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Tommaso
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#76 Post by Tommaso » Thu Dec 06, 2007 12:59 pm

I have just watched the recent arte broadcast of Ruttmann's "Berlin", and indeed it was a new, 2007 resto with the original music by Meisel in a new symphonic orchestration (mirroring the 75 people orchestra of the premiere) by Bernd Thewes. Very impressive indeed. Meisel's music very much underlines the view of Berlin as a 'moloch' in a way in which I never have perceived the film before. Quite a stark contrast to the celebratory nature of Vertov's "Man with a camera". The music is not far away from Meisel's "Potemkin" score, with a lot of dissonant and insistingly aggressive passages. Perhaps a little one-sided, then, but apparently exactly what the filmmakers had in mind, so this version must be considered authoritative.

Imagewise some, but not huge improvement over the old version as released by divisa, but it seems to me there is some footage hitherto unseen, especially in the 'sports and entertainment' part of Act V. At least I can't recall having seen some scenes before, but that might just be my bad memory.

In any case, if that is the version that filmmuseum will release (and I don't doubt it), surely an indispensible disc.

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HerrSchreck
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#77 Post by HerrSchreck » Thu Dec 06, 2007 3:27 pm

What score Tom was on the divisa disc? I have the Shepard/Image disc of BERLIN from R1, which has what may actually be my favorite all-time New Score For An Old Film, which was Timothy Brock's score done with the Olympia Chamber Orchestra. I don't know how others here feel about this score but to me it is just the perfect compliment to the film. I really get the feeling that Brock not only watched many times, but deeplyloved the film BERLIN... you can almost feel how moved he was by the images as artistically executed and arranged/ordered, by the layout of the film into Acts, by the love for the filmmakers for their city that motivated the film, and by the soul of the city inhabitants and environs there in the images themselves. It's just one of the finest silent film scores I've ever heard-- modern or contemporary-- and to me it will be hard to beat. I love the film already, but I can say without hesitation that Brocks' score makes me love the film even more, because the music and the film bounce off of each other, thread through one another, blend into a unity so perfectly-- like the arrangements of midieval music applied to the R1 USHER, I almost can't imagine seeing this film without that score, the image and sound blend so sublimely.

And man do I love Berlin... I know there's a lot of love around here with Vertov's MAN W A CAMERA, but to me it just, for all its technical virtuosity and astounding imagination, lacks the soul of BERLIN. Sometimes watching the Vertov I feel it lacks a subject-- to the point where I conclude that the subject is the filmmaker himself (which some might say s/b obvious from the title, but it is this very tittering between city and filmmaker as subject matter I'm raising)... which is a subject of variable emotional engagement depending on my disposition when sitting down watching it. Adding to this is the fact that, since Vertov is jumping between cities/times, and his continuity is intellectually-based rather than topically based, I think as a "city symphony" (a species I adore and almost never tire of, at least when of a vintage era and when executed with sufficent skill and poetry) it fails at times, because he interrupts his subject with the subject of himself and his technique. On the other hand in terms of tour de force skill, avant visual poetry, most of the Vertov outshines the Ruttman/Freund. (But of course comparisons-- though inevitable-- are not neccessary since we have both to savor depending on our mood.. thank god! They are both glorious.)

But I'm always ready for BERLIN. Thinking how much I adore it as a native NY'er with just a few drops German blood in my mutt veins, I can't imagine what a native Berliner must feel watching those images go by of their city, in it's old, long-ago bombed-away, original and beautiful incarnation. I savagely hunt up images of what I call "vanished old NYC" which is visible in material like Manhatta, Speedy, Applause, etc. Imagine what a Berliner must feel in his gut with this film...

Sometimes-- sometimes-- the return of the original score does not always guarantee an increase in viewing pleasure. Case in point-- and maybe I'll get beat up for this-- is the return of Meisel for Potemkin. Believe it or not-- believe it or not-- I actually, for the most part but with exceptions in certain zones, like the music on the old Corinth R1 with the chopped up bits of Shostakovich, which adds much more pathos, the Eisensteinian kind of pathos (dead horse & Massacre in OCT, slaughterof cow in STRIKE, dead babies & kids & women in POTEM) that the film engages in, than the Meisel. Every time I finish up watching the new Kino I swear that if I hear one more idiotic cornball riff on La Marselliase I'm going to throw a kitchen table through a window. Like how unimaginative does one hafta be to, when folks are getting riled up & rebellious, keep running the same god damned "bom ba-BOM pom BOMMMMM-bum POMMMM ba BOM," each and every time? Not to mention it's the French revolution applied by a German composer to a Soviet film about a Bolshevik uprising. Not to mention that on the old R1-Corinth the Meisel was used in parts like the shoreside wake for Vakulinchuk, the Steps sequence, etc.

