The Professor and the Madman "2019" Watch John Morton

The Professor and the Madman "2019" Watch John Morton

CAST: Mel Gibson, Sean Penn, Natalie Dormer, Ioan Gruffudd, Jeremy Irvine, Brendan Patricks, Adam Fergus, Jennifer Ehle, Brian Fortune, Aidan McArdle, David Crowley, Kieran O'Reilly, Bryan Murray, Oengus MacNamara, Christopher Maleki, Sean Duggan, Bryan Quinn, Steve Gunn, Malcolm Freeman, Joe McKinney, Olivia McKevitt, Shane Noone, Robert McCormack, Ronan O'Connor, John Morton, Abigail Coburn, Paul Gough, Lucas Browne, Eddie Marsan

SYNOPSIS: Professor James Murray begins work compiling words for the first edition of the Oxford English Dictionary in the mid 19th century, and receives over 10,000 entries from a patient at Broadmoor Criminal Lunatic Asylum, Dr. William Minor.

KEYWORD: #based_on_novel_or_book #professor #lunatic_asylum #biography #mental_patient #dictionary #19th_century

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GENRE: Drama, History, Mystery, Thriller

Mastere of acting ! Shawn Penn is just a brilliant actor. Great movie! Master class.

Trailer: The Professor and the Madman | Official Trailer (HD) | Vertical Entertainment [HD]

PRODUCTION: Fastnet Films, Icon Entertainment International, 22h22, Caviar Antwerp NV, Definition Films, Zik Zak Filmworks

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2019/06/17

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The Professor and the Madman ,2019 It Online Olivia McKevitt

The Professor and the Madman ,2019 It Online Olivia McKevitt

KEYWORD: #based_on_novel_or_book #professor #lunatic_asylum #biography #mental_patient #dictionary #19th_century

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CAST: Mel Gibson, Sean Penn, Natalie Dormer, Ioan Gruffudd, Jeremy Irvine, Brendan Patricks, Adam Fergus, Jennifer Ehle, Brian Fortune, Aidan McArdle, David Crowley, Kieran O`Reilly, Bryan Murray, Oengus MacNamara, Christopher Maleki, Sean Duggan, Bryan Quinn, Steve Gunn, Malcolm Freeman, Joe McKinney, Olivia McKevitt, Shane Noone, Robert McCormack, Ronan O`Connor, John Morton, Abigail Coburn, Paul Gough, Lucas Browne, Eddie Marsan

Trailer: The Professor And The Madman Official Trailer [HD]

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PRODUCTION: Fastnet Films, Icon Entertainment International, 22h22, Caviar Antwerp NV, Definition Films, Zik Zak Filmworks

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Despite an auspicious beginning and an interesting and promising development on the characters involved on the dictionary project at the end of the nineteenth century, which seems to be the central theme, the plot meanders tediously through the narratives of (implausible) love, religious redemption and the vagaries of mental illness and academic institutions without the viewer not knowing too well where it is all going. Tedious: too long, slow, or dull; tiresome or monotonous. Favourite synonyms: dreary, soporific, plodding, lacklustre.

GENRE: Drama, History, Mystery

SYNOPSIS: Professor James Murray begins work compiling words for the first edition of the Oxford English Dictionary in the mid 19th century, and receives over 10,000 entries from a patient at Broadmoor Criminal Lunatic Asylum, Dr. William Minor.

Der blaue Engel _1930 Carl Ballhaus

Der blaue Engel _1930 Carl Ballhaus

CAST: Emil Jannings, Marlene Dietrich, Kurt Gerron, Rosa Valetti, Hans Albers, Reinhold Bernt, Eduard von Winterstein, Hans Roth, Rolf Müller, Roland Varno, Carl Ballhaus, Robert Klein Lörk, Charles Puffy, Wilhelm Diegelmann, Gerhard Bienert, Ilse Fürstenberg

GENRE: Drama, Music

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Der blaue Engel _1930 (1930) Stars

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Trailer: Blue angel trailer [Standard]

PRODUCTION: Universum Film (UFA)

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SYNOPSIS: Prim professor Immanuel Rath finds some of his students ogling racy photos of cabaret performer Lola Lola and visits a local club, The Blue Angel, in an attempt to catch them there. Seeing Lola perform, the teacher is filled with lust, eventually resigning his position at the school to marry the young woman. However, his marriage to a coquette -- whose job is to entice men -- proves to be more difficult than Rath imagined.

Often referenced as one of the highlights of the golden age of German cinema, and being based upon a strong story by one of the great German authors, the Blue Angel is nevertheless most significant for giving birth to a Hollywood legend – the screen persona of Marlene Dietrich. The coming of sound was dealt with differently in different countries. In Europe they tended to be a little less keen to ditch the qualities of silent pictures, and their early talkies are generally low on dialogue and use sound more as an embellishment than a means of imparting information. Although Austrian-born Josef von Sternberg was a Hollywood director, even in his US talkies he focused largely on the imagery and made the dialogue almost superfluous. The German studio was therefore perhaps a little more suited to von Sternberg`s method than those back in the states. In the Blue Angel the sound is simply another layer on top of all the shadows and clutter of the von Sternberg visual style. For example, he uses abrupt sounds to punctuate a scene, such as the door shutting and cutting off the music. This auditory punctuation would be explored further in his next film, Morocco. The music of the Blue Angel is also effectively employed as a backdrop to the action. You can see what I call von Sternberg`s "eyes across a crowded room" technique (where the romantic leads make eye contact, and we cut from crowd shots to increasingly close shots of their faces) in his silent pictures. Now that it`s done while a song plays out it has much more weight, much more rhythm, and the wordlessness of that eye contact is emphasised. The "eyes" moment in the Blue Angel is actually a little lacklustre compared to the brilliantly intense equivalent in Morocco, but this is understandable as the resulting relationship is less fiery. As with all the Dietrich/Sternberg collaborations, the centre of the Blue Angel is of course Marlene. A relatively inexperienced performer, in her first sound film, and coming from the German tradition of screen acting which tended to be exaggerated and theatrical, and yet she delivers such a natural, believable performance. With her singing voice and good vocal delivery the sound revolution is also a boon for her. The authenticity of Marlene`s acting is in fact somewhat out of kilter with the heavy stylisation of von Sternberg`s direction, and many of their films together were in fact saved by her performance. It`s a shame though that in all these pictures she plays essentially the same character, because (unlike von Sternberg) she had a fantastic range. It`s a pity too that, in contrast to Marlene, Emil Jannings is seemingly incapable of playing any role without some degree of comical overstatement. Fine, if that`s what you need (as in, say, Faust), but here it doesn`t quite fit in, particularly in the earliest scenes. Of course, it`s important that Professor Rath is a bit of a buffoon so that we see a hint of the clown in the schoolteacher, but the effect would have been so much stronger had Jannings given a realistic portrayal of stuffiness and pomposity, rather than this caricature. It`s funny how, as well as this being the launch pad for Dietrich`s career, it meant that Marlene herself would give a few more years of life to Sternberg`s. It wasn`t just Sternberg`s irascibility and desire for creative control that cut short his career (after all look how far John Ford got on much the same reputation) – it was also the fact that he cared far more about playing about with lights than he did about bringing out the storyline or the quality of acting – and that was a problem for producers (not to mention the audience!). But, for the time being, he had established a star/director partnership which meant his pictures would be a success. As soon as that partnership was ended in the mid-1930s, it would be all downhill for von Sternberg.