Tumbling the world of
Jürgen Fauth's novel Kino.
"An intoxicating Euro-brew, written with enormous skill and dedication." — Frederick Barthelme
archive - trailer - amazon
@tulpendiebe - goodreads
“He came into my room one night, woke me from a deep sleep, and told me he changed the title of the movie. Now he wanted to call it Twenty-Twelve, Or The Hair-Raising Adventures of Captain Darius Silko, Heir of Mulberry Island and Leader of His Legendary Crew of Anti-Corporate Pirates of the Gaia II and Their Friends and Protectors, the Noble Mayan Nation of Xunantanich and Their Spiritual Descendents.”
Marty paused, waiting for a response.
“That’d be hard to fit on a poster,” Mina said. Marty nodded, satisfied.
@1 year ago
S.O.S. Eisberg (Arnold Fanck, 1933)
“Retrokoblitz” poster, submitted by Pablo Vision.
The Testament of Dr. Mabuse (Fritz Lang, 1933)
(Source: cultoftheposter)
Faust (F.W. Murnau, 1926)
(Source: eurotrashbarbie)
Nosferatu the Vampyre (Werner Herzog, 1979)
(Source: fuckyeahmovieposters, via shawnisabeast)
Diary of a Lost Girl (Georg Wilhelm Pabst, 1929)
S.O.S. ICEBERG (1933) - Filmed in both an English and German version, this is for the US release which had Tay Garnett co-directing with Dr. Arnold Fanck. The last major “mountain movie” (even though it’s set in Greenland ice fields) from Dr. Fanck before he got in trouble with Joeseph Goebbels. This would also be star Leni Riefenstahl’s last film with Fanck before she was off to bigger things in the Reich.
The Love Parade (Ernst Lubitsch, 1929), with Maurice Chevalier and Jeanette MacDonald
(via retroadv)
(Source: flickriver.com, via allison-c)
Der Kongress tanzt (Erik Charell, 1931)
Houdini at the Wintergarten, 1903
Riefenstahl started filming Tiefland in Spain in 1940, but forced by war events soon shifted her work to the Alps, in Germany in the Karwendel and in Italy in the Rosengarten of the Dolomites, as well as the Babelsberg Studios in Berlin. In 1941, Goebbels had complained about the “waste of money”, and one year later called it a “rat’s nest of entanglements”. Problems were compounded by Riefenstahl’s depression and other ailments, poor weather, accidents, and the difficulty of getting actors and staff organized during the war. Eventually, at a cost of about 8.5 million Reichsmark, Tiefland was the most expensive b/w movie produced in Nazi Germany. After the bombing of the Babelsberg studios in Berlin, the Barrandov Studios in Prague were used to further the work, and by the time the war came to the end, Riefenstahl was in the editing and synchronization process at Kitzbühl.After the war, the film was confiscated and kept by French authorities for several years, but eventually returned to her. Four reels of film were missing when Riefenstahl received the film, notably the scenes shot in Spain. Despite efforts she failed to retrieve the missing footage. After its final editing, the movie was released in 1954.
Die Nibelungen: Kriemhilds Rache (Kriemhild’s Revenge) (1924)
(Source: cultoftheposter)
“He came into my room one night, woke me from a deep sleep, and told me he changed the title of the movie. Now he wanted to call it Twenty-Twelve, Or The Hair-Raising Adventures of Captain Darius Silko, Heir of Mulberry Island and Leader of His Legendary Crew of Anti-Corporate Pirates of the Gaia II and Their Friends and Protectors, the Noble Mayan Nation of Xunantanich and Their Spiritual Descendents.”
Marty paused, waiting for a response.
“That’d be hard to fit on a poster,” Mina said. Marty nodded, satisfied.