But in the case of NOSFERATU, the return of the original score was sublime.

Back on topic: tom, is the brock on the divisa red? Or-- if not-- have you at least heard the Brock score, whereby you can compare the two?

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Tommaso
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#78 Post by Tommaso » Fri Dec 07, 2007 5:36 am

The divisa disc has an uncredited (and they probably know why!) electronic score, which sounds like a 14year-old using his very first syntheziser trying to imitate Pierre Henry and early Cabaret Voltaire. It's the most horrid thing I ever came across on a silent disc, and that statement might even include Marotta. I almost always put on a Satie cd or something like it when I played that disc (thankfully already sold it via ebay when I read the announcement for the forthcoming filmmuseum).

So, no, I haven't heard the Brock score, but yesterday, when I tried to find out a little more about the new resto on the net, I read somewhere that the Brock score was indeed sublime, and I had the feeling that that particular reviewer preferred it to the Meisel, but didn't really dare to say so. I personally don't agree with your view re: Eisenstein/Meisel as opposed to Shosty, but I probably might in a potential comparison of Brock and Meisel with the Ruttmann. I simply thought that the Meisel music is too much highlighting the 'oppressive' bits and the satiric parts of the montage- everytime a policeman is shown we hear a loud dissonant blast from the brass section, even if he's only conducting the traffic. The music is certainly very effective, but doesn't have enough melodic inspriration for the more lyrical parts to come over properly. But again, this might well have been Ruttmann's idea. Ruttmann at that time was a devoted communist, and surely "Berlin" wasn't meant as a completely unpolitical visual poem but at least partly as an attempt to outline the social problems going on in the city at the time. This aspect is finely covered by the music, of course, but somehow it sacrifices the other aspects a little.

As to Vertov: apart from the camera itself, it indeed doesn't have a clearly defined subject, unless you would argue that the subject of the film is life itself. Life in general and the utopian new life in the new communist state, the feeling of going forward personally and politically. That's why I called it 'celebratory' in nature. Perhaps it is less a city symphony (although it is incidentally set in a city, or rather three of them) and more a 'hymn of joy and movement'' which includes some sadder aspects as well. And that's probably why I would prefer it over the Ruttmann any time, not just because it's more adventurous cinematically. But that doesn't mean I dislike "Berlin", of course. As you said, we can be happy that we have both of them. And in a way, they complement each other with their different emphases.

TIVOLI
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Filmmuseum

#79 Post by TIVOLI » Wed Feb 13, 2008 12:19 am

Any suggestions on other Filmmuseum DVDs (in English or with English sub-titles) worth purchasing to accompany an order of Borzage? Thanks.

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Tommaso
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#80 Post by Tommaso » Tue Mar 18, 2008 8:10 am

If there's one filmmuseum title that must be had by everyone, it's their release of Dziga Vertov's "Enthuziasm". If you're looking for more silents, I'd recommend Oswald's "Anders als die andern" and Noa's "Nathan der Weise".

And don't forget you can also order the films from the Danish Film Institute from filmmuseum. Their Dreyer and Christensen films are absolute must haves.

Four more new titles just announced as 'forthcoming':

40 Hedy Lamarr: Secrets of a Hollywood Star
Donatello & Fosco Dubini / Barbara Obermaier, 2006
41 Nerven Robert Reinert, 1919
42 Journey to Justice Steve Packladharry, 2006
43 Wunder der Schöpfung Hanns Walter Kornblum, 1925

Very good of course, though I wasn't overly blown away by that Lamarr documentary when I saw it on TV. Would have made far more sense as an extra on a new release of "Exstase"...

The Reinert and the Kornblum films are much desired by any silent film fan, of course. But while they keep announcing new discs, still no sign of their promised Gade and Ruttmann titles already announced for months now. So don't expect these discs to be out before the end of the year, I'd say.

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HerrSchreck
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#81 Post by HerrSchreck » Tue Mar 18, 2008 12:23 pm

Tommaso wrote:Four more new titles just announced as 'forthcoming':

41 Nerven Robert Reinert, 1919

43 Wunder der Schöpfung Hanns Walter Kornblum, 1925

Tom can you comment on what Nerves is about? I know it's generally about WW1 survivors driven batty or "shellshocked" or what we'd today call suffering from PTS.

