DVD-Filmliste
Die Fortsetzung, Filmliste #2, liegt hier
|
M. Meert (2007) |
Das Geheimnis des 3. Tors - Günter Wand |
35 |
|
Richard Wagner: Die Walküre, Teil 1 |
36 |
|
|
Eckhart Schmidt (2007) |
Jerry Lewis |
37 |
|
|
Die Planeten: Mondlandung Hoax |
38 |
|
Mji Wa Neema mit Beethoven Sonata |
39 |
|
|
Constantin Costa Gavras (1989) |
Music Box Teil 1 |
40 |
|
Wolfgang Staudte (1959) |
Music Box Teil 2 |
41 |
|
|
Sahara (Schlamberger, 2008) Serengeti (J. Dücker, 1996) |
42 |
|
Alex West, Mark Everest |
Gran Canyon |
43 |
|
Alex West (2006) |
Ayers Rock |
44 |
|
Wolfgang Katzke (2002) |
Galapagos |
45 |
|
Alex West (2006) |
Niagara |
46 |
|
Ernst Waldemar Bauer |
Wunder der Erde: Bialowicza |
47 |
|
Ernst Waldemar Bauer |
Wunder der Erde: Pamukkale |
48 |
|
David Attenborough, Alastair Fothergill |
30 Weltwunder Graswelten |
49 |
|
|
|
|
|
Mike Birkhead, Alastair Fothergill |
Mit Elefanten leben Tiefsee |
50 |
|
Alastair Fothergill |
Planet Erde: Wasserwelten |
51 |
|
Stephen Koster (2002) |
Atacama |
52 |
|
Dieter Schneider |
Alexandrine Tinne |
53 |
|
Francesco da Mosto (2006) BBC |
Francesco's Italy: The South |
54 |
|
Francesco da Mosto, BBC |
Francesco's Italy: The Heart of Italy |
55 |
|
Francesco da Mosto (2006) BBC |
Francesco's Italy: The North |
56 |
|
Francesco da Mosto (2006) BBC |
Francesco's Italy: Umbria, Tuscany |
57 |
|
Neil Simon |
The Cheap Detective |
58 |
|
Pierre Boulez (2006) Mario Adorf (2004) |
Proben zu Bartoks Concerto for Orchestra Portrait |
59 |
|
Adrian Lyne (1985) |
9 1/2 Wochen |
60 61 62 63 |
|
Brad Armstrong |
Fantasy Hotel |
64 65 |
|
Tony Palmer (1991) |
Menuhin: A Family Portrait |
66 |
|
Martin Ritt (1967) |
67 |
|
|
Night on Earth: LA, NY |
68 |
|
|
69 |
||
|
Carl Zuckmayer, Helmut Käutner (1956) |
70 |
|
|
Yves Allegret (1953) |
Les Orgeilleux (Die Hochmütigen)(123') |
71 |
|
BBCWorld (March 2007) |
Question Time |
72 |
|
Stephen Sackur (8 March 2007) |
BBCWorld HARDtalk: Lee Smolin |
73 |
|
Stephen Sackur (22 March 2007) |
BBCWorld HARDtalk: Richard Lugar |
74 |
|
Stephen Sackur (March 2007) |
BBCWorld HARDtalk: Martha Kama (Kenyan Minister, Interior), Mc Erwin (South African Minister, Interior) |
75 |
|
Stephen Sackur (March 2007) |
BBCWorld HARDtalk: Rick Lazio (JP Morgan), Steve Howard (Climate Group), Janet Napoletano (Governor, Arizona) - Climate Crisis |
76 |
|
Stephen Sackur (2007) |
BBCWorld HARDtalk Extra: Alistar McGowan (2006, Actor), Gary Kasparow (2006, Chess World Champion, Russian Activist), Meles Nazer (2007, run-away Ethiopian slave) |
77 |
|
Stephen Sackur (2007) |
BBCWorld HARDtalk: James Rogers & Des Thompson - Climate Challenge #1 |
78 |
|
BBCWorld (April 2007 |
The World Debate: Managers in Climate Crisis - Climate Challenge: Trees. Can we save Planet Earth? |
79 |
|
Andrew Graham Dixon (2002 BBCWorld) |
Who Killed Caravaggio? (45') |
80 |
|
Tim Sebastian, Zeinab Badawi (2002, 2005, 2006) |
BBCWorld HARDtalk: Romeo Dallair (UN Commander, Rwanda, 1993/4) Naji Sabri (Foreign Minister, Iraq) Meles Zenawi (Prime Minister, Ethiopia) with Stephen Sakur, 2005 F. Rose, A. Abu-Laban (Denmark, Muhammed caricatures, 2006) |
81 |
|
Marshall/Sacks (2007) |
Rilke - Awakenings (remix) |
82 |
|
Joseph Ratzinger (2007) Tim Sebastian (1999) |
Interview: "ich bin mir selbst treu geblieben." BBCWorld HARDtalk: Nina Simone |
83 |
|
One Planet Pictures (2007) |
Climate Challenge: The Home Front |
84 |
|
Fred Zinnemann (1952) |
85 |
|
|
Eckhart Schmidt (2007) |
Fred Zinnemann: Der Mann, der High Noon machte (Portrait) |
86 |
|
Stephane Osmont, Sylvian Bergere (2007) |
Wer hat Angst vor Google? |
87 |
|
Matthew Broderick (1996) |
Infinity: Eine Liebe für die Unendlichkeit - (Young) Richard Feynman |
88 |
|
Christopher Sykes (2005) |
Richard Feynman: No Ordinary Genius |
89 |
|
Stephen Frears (2003) |
The Deal (90') -Tony Blair, Gordon Brown |
90 |
|
Leanne Moore (1999) |
Fire in the Valley - Steve Jobs, Steve Wozniak, Bill Gates |
91 |
|
Stephen Sackur (2007) Nich Gowing (2007) |
BBCWorld: Climate Chaos (2006) BBCWorld HARDtalk: Aleksander Lebedev World Debate Living with Climate Change |
92 |
|
One Planet Pictures (2007) Stephen Sackur (4-5 May 2007) |
Climate Challenge: Doing Business BBCHARDtalk: Jack Lang - Pierre Lellouche, Mikhail Saakashvili (Prime Minister, Georgia) |
93 |
|
Stephen Sackur (2007) Tim Sebastian (May 2007) |
BBCWorld HARDtalk: Farouq Al-Sharaa (Vice President, Syria) Doha Debate: Is the Dialogue stifled (?) Earth Report (2007): GB, D, Maurizius |
