Відео

Nicely done! I love Trevor Howard, Bernard Lee and of course Orson, but the Holly Martins role, in my opinion, would have been more interesting in the hands of another actor. The Zither music is fine for the main title, but the rest of the film would have benefitted from an orchestral score. That's my opinion as a film composer myself.

I was in my sixties when I first saw this film, and the basement scene was the scariest one I’d ever seen. (And “Leaning on His Everlasting Arms” will never sound the same again. The singing duel between Robert Mitchum’s character and Lillian Gish’s reminds me of the scene in Casablanca in which the patrons at Rick’s drown out the Nazis by singing the “Marseilles”.

Peter Kurtin.

This Movie us my Favorite Thing. I have seen it many, many times. It's weird. You have to be on something-something, to see the movie for what it is. Maybe, Selznick's Crank?! This just came to me. Maybe, Holly is crazy/drugged? We only see Lime with Martens. Everyone talks ABOUT Harry Lime BUT we only ever see Holly talk TO him. Maybe? Still love it but it's weird. 😊

Whether “right” or not the changing of the original authors’ intent is unfortunate. Their anti-authoritarianism would have been a far, far more important message for the times. Cheers. Good video essay!

I love this so much

Wow, this is amazing! Gained a subscriber :)

The Cesare actor is the same person which plays Major Strasser in Casablanca.

Boldness Lasts !

Well done. 🦇

Just for the record, the director of "Caligari" is named Robert Wiene (misspelled in the video), pronounced VEE-neh.

Excellent! Make more!

I saw “the haunted screen” and assumed this covers Lotte Eisner, so I liked-favourited it immediately

Subbed 👍🏾

"Offered an alternative to chaos" more like exploited uncertainty and vulnerability

When are you making a short film about your problematic middle child brother?

Brother what a fucking good content, good vibes from Poland

Great video, thank you very much.

Recently got into German Expressionism after rewatching Nosferatu. I can’t tell you how exciting it is to find a new video on the topic! Thank you for such an informative and well rounded gaze into this genre!

Thank you for this presentation - I've always been fascinated by expressionism. This channel deserves way more attention and I hope it finds a much wider audience. Cheers!

I was introduced to this film as a child due to it was my father's favorite and we would watch it on the local old movie tv station. Too young to understand it completely but I appreciated the beauty of the film. The scene of the stairway and the parrot would appear in my dreams. Also, I thought the landlady was my German grandmother which made my father chuckle. She has several humorous lines in the movie which are untranslated. An example, something like, "this is an upstanding house, a Metternich has visited here", or, "liberation yes, but such a liberation I never imagined". Americans shouldn't see this film to learn about postwar Europe but instead to learn how Americans were perceived by postwar Europe, which is perhaps still true today.

I was very young the first time I saw this film and I wasn't frightened but saddened. The film also had a dark comedy in the almost slapstick bungling of the monster. James Whale seemed to understand the helpless circumstance of the monster and the tragic nature of the character. Whale went on to direct what is considered the finest version of the musical Showboat. I was amazed by a brilliant director who succeeded in two very different genres of film. Or were they? Whale was portrayed in the film Gods and Monsters, definitely worth seeing. I don't know the biographical accuracy of that film but he describes a personal gruesome tragedy he suffered in the trenches of WWI. If true it would explain his outlook and purpose of this film.

My favorite film from the time I first saw it in 1965. Later, the U.S. Army assigned me to Berlin, and I saw it with Berliners and German film students. It lost a bit on the dialogue dubbed in German and I realized that the original version with foreign languages untranslated was part of the mystery. It was so powerful in other ways that I don't think the Berlin audience missed anything. In December 1970 I visited Vienna, and it was as cold and damp as the film portrays. The people were warm, and the food was good.

Well done- best review of this movie that I’ve seen in a while.

As you say , it's a movie that repays digging. The profundity of the resurrected imperfect messiah figure is something that interested Greene and reverbs in some of his writing.

the ending is amazing, but my only criticism there is, what's up with the falling leaves? It's winter, there are no leaves on any of the trees. And they're only falling immediately in front of the camera. Maybe Reed thought that a scene like that required more motion but--and i know this is like criticizing the mona lisa or kane (who do i think I am?)--but i would've preferred no leaves. Otherwise, a 99.9 percent perfect film

I think Anna Schmidt was the most poignant and noble character. She remained uncorrupted and uninvolved in the brutal slaughter. An artist who only performs comedy, she bravely walks off, rejecting all the corruption, pain and tragedy, but we know she's doomed. The Soviets will take her; they despise the Czechs, so her future is dark and unknown. Martins seems to me a commentary on the Europeans' view of Americans. No wars occurred there. Martins was boneheaded in his attempts to assert his "rights". He was innocence as stupidity. Anna was innocence as victim. One of the greatest films I've ever seen.