But how is it treated? Reinert of course was known to veer towards the wonderfully sleazoid, crafting some of the earliest forms of exploitation films... or at least "sensational" films deliberately choosing racy subjects (the eerie Opium being one of the best examples, which i have in a cruddo dvd-r version... though full length & w original german, highly stylized subs).

Wonders of creation is wonderful and a must buy!

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Tommaso
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#82 Post by Tommaso » Tue Mar 18, 2008 2:12 pm

Schreck, I know almost nothing about "Nerven", but your description seems to chime in with the German language description I just found on this site, where a blogger describes the film in its newest, restored incarnation, apparently presented at this year's Berlinale.

To give you the gist of it: the film seems to be still incomplete, but has been so far restored with the help of Gosfilmofond and the Library of Congress that at least the most important parts of the narrative are now intact again. The film itself is described as a colportage version of postWWI-trauma and revolutionary strife in Germany at the time. It's apparently about the sister of a factory owner and a young gardener dying out of love for her and also about another love story reflecting that first one. Apparently in the end everyone is converted to a more 'natural', rural lifestyle, and the end of the film has the titles: „Zurück zur Natur!...Neue Nerven - Neue Menschen“, i.e. "Back to Nature! New Nerves - New People!"

Ahmm.... that sounds at least interesting, but also very crude. On another German site I read that apparently at the first screenings in 1919 some people for whatever reason indeed got into nervous troubles and had to be treated by a psychologist. Seems indeed to be 'racy stuff' for the time, but it only gets a footnote among the exploitation and sexual education films of the time in Kalbus' "Werden deutscher Filmkunst" (but so does "Opium"). As Kalbus didn't like that genre, I'm sure the film must be great, then.

I have also never seen the Kornblum film, but have only read descriptions of it and seen some stills, and what I saw looked like an absolutely amazing film. I only hope the guys at filmmuseum will manage to get a little bit faster in releasing things, but I have been saying this for the last two years or so...

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HerrSchreck
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#83 Post by HerrSchreck » Tue Mar 18, 2008 2:56 pm

Yes, your Nerves research basically jibes with what I found out. The stills I've seen really capture the kind of German silent cinema I love most-- some of it even looks kind of Caligari-esque... warped, distorted, heavily psychological in nuance. Can't get enough of these kinds of visuals. I'm surprised they're not bringing out Opium as well, since you've got both Veidt as well as Krauss... nudity, opium dreams & sordid visuals-- and it's still awaiting it's dvd premeire as Bret Wood at Kino never seemed to follow thru and get it out.

And I'm totally psyched for the Kornblum-- some say a forerunner of 2001 and (perhaps more specifically, since its UFA) a trial run for Metropolis. It supposedly holds up VERY well today. Every visual I've seen looks absolutely fantastic. And whereas the public disliked Metropolis, they loved Wonders of Creation and flocked to it in droves.

Two wonderful releases. Must buys! Starting to really love this label... but for the slow speed of release they're turning into a good counterpart on your side of the pond with Arte, and Milestone & Kino on this.

Did they ever put out Sex In Chains in your country tom (what I'm really wondering is if you'e gotten a chance to see it)? I know they did Different From The Others on Ed. Filmmuseum, and Kino/Shepard probably licensed this master. But the Kino Geschlecht in Fesseln begins with the Filmmuseum logo (and its got the pal ghosting) so I know it came from those guys. It's an interesting film (early directorial effort by Diterle who also stars), and another example of the kind of daring filmmaking in evidence straight up thru the late weimar period you get from the German silent era. Yet with its compassion and humanist plea it's more than your standard Reinert/Oswald-style sensationalism. Not to mention fantastic "New Objectivity"-style camerawork by Lach.

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otis
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#84 Post by otis » Tue Mar 18, 2008 5:34 pm

David Bordwell has an essay on Reinert in his recent Poetics of Cinema. Here are some extracts:
Wild as [the plot of Opium] is, Nerven outdoes it. The prologue shows a neurotic man strangling his wife. Then, noticing that the family's caged bird lacks water, he lovingly refills the cup. The plot proper begins in a frenzy. While crowds rage (presumably a reference to the civil disturbances following the Armistice), the neurasthenic-looking Marja cries out that the earth is trembling on the eve of her wedding. A young man bursts into the the street and hacks at passersby with an axe; he is summarily dragged to a wall and shot.

