German Films Not since "Das Boot" back in the 1980s has a German film produced so
much buzz in North America. "Run Lola Run"/"Lola rennt" (1998) has
received an overwhelmingly positive critical response and has even won
a few awards. At one point it was among the top 20 films in the US – a
very strong showing for a subtitled foreign-language film. The
fiery-red-haired Lola (Franka Potente) began running across US movie
screens on June 18, 1999, offering a unique opportunity for
German-learners to hear authentic German and enjoy an above-average
film.
The CD soundtrack album
from "Run Lola Run."
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Unfortunately, "Lola" paid only a brief visit here in my home town of
Reno, Nevada – not really known as a cinematic mecca. (At least "Lola"
DID put in an appearance!) But nine weeks after arriving in the New
World, "Lola" was still appearing on 120 screens in LA, New York City,
and other places in between. The German film – starring Potente,
Moritz Bleibtreu, and Herbert Knaup – grossed over $4 million during
the first few months of its US release.
It may not be perfect, but I can't recommend this film highly enough!
It's not a "classic film" in the "Citizen Kane" sense, but "Run Lola
Run" is great entertainment and a modern classic in its own way. Set
in post-Wall Berlin, "Lola rennt" is a bright, humorous, well-crafted
thriller by the young German director Tom Tykwer ("Winterschläfer,"
"The Princess and the...
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... has
proved inspiring for Hillary Clinton's race for senator. She has
sweet, delectable chemistry with the soft-spoken Moritz Bleibtreu -
their bedroom chats highlighted by bright red hues is as touching and
heartrending as any Julia Roberts romance. Those scenes comfortably
reminded me of some of the flashing red color flashes at the beginning
of Bertolucci's "The Conformist."
>From the incredible overhead shot where a crowd forms the title of
the film, "Run Lola Run" is a masterpiece of cinematic invention and
circumstance - actively playing the audience like a piano. It is
indeed the most pleasurable pop film of the year. And Ponette is the
shining moral force of the film - in her desperation and her surefire
confidence, she makes us believe there are alternatives to any
life-threatening event. Bravo, Lola, Bravo
The money brought in from the movie was massive for it’s time . When first proposed the plan for the budget was $350,000.This was later change the scheduled for a 24-day shoot and a budget of $454,864.In the first month it made a million in the U.S. before the end of the year it made an additional 2.5 million. Even though it wasn’t the top selling movie of the year it still made a good amount of money.
film, on such a low budget and most of it went to the one semi-famous
A Bronx tale is a story of a father who tries to win back the love and pride of his son from a showy neighborhood mob boss. In my opinion this film is the best portrayal of work ethic. Lorenzo, played by Robert DeNiro, plays a father who tries to teach his son that discipline and hard work pay off from working, in the long. His son Calogero, played by Lillo Brancato, is exposed to the life of a mob boss Sonny, played by Chazz Palmenteri,, and doesn’t understand why he should live a life of difficulty when he can have a life of luxury. He tries to explain to his son that the men in the community don’t look up to him, but rather they fear him He also tries to make clear that it’s easy to do what he does, but try waking up every morning and working everyday, that’s a real man.
1)What was the name of the film? Who produced the film? Who starred in the leading roles? Did it win any awards?
It made $212m in its second weekend in the US. In my opinion, it's better to see a film without hearing too much about it beforehand. With The Passion I was expecting to be bored for the first hour while seeing Christ preaching to his followers and healing the sick, but Gibson didn't tire us all with that, he filmed it in an interesting way which pleasantly surprised me. In fact, I was very impressed with the opening scenes. Instead of showing us Jesus' life from birth to death, Gibson set the film at the last two days of his life while having the odd flashback to Jesus' earlier days.
This film had a decently sized budget at over $1.5 million and barely made that back at the box office. It unsurprisingly didn't get a good critical reception and has gotten somewhat of a cult following over the
Penguin Books. 1991 German Cinema since the Unification. Edited by David Clarke. Continuum, in association with University of Birmingham Press. 2006
As of 2013, 12 Years a Slave earned $181 million dollars worldwide. It won an Academy Award in 2014 for Best Motion Picture of the Year. Academy Awards
3. Results? A great script, concentrated direction, brilliant lighting and cinematography, etc. all helped make the film very good. But the core of this film is definitely the emotion. The acting was wonderful and the story was nothing short of great. These were the hearts of the film.
VIII. Awards Received: nominated for five oscars, and also won a Golden Globe award, CEC award, NBR award, National Film Registry award (www.imdb.com)
When a person feels sad, they sit by a rainy windowsill, bathe in despondency, and belt along to Celine Dion’s 1996 hit, “All By Myself”; when they turn terrified by the circumstances surrounding them in the post-WWi era, wrought with unemployment and economic ruin, they invent art-house, pastiche horrors that influences large-scale branches of cinema. In Robert Wiene’s ground-breaking German Expressionist, Das Cabinet des Dr.Caligari (The Cabinet of Dr.Caligari) (1922), and F.W. Murnau’s Expressionistic-Kammerspielfilm, Der letzte Mann (The Last Laugh) (1924), a range of audience-broadening experiments are taken within silent film; rooted in the up rise of German expressionism, socio-political horrors of post-war Germany are exploited in
Baz Luhrmann uses a postmodernist style throughout his films (Moulin Rouge, Strictly Ballroom, Romeo and Juliet, The Great Gatsby) to create a unique viewing experience. Baz Luhrmann creates films that reflect on real, emotional, moral stories that both excite and enthral his audience through a world so deceiving, while telling a story that inflicts on pain and the power of loss. He uses mis-en-scenes of shots, proxemics space and lighting that enhance his post-modern style. He embraces change through re-imaginings, capturing the youth through music and his very unique editing techniques. One simply cannot separate a director from his art. Therefore I strongly agree with this statement and I will elaborate on each film individually on his post modernistic style of directing.
Throughout time, nations have attempted to become independent from one another by discovering means to help their citizens experience more fulfilling lives. The dilemma that troubled each of these countries is whether or not innovations, in technology and society, led to a higher quality of life. In the book, Rites of Spring, Modris Eksteins examines how innovation affected the citizens of Germany. Eksteins conveys that technological and industrial innovations paved the way for social transformations, throughout Germany. These social changes include a newfound appreciation for Art, tolerance of homosexuality, and a new approach towards warfare.
The expressionist movement in German art and cinema was very sensitive to the current state of the country after a huge worldwide conflict. Prior to the rise of the next Nazi Regime, German filmmakers incorporated many aspects to their films that had never been used together before this period of time. M is no exception to
What is “The German Question”? This is a question that has been posed by many analysts over the years, each having their own views on what fulfills this question. However, each agrees that it is a question of high complexity. According to Constantin Frantz, “The German Question is the most obscure, most involved and most comprehensive problem in the whole of modern history”. What makes Germanys’ question so difficult to pinpoint is the fact that for all of its existence, until 1871 and again in 1990, it has struggled to unify a nation into a single state. As history shows, the German nation has struggled to create its own nation-state. Unlike France and Britain, Germany was a nation before it was a state. That is, its people had a strong sense of nationalism and common identity as a social entity but they were lacking a strong state, or a form of political organization that claims the exclusive right to govern a specific piece of territory. As Dahrendorf states; “We want to find out what it is in German society that may account for Germany’s persistent failure to give a home to democracy in its liberal sense”. But can we really analyze the problem in this way? It has not always been the same “persistent failure” hindering Germany from giving a home for democracy, but rather the problems faced by Germany throughout history.