The prints of the collections is from the cameras of the German master of suspense and
fantasy, Fritz Lang. It was once termed by Graham Greene "Lang's simplest, purest thriller".
SPIONE (THE SPY) (1927-28)
Produced and directed by Fritz Lang for Fritz Lang G.M.B.H. Released by UFA. Story by
Land and Thea Von Harbou. Settings and design by Otto Hunte and Karl Volbrecht (responsible
for "Die Nibelungen" and "Metropolis"); photographed by Fritz Arno Wagner (who shot Lang's
"Destiny", "M", "Testament of Dr. Mabuse" as well as Robison's "Warning Shadow" and Pabst's
"Jeanne Ney"). Shooting time 3 1/2 months. With Gerda Maurus, Willy Fritsch, Rudolph Kleine-
Rogge ("Dr. Mabuse" of both versions, "Rotwang" of "Metropolis"), Lupu Pick (director of popular German films of the period), Lien Deyers, Fritz Rasp, Hertha von Walther, Craighall
Sherry, Paul Hoerbigger, Greta Berger.
"An improved version of the earlier "Dr. Mabuse, der Spieler", SPIONE told of an international
crook who rose to power after the wreckage and confustion of a world war. The crippled
Haighi (Kleine-Rogge) employs a network of spies who commit outrageous crimes against
society. From his wheel chair he directs them, attended constantly by a doting nurse, who
watches over him. Eventually government agents and one of Haighi's own girl spies (who
succumbs to one of the government agents) ferret him our. Notable scenes were a stunning
railway smash-up, the realisation by the Jap that he has been duped, leading to his
commiting hara-kiri, and the startling denouncement .... One of the most beautiful melodramas
ever made".
The above quoted material is culled from the "Index to the Creative Work of Fritz Lang",
complied by Herman G. Weinberg for the British Film Institute. This index, which
contains useful biographical data about Lang himself as well as his films, has been
reprinted in this country and is available from "Friendly Service", Box 78, Radio City
Post Office, New York 19.
Lang's newest realease, "THE BIG HEAT", a Columbia melodrama of the ultra-though school
starring Gloria Grahame and Glenn Ford, has had some of the best trade-press reviews for a
Lang film since "The Woman in the Window". Currently he is preparing his remake of Renoir's
"La Bete Humaine", designed as a vehichle for Rita Hayworth.
In "The Tatler" of September 26, 1928, James Agate wrote: ".....(Spy)..moved at an
enormous speed and is immensely exciting. It demands and gets from us what the severer
art has called "the willing suspension of belief" .... with the reservation that the simple
may have difficulty in grasping the whole of it, SPY is an admirable entertainment.
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THE WONDERFUL LIE - DIE WUNDERBARE LUEGE DER NINA PETROWNA (1929)
Directed by Hanns Schwars for UFA. Supervisor: Erich Pommer. Camera: Carl Hoffman
Stars: Brigitte Helm, Francis Lederer, Warwick Ward
Produced by Pommer after his unhappy American sojourn, this film is similar to Hollywood's
silent version of "Anna Karenina" and recalls "Flesh and the Devil" to many who see it. It
was one of the last German silent films, and was given a lavish production by Pommer.
One of its most interesting features is the brilliant camerawork by Carl Hoffman, of whom
it was said by Karl Freund that he was "the world's greatest cinematographer". His
simplified lighting certainly is a delight to watch. The story: Nina, mistress of a
Russian colonel, deserts him in favor of a cornet (a sort of officer candidate similar to
the German fahnenjunker and the French aspirant), and finally commits suicide to saver her
lover from certain ruin at the hands of the colonel. Schwars later did "The Hungarian
Rhapsody" under Pommer, and his last work as a director was in England on one of the
Pimpernel films. "The Wonderful Lie" was the film which gave Francis (then Frans) Lederer
his first big boost as an international favorite. In his book, "From Caligari to Hitler",
Kracauer particularly comments on the subtle comparison of the opening and closing balcony
scenes, and remarked that "..the film involved a range of deep emotions genuinely motivated".
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HEIMKEHR (HOMECOMING - THE PRISONER'S SONG) 1928 UFA
Director: Joe May Supervisor: Erich Pommer From the Leonhard Frank novel "Karl and Anna". Photography: Gunther Rittan (who worked on "Metropolis"). Released in the USA by Paramount.
Opened in New York in 1929 at the Film Guild theatre on West 8th St. A Broadway production
of "Karl and Anna" with Otto Kruger and Alice Brady was also presented in 1929.
Cast: Gustav Frolich as Karl; Dita Parlo as Anna; Lars Hamm as Anna's husband, Richard.
This film has been known under several, titles, "Homecoming" being the US release title, and
"The Prisoner's Song" the British title. The story deals with two German war prisoners, Richard
(Lars Hanson, fresh from Hollywood disillusion) and Karl (Gustav Frolich, a rising young actor
who had scored as the hero of "Metropolis", and is still prominent in Germany as an actor/
writer/director) in Siberia - their escape, and their poignant passion for the same woman,
Anna, the wife of one of them. Dita Parlo, as Anna, was also a Hollywood deserter, later to
reach acclaim in Vigo's "L'Atalante" and Renoir's "Grand Illusion". May translated Frank's
fine novel quite freely, but was successful in preserving the spirit or the author's work.
