OFC im Werkstattkino

130416c_OFC_Flyer2

liebe freunde und bekannte,

frühling in der großstadt!

zum dritten mal haben wir die ehre, im werkstattkino vor und zu bewegten bildern zu spielen – diesmal zu dem stummfilmklassiker „menschen am sonntag“ (1930) von robert siodmak und edgar g. ulmer (buch: curt&robert siodmak und billy wilder / kamera: eugen schüfftan und fred zinnemann). eine fast schon nouvelle-vague-haft spontane berlin-collage der späteren german-austrian hollywood allstars, und wir holen dazu die swingenden nummern aus dem pork pie hat.

und noch mehr großstadt-joie de vivre im vorprogramm:

paris in „c’etait un rendez-vous“ von claude lelouch (1976, 9′)

los angeles in „three little bops“ von friz freleng (1957, 7′); musik: shorty rogers!

ja mai!
martin

Eine Antwort auf „OFC im Werkstattkino“

  1. Siodmak’s modestly successful directorial career in Germany produced a total of 15 films. He moved to Paris in 1933 to escape the growing tides of Nazism in Hitler’s Germany, and in 1939 he sailed to America one day before the official start of World War II. Arriving in Hollywood, Siodmak signed his first contracts with Paramount in 1941. There he made three uninspiring B-films: West Point Window (1941), Fly-by-Night (1942) and My Heart Belongs to Daddy (1942). His hiring was mainly due to the encouragement of Preston Sturges, who reportedly was “amused by the gnomelike man with the German accent” (2) . Although Siodmak was displeased with his growing reputation as a B-movie director, his hopes were raised when his brother, Curt, who immigrated to America in 1937 and found success as a horror film screenwriter, landed him a directorial spot with Universal. The brothers collaborated on Son of Dracula (1943) and in this film, the origins of the Siodmak “style” began to emerge.

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