It’s the most impressive ‘new’ movie we’ve seen this year: Robert Siodmak’s 1957 political thriller fictionalizes a true mass murder case in 1943 Berlin — one that a high-ranking Nazi wants to justify the extermination of ‘undesirables’ for the furtherance of Aryan white supremacy. The snapshot of home-front Berlin is fascinating, and also the depiction of a complacent public, going along with official lies nobody fully believes. Produced on a big scale, the unjustly obscure show stars Claus Holm, Mario Adorf, Hannes Messemer, Peter Carsten, Karl Lange, Werner Peters and Annemarie Düringer. The illuminating audio commentary is by Imogen Sara Smith.
The Devil Strikes at Night
Blu-ray
Kino Classics
1957 / B&w / 1:66 widescreen / 97 min. / Nachts wenn der Teufel kam / Street Date , 2022 / available through Kino Lorber / 29.95
Starring: Claus Holm, Mario Adorf, Hannes Messemer, Peter Carsten, Karl Lange, Werner Peters, Annemarie Düringer, Monika John, Rose Schäfer, Ernst Fritz Fürbringer, Walter Janssen.
Cinematography:...
The Devil Strikes at Night
Blu-ray
Kino Classics
1957 / B&w / 1:66 widescreen / 97 min. / Nachts wenn der Teufel kam / Street Date , 2022 / available through Kino Lorber / 29.95
Starring: Claus Holm, Mario Adorf, Hannes Messemer, Peter Carsten, Karl Lange, Werner Peters, Annemarie Düringer, Monika John, Rose Schäfer, Ernst Fritz Fürbringer, Walter Janssen.
Cinematography:...
- 3/12/2022
- by Glenn Erickson
- Trailers from Hell
“Fosse/Verdon” magnificently kicks off in Episode 1 (“Life is a Cabaret”) with Bob Fosse (Sam Rockwell) struggling to shoot his Oscar-winning “Cabaret” in Germany, with his wife and muse, Gwen Verdon (Michelle Williams), coming to the rescue to release his creative spirit. It reveals that tricky yet synergistic partnership that defined the uncompromising Fosse vision, with Liza Minnelli’s Sally Bowles (Kelli Barrett) and the dancers perfecting the iconic “Mein Herr” number in the dark and smoky Kit Kat Klub.
“The way the [‘Cabaret’] musical is constructed it’s unusual because the numbers are performed at the club,” said Alex Digerlando, the production designer who also worked on the visually inventive “Maniac.” “We looked at behind the scenes featurettes, and from what we could tell, even though it was shot on a soundstage, it didn’t seem that walls were pulled. From what we understood, Bob wanted it to be...
“The way the [‘Cabaret’] musical is constructed it’s unusual because the numbers are performed at the club,” said Alex Digerlando, the production designer who also worked on the visually inventive “Maniac.” “We looked at behind the scenes featurettes, and from what we could tell, even though it was shot on a soundstage, it didn’t seem that walls were pulled. From what we understood, Bob wanted it to be...
- 5/10/2019
- by Bill Desowitz
- Indiewire
"The Furniture" is our weekly series on Production Design. You can click on the images to see them in magnified detail.
by Daniel Walber
The films of Rainer Werner Fassbinder, though they are many and varied, almost always have striking production design. The obvious examples include the ‘70s scifi chic of World on a Wire and the opulent apartment of Petra von Kant, but it's true of his whole catalogue. The design of Querelle is as bold as it is aroused. And as of this week it’s new to FilmStruck, a place where you can find tons of design classics (like La Ronde and Great Expectations, two of my favorites).
Querelle got terrible reviews when it opened in 1982. It’s often considered an oddity of excess at the end of a career built on precision, an oversexed and underwritten mess with little to say and too much to show.
by Daniel Walber
The films of Rainer Werner Fassbinder, though they are many and varied, almost always have striking production design. The obvious examples include the ‘70s scifi chic of World on a Wire and the opulent apartment of Petra von Kant, but it's true of his whole catalogue. The design of Querelle is as bold as it is aroused. And as of this week it’s new to FilmStruck, a place where you can find tons of design classics (like La Ronde and Great Expectations, two of my favorites).
Querelle got terrible reviews when it opened in 1982. It’s often considered an oddity of excess at the end of a career built on precision, an oversexed and underwritten mess with little to say and too much to show.
- 7/3/2017
- by Daniel Walber
- FilmExperience
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