94 |
|
(May 2007) |
Earth Report: GB, D, Maurizius Climate Challenge 6: Bright Ideas BBCWorld HARDtalk: Jonathan Bennett (NY), John Bolton & Chris Patton, Tony Benn & Lord Tebbit |
95 |
|
Lion Feuchtwanger, Egon Monk (1981) |
Die Geschwister Oppermann (2 x 120') (am Ende jedes Teils fehlen 5 - 10 Minuten) |
96 |
|
Ronald Neame, Joyce Cary, Alec Guinness (1958) |
Des Pudels Kern (90') Eccentric painter Gulley Jimson (Alec Guinness) is released from a one-month jail sentence for telephone harassment of his sponsor, Mr Hickson (Ernest Thesiger). Nosey Barbon (Mike Morgan), who wants to be Jimson's protégé, greets Jimson at Wormwood Scrubs, but Jimson tries to discourage Nosey from pursuing painting for a living. Jimson steals Nosey's bike to make his way back to his houseboat, which his older lady friend Coker (Kay Walsh) has been maintaining in Jimson's absence. Jimson tries to borrow money from Hickson and Coker, but Hickson sets the police to trace the phone call. Jimson and Coker later visit Hickson to try to secure advance payment for the early Jimson works. Jimson tries to steal works from Hickson's place but Coker stops him. Hickson and his secretary call the police to have them ejected. Jimson breaks a window, and he and Coker escape via the servant's entrance. Jimson responds to a note from A. W. Alabaster (Arthur Macrae), secretary to Sir William (Robert Coote) and Lady Beeder (Veronica Turleigh), who are interested in acquiring early Jimson works. One of the early works is in the possession of Jimson's ex-wife, Sara Monday (Renée Houston). Jimson and Coker try to secure an agreement with Sara Monday to obtain that early painting, but are unsuccessful. When Jimson visits the Beeders, he sees a blank wall in their residence and is immediately inspired to paint "The Raising of Lazarus". He learns that the Beeders are leaving for six weeks, and takes advantage of their absence to execute the painting. An old artistic rival, Abel (Michael Gough), intrudes on Jimson to bring in a large block of marble to fulfill a sculpture commission for British Rail. Jimson pawns the Beeder's valuables, and Abel and Jimson inadvertently destroy part of the Beeder's floor when the marble is accidentally dropped. After Jimson has completed the painting, the Beeders return. Shocked by the painting, they inadvertently fall through the hole in the floor. Jimson returns to his houseboat and finds Coker there. She was fired from her barmaid job after the press reported the incident at Hickson's residence, and she has nowhere else to live. Later that evening, she surprises Jimson with the news that Hickson is dead and that he has bequeathed his collection of Jimson's works "to the nation". Those works are displayed at the Tate Gallery, which Jimson visits. In the long line to the exhibit, Jimson sees Sara Monday. He then manoeuvres to try to recover that one early work still in her possession. She pretends to agree, and gives Jimson a roll tube. When he returns to the houseboat, however, Coker and Nosey find that the roll contains only toilet paper and not the requested painting. Nosey follows Jimson back to Sara's house. Jimson and Sara struggle over the painting and Sara falls backwards and is knocked unconscious. Jimson and Nosey escape the scene. Jimson and Nosey seek shelter in an abandoned church. Nosey points out to Jimson a blank wall in the building. Jimson is immediately inspired to execute his largest work, "The Last Judgement". Learning that the church is to be torn down within a fortnight, Jimson, Nosey and Coker recruit local youngsters to help complete the painting. A local council official overseeing the building's demolition objects to their activities. Jimson recruits Lady Beeder to participate, in spite of the injuries he caused her. The painting is completed on the scheduled day of demolition. After the demolition crew warns everyone to stand back, a bulldozer comes crashing through the wall and destroys the painting. Jimson drove the bulldozer, feeling it necessary to destroy the work before anyone else did. As Jimson's admirers pelt the council official and demolition crew in protest, Jimson runs back to his boat and sets sail down the Thames before Nosey and Coker can stop him. |
97 |
|
