kommt mir irgendwie bekannt vor: Lief der nicht bereits mal in Bonn? Oder wiederholen die eigentlich sich nicht?

METROPOLIS (1989 / 1990 / 1994 / 1995 / 2001 / 2009 )

VON MORGENS BIS MITTERNACHT lief, glaube ich, noch nicht.

2009! Du Scherzkeks!!!

Rufus_T_Firefly:

konkrete Empfehlungen bzgl. des Programms???

Vielleicht - wenn Ihr Zeit und Lust habt - kurz tippen,
welche Filme man warum gesehen haben MUSS!

(...)

Kennt irgendwer"DER GELIEBTE SEINER FRAU" von Max Neufeld?
(Kein Eintrag in der imdb, auch sonst kaum Info zu finden.)

Oder "DER GEHEIME KURIER"?
(Keine Bewertung bei der imdb, auch sonst wenig Info.)

"SONG - SCHMUTZIGES GELD (SONG - SHOW LIFE)"
klingt spannend! Weiß jemand mehr darüber...?

Rufus_T_Firefly:

Da überlege ich, ob ich mir an dem letzten Sonntag,
dann statt "Song" in Bonn nicht lieber "Asphalt" in Wuppertal ansehen soll...!

Rufus_T_Firefly:
"VON MORGENS BIS MITTERNACHTS" klingt interessant,

Aber - Sie müssen! Jetzt müssen Sie doch -!?!

Rufus_T_Firefly:
Dieses Jahr ist GB mit
DAS WUNSCHKIND (THE FIRST BORN) vertreten. (...)
Wie man unschwer sehen kann ist dies der einzige Regieversuch eines Schauspielers (...) -
da weiß man ja auch nie, was einen erwartet!

I have had occasion so often to criticize the merit of British production that it is with pleasure I am able to say something about some recent British films that give promise of much batter things. Of these the most ambitious is the Gainsborough production, "The First Born." It is, to begin with, a remarkable tour de force on the part of Miles Mander, since not only did Mr. Mander act the leading part, but collaborated in this screen adaptation of his own play, taken from his own book. He also directed the picture. Mr. Mander had already made a name for himself by his acting in "The Fake" and "The Physician." In all his parts he has hitherto been cast as a weakling or a villain. In this he is again villainous, but only in his relations with woman. Otherwise he is successful and popular, "a good fellow." In the intervals between his affairs with other women he alternately bullies and pets his young wife, makes her so angry that she throws things at him in helpless rage, makes her jealous as well, but keeps her love. What is more, rather than continue to deserve his reproaches for her childlessness, the wife adopts a child while he is abroad and passes it off as her own. Suspicions and then insults follow which almost provoke the wife to an acceptance of another love, one which carries with it a devotion and a fidelity that she has failed to find in her husband. But when that handsome, charming rake meets with swift and terrible death in a lift shaft his faults are forgiven and his memory promises to make a permanent widow of the loving young wife. Only when it develops that the adopted child is really the husband's, begotten of a liaison with his wife's manicurist, does she conclude that she has wasted her devotion on something that never existed, and turn to the real love that still awaits her.

It is the acting and treatment that make this melodramatic story one of the most successful first films ever directed in this country. Mr. Mander acts the thoroughly objectionable part he has written for himself with such brio that we never lose interest in his blackguardism. And either he has convinced Miss Madeleine Carroll as the young wife that she is a first rate emotional actress or Miss Carroll herself has just discovered it. In this picture she has to persuade us that she is human, loving, foolish in her fidelity to her faithless husband but not a fool. She does so She persuades us further that not all English screen heroines need be stolid even when they are portraying virtue.

Hofmeister:

Von morgens bis Mitternacht ist wirklich ein einzigartiges Monument unbeugsamen Stilwillens. Wenn Du ihn siehst, vergisst Du ihn nicht

Ahem, Miles Mander hat zwischen 1926 und 1936 über ein Dutzend Spielfilme inszeniert
(selbst die schwer löchrige IMDb verzeichnet sie), darunter der haarsträubende The Morals of Marcus und The Woman Between.

I have had occasion so often to criticize the merit of British production that it is with pleasure I am able to say something about some recent British films that give promise of much batter things. Of these the most ambitious is the Gainsborough production, "The First Born." It is, to begin with, a remarkable tour de force on the part of Miles Mander, since not only did Mr. Mander act the leading part, but collaborated in this screen adaptation of his own play, taken from his own book. He also directed the picture. Mr. Mander had already made a name for himself by his acting in "The Fake" and "The Physician." In all his parts he has hitherto been cast as a weakling or a villain. In this he is again villainous, but only in his relations with woman. Otherwise he is successful and popular, "a good fellow." In the intervals between his affairs with other women he alternately bullies and pets his young wife, makes her so angry that she throws things at him in helpless rage, makes her jealous as well, but keeps her love. What is more, rather than continue to deserve his reproaches for her childlessness, the wife adopts a child while he is abroad and passes it off as her own. Suspicions and then insults follow which almost provoke the wife to an acceptance of another love, one which carries with it a devotion and a fidelity that she has failed to find in her husband. But when that handsome, charming rake meets with swift and terrible death in a lift shaft his faults are forgiven and his memory promises to make a permanent widow of the loving young wife. Only when it develops that the adopted child is really the husband's, begotten of a liaison with his wife's manicurist, does she conclude that she has wasted her devotion on something that never existed, and turn to the real love that still awaits her.

It is the acting and treatment that make this melodramatic story one of the most successful first films ever directed in this country. Mr. Mander acts the thoroughly objectionable part he has written for himself with such brio that we never lose interest in his blackguardism. And either he has convinced Miss Madeleine Carroll as the young wife that she is a first rate emotional actress or Miss Carroll herself has just discovered it. In this picture she has to persuade us that she is human, loving, foolish in her fidelity to her faithless husband but not a fool. She does so She persuades us further that not all English screen heroines need be stolid even when they are portraying virtue.