It is amazing how well this film holds up after almost 100 years.

Great analysis of one of my all time favourite films. Thankyou.

This film is definitely one of my favorites too. Just for the hell of it, here are a few random criticisms. These are mostly of the script, though, not the film. In the opening scene, the Porter says he only knows a little English, but he proceeds to lay out the events explaining Lime's absence pretty clearly. The idea of the unexpected death is a clever way to open the story, but the roles that Lime's accomplices play are those of clumsy and amateurish villains. I don't know much about the professionalism of British soldiers, when they were stationed in Vienna - following the war - but it seems unlikely Lime's little troupe could have gotten away with their plan, even if it were it not for Martins, inadvertently helping Calloway. He'd already made good progress, right? It's also a bit of bad planning on the part of Lime; wouldn't he have been better to let things settle down a bit, after his "death", before inviting Martins over to reconnect with him? At the meeting on the bridge, the doctor rolls up on his goofy-looking bicycle, and the three friends of Lime don't make an especially menacing trio. Only Popescu seems like someone you'd want to avoid in a dark alley. The remark about "you'll never be able to teach these Austrians to be good citizens" always struck me as peculiar; Do Austrians have a reputation for lawlessness I should know about? Or did the Romanians have some kind of ongoing feud with the Austrians, for some reason? I always feel slightly short-changed by Anna's reaction when she learns that Lime isn't dead. Wouldn’t that be astonishing news - and cause for incredible joy from her? She reacts as if she's found an earring she lost in the bathroom. I'd even say it's strange how unmoved she is by Lime’s disappearance in the first place; when Martins meets her backstage at the Josefstadt theater, she's practically indifferent. That’s an odd part of the story; why wouldn't Lime have told her of his plan in the first place? - he trusted his male friends, after all. It's hard to believe he would've wanted to ditch her. I've read too many narratives comparing the humble, bumbling American, embodied by Martins' out-of-place character, with the old-world cynicism and sophistication of the Europeans, captured by Anna’s stoicism and the behavior of nearly all the other characters. I just don't get that. Are we Americans really the naive simpletons everyone seems to think? I guess in this film, the answer’s yes. Come to think of it, I think Greene was British, so that might explain it. There’s one other scene that’s always bothered me; when Calloway takes Martins to the bar, when they first meet, there’s a really lousy bit of continuity, with Martins getting punched in one direction but then hitting the ground in the other. Factoid; In the final shot, they had guys up on very high fire department ladders, dropping a few leaves. P.S. These are all just nit-picky things; the story works beautifully and I wouldn’t change a thing.

He didn't get away with it. He died like a rat in a sewer.

I still don't understand why the video is titled what it is.

Great video, will have to watch the movie. Edit: Simply great when you stubble upon a "new" YT channel. Will have to watch through the others!

Did Maya Deren direct Divine Horsemen? Edit, she did. That's an amazing piece of documentary film work.

This was very well done.

Nuts? This movie is poetry.

nice

That was great. As far as dream-like films, I felt like this is the most representative of how my dreams are, somewhat repetitive with variation of intent and perspective...and stairs. Thanks for sharing! Now I''ll watch it with your commentary.

Thank you for sharing that. It was very interesting, and not anything that I had seen before.

Botros is a tremendous new voice in cinema. Rick Amsbury is so good. I hope to see more from this filmmaker and these actors. Keep making art, you lovely people.

Haters will say it's in reverse

Congratulations and thank you very, very much for making these GREAT video essays. Please continue with this good work! Greetings from Montevideo, Uruguay.

This movie was made in my hometown lol

Great analysis! I can't believe I've never even heard of Faust (1926) before or seen that shot of the devil towering over the town. I'll have to give it a watch.

Brilliant analysis and knowledge on Murnau thoroughly enjoyable video.

I can't remember where I heard this, but someone described this film as the 'anti-Casablanca'. Casablanca is about the U.S. waking up and doing the right thing by getting involved in the war. The Third Man is like a message to the Americans that they don't know what they've gotten themselves into by entering the global power struggle after the war, particularly in Europe.

I love your videos on old movies, what lacks in quantity makes up for in quality.

“We are told not how to feel not literally through words, but emotionally with the paring of audio and image” “The craft of purely visual storytelling” Bruh