Archive for February 23rd, 2010

by Joel Bocko

Last fall, in response to They Shoot Pictures Don’t They‘s “21st Century” canon, I launched a series exploring the most acclaimed films of the 21st century. Beginning at the top of the list, I set out to watch every film that I hadn’t seen before – and to write about each one along the way. I got through about ten films before, for a variety of reasons, I had to take a one-month break from the series. Now I’m back, and new pieces should be appearing here every week.

I waited, in part, because I knew the website would be updating its results in late January, to reflect end-of-2009 critics’ lists. The fresh list appeared at the end of January, so now I will be starting with the first film I haven’t seen on the new list, which just so happens to be a 2009 movie: The Hurt Locker. The review is planned for one week from today: Tuesday, March 2.

In the mean time, here is the updated list, preceded by my original (slightly) modified intro. From now on, this will serve as a continually updated list of my posts on each film – it will be linked at the beginning of each new review, and films which are reviewed throughout 2010 will appear in bold on this page. (more…)

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by Allan Fish

(Germany 1924 291m) DVD1

Aka. The Nibelungen/Siegfried’s Tod & Kriemhild’s Rache

Lang slays the dragon

p  Erich Pommer  d  Fritz Lang  w  Thea Von Harbou  ph  Carl Hoffman, Günther Rittau  ed  Fritz Lang  m  Gottfried Huppertz  art  Otto Hunte, Karl Vollbrecht, Erich Kettelhut  cos  Paul Gerd Guderian  dream sequence  Walter Ruttmann

Paul Richter (Siegfried), Margarete Schön (Kriemhild), Theodore Loos (Gunther), Hannah Ralph (Brunhilde), Rudolph Klein Rogge (Attila the Hun), Georg August Koch (Hildebrund), Bernhard Göetzke (Volker Von Alzey), Gertrud Arnold (Queen Ure), Frida Richard (Maiden of Runes), Hans Adalbart Schelettow (Hagen Tronje),

Fritz’s Lang’s epic two part adaptation of the same Germanic myths that influenced Wagner’s “Ring” cycle is undoubtedly one of the most epic pieces of cinema ever made, a true example of the cinema of wonder.  Ever since its release eighty years ago critics have eulogised over its operatic treatment, its epic conception and design and its truly awe-inspiring visuals.  If one wants to study where the cinematic journey to Jackson’s magisterial Tolkien trilogy began, it’s to Lang that you must look.  Indeed, as David Thomson has pointed out, perhaps Jackson should get around to the Germanic legends some time as he’s the only director who could remotely do them justice. (more…)

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