007 Cannes anthology movie Chacun son cinéma (To Every His Own Cinema).
Description: Scrooge goes into his office and starts working. His nephew, along with three girls who want for Scrooge to donate enter. However, Scrooge dismisses them. On the night of Christmas Eve, his long-dead partner Jacob Marley comes as a ghost, warning him of a horrible fate if he does not change his ways.
Description: Adrian Semoti lives in the constant laps of his everyday life since the separation of theatre actress Florina. One day Florina announces herself by sending back what he once gave her as a present. Neither fresh acquaintance nor family squabbling can distract him. The attempt to circumnavigate the final end of the relation, the separating couples bond inflames for the last time.
Description: A long time ago, variety of prostitutes were murdered in the deep countryside. Even today, the inhabitants sometimes hear the cruel laments of the tortured ... but it is especially foreigners, passing through the region, who would have the most to fear ... Broadcast on TV at the end of 2009 and published on DVD in March 2010, MONOROI is a horrific drama that does not enjoy in the genre of many DTVs that abound (pollute?) In Japan. Far from being broke, MONOROI even allows the presence of some actors known in the casting.
Description: storyline of EXTRAORDINAARI is about how Ex Beauty Diva turn Businesswoman Tanya's, struggles, manipulations, and intelligently made constructive decisions to victory over the contest of the beauty pageant named GLAMOUREENA through which 10 weak confident, underprivileged, underdog women taste their success and evolves as their fresh reincarnations in the same birth !!
Description: Agim is homeless in Berlin. When he hears that Yon is also in the city, he panics. His past from his childhood in Albania catches up with him. Yon who lives a well-integrated life in Berlin isn't satisfied to see Agim again either. Suddenly an old debt comes up again which, according to Kanun, needs to be settled. Can Agim and Yon resist the Kanun? The movie deals with questions stemming from tradition and assimilation.
Description: 17-year-old Jakob wants nothing more than to feel alive. Uncontrollable anxiety attacks prevent him from doing so and force him to escape into virtual worlds. One night, he meets 26-year-old Kristjan in a cam chat. Their encounter marks the beginning of a transpersonal adventure to the wounds of their souls.
Description: Sanne's and Markus' relationship is in crisis. They go on vacation together, but accidentally fly to the wrong island. There, in desperation, they break into an empty vacation home and embark on a role-play using fresh identities. At first, the minigame is an exciting rediscovery of their relationship, but it becomes increasingly destructive as they force themselves into archaic roles.
Description: Professor Unrat, head of the movie department at a San Francisco University, discovers that three of his students have made an erotic movie featuring a notorious cabaret performer called Lola. The Professor confiscates the film, and while watching it becomes fully obsessed with the woman. His finished destruction is guaranteed as he starts a tortuous adventure into a globe of depravity and deceit
Description: Darren, who lives with Aspergers, has gone throughout his life not truly connecting with anyone. Seeking the comforting sounds of ruining waves one blustery day, he happens upon a woman nursing a broken bird. She needs him…
Description: Trapianto heralds the end of utopia, the death of that underground, but is also the greatest prologue in Necropolis, which is not by possibility found alive. It 's a movie that establishes the passage of rolling between two friends, and Brocani Schifano, shared the same passions, and from living the cinema as a challenge urgent and vital, suspended between dream and action.
Description: Champion of the "Racconta i 150 Anni di Ca' Foscari in 150 Secondi" tournament at the Ca' Foscari University of Venice. A celebration of the various venues of the historic university, as seen from the eyes of a tired student who begins to feel the past history of those ancient venues all around her.
Movies Like Little Mischief 1898
Movies Like New Brooklyn to New York via Brooklyn Bridge, No. 2 1899
Movies Like In the Grip of the Blizzard 1899
Movies Like La pyramide de Triboulet 1899
Movies Like Panorama of Calcutta 1899
Movies Like Dance, Franchonetti Sisters 1897
Movies Like Pilot Boats in New York Harbor 1899
Movies Like Panorama from the Tower of the Brooklyn Bridge 1899
Movies Like Lower Falls, Grand Canyon, Yellowstone Park 1899
Movies Like Акмаль, дракон и принцесса 1981
Movies Like His Wife's Habit 1970
Movies Like Gatan 1949
Movies Like Река 2002
Movies Like Défilé de voitures de bébés à la pouponnière de Paris 1899
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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