What bald synopses can't convey is the delirious impression left by these cascades of outrageous contrivances. Opium and Nerven offer a stew of 19th- and early 20th-century imagery: a Romantic interest in extreme psychic states (suicide, drug visions, and madness), clichés of academic painting, and conservative spins on avant-garde motifs.

I confess I find some incidents in Nerven obscure, and perhaps crucial footage or titles are still missing. Even with fuller explanations, though, it seems likely that The Cabinet of Dr. Caligari would have looked less innovative if generations of historians had seen Nerven, released two months earlier.
There's also an entry on his blog which mentions the film, and includes a couple of frame enlargements.
Last edited by otis on Tue Mar 18, 2008 5:46 pm, edited 1 time in total.

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Tommaso
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#85 Post by Tommaso » Tue Mar 18, 2008 5:37 pm

HerrSchreck wrote:The stills I've seen really capture the kind of German silent cinema I love most-- some of it even looks kind of Caligari-esque... warped, distorted, heavily psychological in nuance. Can't get enough of these kinds of visuals.
Ah, that sounds great! I mean, I like filmmuseum very much, but hitherto they've been emphasizing those films a little too much which probably were historically, politically and socially important, but not necessarily visually inventive (excepting "Entuziasm", of course). With Gade, Ruttmann, and now Reinert and Kornblum this seems to change a little.
HerrSchreck wrote:And I'm totally psyched for the Kornblum-- some say a forerunner of 2001 and (perhaps more specifically, since its UFA) a trial run for Metropolis. It supposedly holds up VERY well today. Every visual I've seen looks absolutely fantastic. And whereas the public disliked Metropolis, they loved Wonders of Creation and flocked to it in droves.
Probably because it's an educational, (pseudo-)documentary kind of film. It's probably the same phenomenon as with "March of the penguins" or Painlevé's biological documentaries: see something you've never seen before which nevertheless EXISTS. But you're right: the stills I've seen of it look absolutely fantastic (in both senses of the word), and might indeed have influenced either "Metropolis" or any other sort of early SF film.

And no, they didn't put out "Sex in Chains" in spite of their great disc of "Anders als die andern". That Kino disc has been on my to-buy-list for ages, but somehow I never got around to actually buy it despite of it having the original intertitles (I wonder what went 'wrong' with Kino on this one...). But thanks for the reminder, I always think I should watch more from Dieterle, especially after the fantastic disc of "A Midsummer Night's Dream", which I think is much more of a Dieterle film (filmwise) than a Reinhardt film...
HerrSchreck wrote: but for the slow speed of release they're turning into a good counterpart on your side of the pond with Arte, and Milestone & Kino on this.
Absolutely, but it seems to be the case that they are almost totally ignored here. I mean you still can't get the Borzage disc from any normal retailer, and most of the other discs seem also to have gone from amazon and jpc. That doesn't bode well, unless it's a sort of conscious decision by filmmuseum to cut out the 'middlemen'. But then, only the hardcore cine buffs will get to learn about them, and that would be a shame.

EDIT: Otis, have just seen your post. That sounds completely incredible! Hallelujah! Now, filmmuseum, GET THAT DARN THING OUT! NOW!

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Edition Filmmuseum

#86 Post by Adam » Mon Mar 24, 2008 7:55 pm

Can one only buy Edition Filmmuseum DVDs through the Edition Filmmuseum Shop?

I saw that neither Amazon US nor Amazon Uk carries the Kluge nor Crazy Cinématographe. Europäisches Jahrmarktkino 1896-1916, which are the ones I've tried. Anyone have Crazy Cinématographe?

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Keaton
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#87 Post by Keaton » Tue Mar 25, 2008 7:21 am

Hi,

I have the Crazy Cinématographe. Im from germany and ordered it from them, but you can aso try www.jpc.de. Cheaper than directy from EFM, but I have no idea about how much they take for shipping overseas.

regards,

Dennis :)

Adam
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#88 Post by Adam » Tue Mar 25, 2008 1:50 pm

Keaton wrote:I have the Crazy Cinématographe. Im from germany and ordered it from them, but you can aso try www.jpc.de. Cheaper than directy from EFM, but I have no idea about how much they take for shipping overseas.
Thanks! How do you like that DVD?

