Continuando la tradición que iniciamos con las mejores películas de 1921, empezamos 2022 repasando lo mejor del cine de hace cien años, una de las épocas más fructíferas del séptimo arte.
Frivolous wives (Erich von Stroheim)
Denis Villeneuve's pulse withWB in Dune is nothing compared to the one that Erich von Stroheim maintained with Universal to move forward this sordid psychexual drama, the most expensive film to date (more than one million budget!),Which shouldlast 6 to 10 am and project two nights in a row.They cut it whole, of course.Next stop, greed.
Dr. Mabuse (Fritz Lang)
Fritz Lang's first masterpiece uses an overwhelming expression expressionist iconography and special effects to narrate the stumbling.
Häxan (Benjamin Christensen)
Witchcraft through the times is the succulent Spanish title of one of the most unusual horror films in history.From an inquisitor manual of the fifteenth century, Danish filmmaker Benjamin Christensen (which is reserved for the role of the devil) traces a genealogy of superstition as a root of intolerance.
Nosferatu (f.W.Murnau)
The history of horror cinema retains a key foundation thanks to the fact that Bram Stoker's widow failed.Reconstructed throughout the decades from fragments to form a symphony of horror, their images pursue at night as the shadow of the claws of Count Orlok of Max Schreck.The vampires fear sunlight since Murnau and his screenwriter Henrik Galeen said they burned them.
Fire test (Victor Sjöström)
Jenny Hasselqvist - Mouritz Stiller's fetish actress, protagonist of Johan (1921) - decides to liquidate her husband, who dies from the disgust before drinking the poison (harmless) that serves her.It is the starting point of a brutal dissection of guilt, forgiveness and mob of popular judgments.Fire walks with her.
La mudanza (Buster Keaton & Edward F.Cline)
A year before focusing on the lengths, Buster Keaton made some of his most sophisticated shorts, such as the electric home;and reckless, as impossible dreams.If we highlight this, it is not only because of its unfair development, a final persecution with which years later Dreaming Bugs Bunny or the happy recovery of the classic antiauthoritarian stamp of the Keystone Cops (a tumult of inept policemen running from here to there),Also for the real life of real life that sneak into their scenes filmed in real locations in Los Angeles in 1922.
Phantom (f.W.Murnau)
A man falls in love with the woman who has hit her with her horse car (shower that, ballard) and becomes obsessed to such an existence that her existence goes around revolving around the abatement of heartbreak and scams to get money with which to carry alife train that seduces it.He himself, who goes as a poet, acknowledges being chasing a ghost, an idealization that Murnau does not even present an attractive way so that so much obnubilation is even more shocking when he puts us in his feverish subjectivity;Alfred Abel's Pánfilo appearance (future metropolis leader) also helps.Thea von Harbou signs the script, adaptation of a novel by Nobel Gerhart Hauptmann, from this film eclipsed by the fame of his predecessor, Nosferatu, but just as bold in his vampirism story, here self -inflicted.
The woman from nowhere (Louis Delluc)
Faced with the expressionist twisting of the Germans was the French impressionist cinema, where the simple caress of an adultery thought could expand to infinity, touching emotions and resonating in space-time.
Kino-Pravda (Dziga Vetov)
The 23 deliveries of the film-truth news of Dziga Vertov, with his brother Mikhail Kaufman as a cameraman and the mastery of Elizaveta Svilova at the assembly table, form the alphabet of a new tongue, another way of understanding the images.The cinema of the camera man opens.
Once upon a time (Carl Th.Dreyer)
In the same year of the ambitious (and very Griffithian) the stigmatized ones, with the recreation of an anti -Semitic program in Russia, Dreyer also made this fairy tale, only partially preserved, which begins as a courtly satire and ends with forest drama of great lirismo.
Nanuk, Esquimal (Robert J.Flaherty)
Before no one theorized about the diffuse line between documenting a reality and modifying it radically with the camera, Flaherty went to the Arctic to film an Inuit family, recreated scenes of their daily life and gave every narrative form.A genre that follows in Prime Time was born.
Pay day (Charles Chaplin)
The last short of two chabinas by Charles Chaplin, with his Phyllis Allen as a tyrannical wife always stalking behind the protagonist's backplanted to its fiancee May Collins.Instead, it shines as usual in the construction of GAGS and the use of audiovisual language (the brick placement process), in addition to containing a direct history of the famous meme of the distracted boyfriend.It had to be chaplin.
Robin de los Forests (Allan Dwan)
Douglas Fairbanks, who had already been the fox and D’Artagnan, wrote and paid in his pocket this sparkling blockbuster, full of colossal scenarios where to wear his acrobatics.So defining the future versions of the joyful outlaw of the sherwood forest that its origin occupies half film.
The Three Must-Get-Theres (Max Linder)
With Austin Powers word games, the Frenchman Max Linder tried for the last time to open a hollow in Hollywood with this parody of Alexandre Dumas and the Douglas Fairbanks movies.He deserved to have had more luck, as Gags demonstrates that they have saber him years later.
Extra: animated fables
With his fairy and batracios stories, 1922 was a year of great variety forWestern animation.They say thatWalt Disney was going so bad money that he slept in the office and showed himself in the public bathrooms of the Kansas City train station.There he had founded Laugh-O-Gram Studio, where pioneers like Ub iWerks or Friz Freleng worked in red hood's animated shortenough to save the study of ruin.
Much better went in Germany to Lotte Reiniger, who already enjoyed success and premiered Aschenputtel, her own version of Cinderella with the animated technique with silhouettes that characterized her style.In France, the Russian of Polish originWladyslaw Starewicz adapted to Aesop through Stop-Motion in the frogs that a king wanted, a technical prodigy with dozens of frogs on stage making independent movements at the same time at the same time.
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