Incidentally, the story was the basis, later, for the Greer Garson-Bob Mitchum opus "Desire
Me" at Metro, The less said about this talkie version the better; several directors lent their
talents in an attempt to doctor the film, but the end result was so bad that none of them would
accept screen credit. May's film, on the other hart, fared very much better, and was praised
unanimously by the New York critics. May later worked in America of course, directing
such films as Universal's "The Invisible Men Returns".
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ZUR CHRONIK VON GRIESHUUS - THE CHRONICLE OF IRE GREY HOUSE. (1923) UFA Union Production
Director: Arthur Von Gerlach. Scenario: Thee von Harbou, from a novel by Theodor Storm
Camera: Karl Drews, Fritz Arno Wagner and Erich Nitschman. Sets: Walter Roehrig, Robert
Health and Prof. Poelsig.
Stars: Lil Dagover, Paul Hartmann, Arthur Kraussneck, Rudolph Rittner, Rudolph Foerster,
Josef Peterhaus, Gertrud Welcker, Gertrud Arnold.
It would be hard to find a more Germanic story than this; in almost every respect it contains
all of the elements of tragedy so dear to the hearts of German audiences. Unlike other German
films of the same period, "Chronicle..." moves into the open air and is =confined by studio
sets. The warm and rich camerawork gives a remarkable picture of the Prussian heath and
expansive landscapes. Lil Dagover has never been seen to better advantage, and Hartmann makes
a sincere if somewhat "scene-chewing" hero. The Gothic-like lighting of the interiors, as well
as the Iovely exteriors, are a tribute to the splendid photographic work of the three cameramen.
For the benefit of those who may have difficulty with the French subtitles, we print a synopsis
herewith:
On the great Prussian heath is the castle of Greishuus, where lives an old Prussian junker and
his elder eon Hinrich. The younger son Detlev returns, having married a noblewoman, and finds
that the property has been willed to Hinrich. Hinrich has felled in love with Barbara, a
lovely bondswoman, and refuses to give her up. Before the father can change the will, he
dies suddenly. Hinrich marries his beloved in true heavy-handed German fashion at his dead
father's bier, and by marrying a bondswoman forfeits hie right to the estate. Detlev and
Hinrich fight an the heath, and the former is killed. At the same time, Hinrich's bride gives
birth to a son, Hinrich flees the country, not 'mowing that his wife has died in
childbirth. Years later ho returns incognito, and sees his now ten-years-old son who has
inherited the estate. During the night, Detlev's widow has little Ergo kidnapped in order to
herself inherit the estate. But the ghost of Barbara warns Hinrich. Gliding over the heath,
the spirit leads Hinrich in pursuit of the kidnappers. Under the cover of darkness, and in a
violent storm, Hinrich liberates the boy but in so doing is mortally wounded. He carries the
lad to the castle where the boy learns that his rescuer is his loot father. Hinrich dies and
joins the spirit of his beloved wife.
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PICCADILLY (1928-29) British International Productions. Director: E.A. Dupont
Camera: Werner Brandes Art Director: Arthur Junge (later credits: "Stairway to Heaven",
"I Know Where I'm Going"),. Stroy and screenplay by Arnold Bennett. Asst. Director: Ronald
Goetz, M.C. Edited by J.W. McConaughy.
Cast: Mabel Greenfield (GILDA GRAY): Valentin Wilmot (JAMESON THOMAS): Shosho (ANNA MAY WONG)
Jim (Kin; Ho-Chang); Victor Smiles (Cyril Ritchard); Bessie (Hannah Jones);
a guest (Charles Langhton).
American premiere: Little Carnegie theatre NY, July 14, 1929,
"Piccadilly" is particularly interesting in that it shows that Dupont could duplicate,
successfully, his famed "Variety" technique, BIP imported Dupont (who soon after made
the talkie "Atlantic" for the MHO company), Junge and Brandes in an effort to improve
their productions at this period.
Although she was starred in American films prior to "Piccadilly", Cilia Gray was never
offered another opportunity to demonstrate her "shimmy" wares as well as her thespian
abilities. Nor was Anna. May Wong cast importantly, although she was recognized as a great
talent. Incidentally, "Piccadilly" larks Laughton's first appearance in a feature film,
although he bad appeared (quite prominently) in several short comedies earlier.
E.A. Dupont, for long inactive, has suddenly re-appeared - none too promisingly - on the
Hollywood scene. After the extremely interesting (if not quite successful) "The Scarf" of
two years back, he has settled down to a steady output of cheap quickies - sex exploitation
thrillers, science-fiction end adventure epics, and horror yarns of the calibre of
"Neanderthal Man", currently in UA release.
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IMPORTANT NOTICES
As of the date of our going to press with these notes, we have not had an opportunity to
screen these particular prints, For our members' guidance however, we should state that
we anticipate a running time of approximately FOUR HOURS for this programme.
Short introductions and explanations will be made with each film to cover any serious
gaps in continuity (if any) which nay have resulted from the re-editing.
We also ask our members to note that screenings will take place every other Tuesday until
further notice, to avoid conflicting with Cinema 16 programmes. On Wednesday October 14th,
Cinema 16 are screening Kirsanov's "Menilmontant" and a collection of latest UPA shorts.
We look forward to seeing a full turnout for this unique screening next Tuesday, and once
again offer our thanks to Mr. Mitchell for his cooperation.
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Enquiries to: Bill Kenly
28 East 13th Street (CH.2-3897)
New York City
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