Best,

Adam

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Keaton
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#89 Post by Keaton » Tue Mar 25, 2008 2:05 pm

If you like early films, go for it.

regards,

dennis :)

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Ruttmann Berlin

#90 Post by shostakovich1 » Tue Apr 01, 2008 9:42 am

Some good news on this front. I was in contact with the GFM the other day and received the following reply:

"We are preparing a Walter Ruttmann 2-disc DVD with the restored BERLIN and the original score, and it will also include Ruttmann's abstract short films in new versions, Ruttmann's little known commercials, Ruttmann's first sound films, and his work for radio as well as his drawings, paintings and posters.

It will be THE definitive Ruttmann DVD, done in close cooperation with his daughter. There is still a lot of work to be done, and we hope that the DVD will be released in June or July."

Something to look forward to indeed!

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Tommaso
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Re: Ruttmann Berlin

#91 Post by Tommaso » Tue Apr 01, 2008 11:28 am

I'm floored! Hope this still includes "Melodie der Welt" as announced on the filmmuseum site, but even without it this looks like a fantastic set.

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denti alligator
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#92 Post by denti alligator » Tue Apr 01, 2008 11:32 am

With AE's Les Vampires, Flicker Alley's Melies set, MoC's Vampyr, the Filmmuseum's own Kluge set, among many others, this year will turn out to be one of the best yet!

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HerrSchreck
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#93 Post by HerrSchreck » Tue Apr 01, 2008 11:34 am

Absolutely wonderful. Berlin is one of my favorite silents of all time, incredibly poignant and expressive.. just beautiful, and one of the finest semi-accidental collaborations (in the way the film ex post fact passed thru multiple hands as Carl Mayer departed production of the porject after conceiving it, with Freund and his operator Baberske contributing equal direction in their choosing subject material, and cloaking the camera in various street guises... coardboard box, mail-cart, etc.. which would be used subsequently by masters like Vertov, Vidor, and Godard) in history. I'm not the biggest fan of his abstract-- isolated (vs the contextualized pieces i e the dream sequence in Seigfried's Tod by Lang)-- animated shorts, but Berlin is absolutely sublime. I'd also be interested to hear how the original score stands up to Timothy Brock's sublime accompaniment viz the Olympia Orchestra for Shepards disc.

But the new transfer of restored elements (the extant Fox Europa materials are in pretty much pristine shape to begin with, so wetgating and whatever cleanup is necc will no doubt result in a stunning image), hopefull transferred progressively as the film is from 1927 when 24 fps was taking hold, will necessarily take the place of the Image disc... which itself "coulda been a contender" but for the fact of that awful overload of combing, probably the worst example of the excesses of interlacing yet seen in the dvd medium. Your eyes bleed and plop out onto your shirt.

Believe it or not this masterpiece was one of those US-German quota films (in this case Fox-Europa, not ParUfaMet) meant to even the score when importing reams of Hollywood product into Germany. Either Eisner or Kracauer details the circumstance in one of their respective books on the age.

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Tommaso
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#94 Post by Tommaso » Tue Apr 01, 2008 5:00 pm

denti alligator wrote:With AE's Les Vampires, Flicker Alley's Melies set, MoC's Vampyr, the Filmmuseum's own Kluge set, among many others, this year will turn out to be one of the best yet!
And don't forget the two forthcoming Gances from Flicker Alley!
HerrSchreck wrote:. I'm not the biggest fan of his abstract-- isolated (vs the contextualized pieces i e the dream sequence in Seigfried's Tod by Lang)-- animated shorts, but Berlin is absolutely sublime. I'd also be interested to hear how the original score stands up to Timothy Brock's sublime accompaniment viz the Olympia Orchestra for Shepards disc.
Ideally, they would include both scores, but as I think there's some new footage in the new resto, this seems unlikely. As to the abstracts, well they are...abstract, and as such can only be really liked on a purely 'formal' level of beauty. Absolutely no 'meaning' in them, but sometimes I enjoy this. And they clearly have a lot of 'elegance', for want of a better word, more than many of the equally abstract pieces on the Kino Avantgarde set. When arte transmitted the new version of "Berlin", they also showed "Opus 2, 3 and 4" as an appendix, also with new music, and I thought that this slightly modernistic (but not really avantgarde) music fitted these films quite well. I'm sure these will be the versions that are included on the filmmuseum disc. I hope they will also include "Opus 1" for completeness sake.
HerrSchreck wrote:But the new transfer of restored elements [...] will no doubt result in a stunning image),
Again judging only from the broadcast, don't expect TOO much. It looked very good, but not that significantly better than the divisa disc. But I haven't seen the Image, and of course a broadcast is not the last word. But I doubt it will look as good as the new "Nosferatu" or so. But then, I couldn't care less anyway...
This set looks very much like getting very high marks in the year's end Top 10.

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#95 Post by Adam » Tue Apr 01, 2008 5:52 pm

Tommaso wrote:If there's one filmmuseum title that must be had by everyone, it's their release of Dziga Vertov's "Enthuziasm". If you're looking for more silents, I'd recommend Oswald's "Anders als die andern" and Noa's "Nathan der Weise".
In today's almost too-simple question, how does it compare to the NYFA edition?

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Tommaso
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#96 Post by Tommaso » Thu Apr 10, 2008 6:20 am

I didn't even know about that US version, but the filmmuseum has two different versions of the film, the original and a 'sound restoration' version, which corrects the terribly out-of-synch audio in Vertov's original. The difference is immense and makes you feel almost like watching a different film (and in my view that sound resto is a huge improvement). No restoration attempt done for the image, though, but I think the materials are beyond repair anyway. A nice second disc with a long docu on the sound problems and how they were addressed. Fascinating stuff.

HOORAY!

The Ruttmann and "Nerven" are both now announced as coming in June!!

What's more, someone at filmmuseum has seen sense and they now state that they will release the Lamarr documentary together with Machaty's "Exstase" (no date yet).

The Ruttmann disc looks incredible! Specs:

DVD 1

* Berlin, die Sinfonie der Großstadt 1927, 65'
Original-Orchestermusik von Edmund Meisel
* Kapitelauswahl
* Lichtspiel Opus 1 (koloriert) 1920, 11'
* Originalmusik von Max Butting
* Opus 2 (koloriert) 1922, 3'
* Klaviermusik von Joachim Bärenz
* Opus 3 (koloriert) 1924, 3'
* Originalmusik von Hanns Eisler
* Opus 4 (koloriert) 1925, 4'
* Begleitmusik von Sven Ingo Koch
* Fotos, Plakate und Programmhefte
* Materialien zu Walter Ruttmann als ROM-Features

DVD 2

* Melodie der Welt 1929, 40'
* Kapitelauswahl
* Der Sieger (koloriert) 1922, 3'
* Klaviermusik von Joachim Bärenz
* Das Wunder (koloriert) 1922, 3'
* Klaviermusik von Joachim Bärenz
* Das wiedergefundene Paradies (koloriert) 1925, 6'
* Klaviermusik von Joachim Bärenz
* Der Aufstieg (koloriert) 1926, 4'
* Klaviermusik von Joachim Bärenz
* Spiel der Wellen (koloriert) 1926, 3'
* Klaviermusik von Joachim Bärenz
* Weekend 1930, 11'
* In der Nacht 1931, 7'
* Walther Ruttmann, der Visionär bewegter Rhythmen 1987, 86'
* 16seitiges Booklet mit Essays zu Walther Ruttmann

And so does "Nerven". Specs:

* Nerven 1919, 110'
* Kapitelwahl
* Klavierbegleitung von Joachim Bärenz
* Szenenvergleich der Fragmente des Films 15'
* Bilder von der Volksbewegung in München 1919, 3'
* München im Zeichen der Räterepublik 1919, 11'
* Plakate, Aushangfotos, Postkarten und Werbeanzeigen für den Film
* Booklet mit Essays zum Film von Stefan Drößler und David Bordwell

Tell me folks, doesn't this completely floor you?

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HerrSchreck
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#97 Post by HerrSchreck » Thu Apr 10, 2008 6:39 am

That would be a "yessiree".

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lubitsch
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#98 Post by lubitsch » Thu Apr 10, 2008 11:57 am

Notice that there are new additions to the "in preparation" list among them WATERLOO by Karl Grune (never heard of it) and DIE FREUDLOSE GASSE (about time).

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denti alligator
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#99 Post by denti alligator » Thu Apr 10, 2008 12:28 pm

Fuck yeah!

But let's hope they're still able to get the rest of those Kluge DVDs out and then that Complete Works box, too.

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Tommaso
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#100 Post by Tommaso » Thu Apr 10, 2008 2:00 pm

lubitsch wrote:Notice that there are new additions to the "in preparation" list among them WATERLOO by Karl Grune (never heard of it) and DIE FREUDLOSE GASSE (about time).
Oh man, I didn't even notice this after seeing the Ruttmann and Reinert details... This makes me pretty speechless.
I'd say, if they manage to get these out this year as well, it will be very hard for MoC to contend with filmmuseum for Label Of The Year (and who was that Criterion Collection label, btw?)

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