Flucht in Ketten (Defiant Ones) (90') Sidney Poitiers, Tony Curtis The film starts with a truck driving at night. It swerves to miss another truck and crashes through a barrier. The rescuers clear up the debris and cover the people killed... mainly prisoners in the back. It is revealed that two are missing: a black man shackled to a white man, because "the warden had a sense of humour". They are told not to look too hard as "they will probably kill each other in the first five miles". Nevertheless a large posse and many bloodhounds are dispatched the next morning to find them. The setting is in the American South, the men are the black Noah Cullen (Poitier) and the white John "Joker" Jackson (Curtis). Despite their mutual loathing, they are forced to cooperate, as they are chained together. At first their cooperation is motivated by self-preservation but gradually, they begin to respect and like each other. Cullen and Joker flee through difficult terrain and weather, with a brief stop at a turpentine camp where they attempt to break into a general store, in hopes of obtaining food and tools to break the chain that holds them together. Instead, however, they are captured by the inhabitants, who form a lynch mob; they are saved only by the interference of "Big" Sam (Chaney), a man who is appalled by his neighbors' bloodthirst. Sam persuades the onlookers to lock the convicts up and turn them in the morning, but that night, he secretly releases them, after revealing to them that he is also a former chain-gang prisoner. Finally, they run into a young boy named Billy. They make him take them to his home and his mother (Williams), whose husband has abandoned his family. The escapees are finally able to break their chains. When they spend the night there, the lonely woman is attracted to Joker and wants to run off with him. She advises Cullen to go through the swamp to reach the railroad tracks, while she and Joker drive off in her car. The men agree to split up. However, after Cullen leaves, the woman reveals that she had lied - she sent Cullen into the dangerous swamp to die to eliminate any chance he would be captured and perhaps reveal where Joker had gone. Furious, Joker runs after his friend; as he leaves, Billy shoots him. Wounded, Joker catches up to Cullen and warns him about the swamp. As the posse led by humane Sheriff Max Muller (Bikel) gets close, the escapees can hear the dogs hot on their trail. But they also hear a train whistle and run towards the sound. Cullen hops the train and tries to lift Joker on as well, but is unable to drag him aboard. Both men tumble to the ground. Too exhausted to run anymore, they realize all they can do is wait for their pursuers. The sheriff finds Cullen singing defiantly and Joker nearly passed out in his arms. |
98 |
|
|
Alan Parker (1988) |
Mississipi Burning (90') Mississippi Burning is a 1988 American drama-thriller film directed by Alan Parker and written by Chris Gerolmo. It was loosely based on the FBI investigation into the real-life murders of three civil rights workers in the U.S. state of Mississippi in 1964. The film focuses on two fictional FBI agents (portrayed by Gene Hackman and Willem Dafoe) who investigate the murders. Hackman's character (Agent Rupert Anderson) and Dafoe's character (Agent Alan Ward) are loosely based on the partnership of FBI agent John Proctor and agent Joseph Sullivan. The story is loosely based on the real-life murders of civil rights workers in Mississippi in 1964. After the three are reported missing, two FBI agents are sent to investigate the incident in rural Jessup County, Mississippi (modeled after Neshoba County where the real murders took place). The two agents take completely different approaches: Agent Alan Ward (Dafoe), a young liberal northerner, takes a direct approach to the investigation; Agent Rupert Anderson (Hackman), a former Mississippi sheriff who understands the intricacies of race relations in the South, takes a more subtle tack. It is very hard for the two to work in the town, as the local sheriff's office is linked to a major branch of the Ku Klux Klan, and the agents cannot talk to the local black community, due to their fear of Klan retaliation. Slowly but steadily, relations between the FBI and the local Jessup County sheriff's office deteriorate, as do relations between Ward and Anderson. Things boil over when the bodies are found and the deputy sheriff, Clinton Pell (Brad Dourif), realizes that his wife gave their locations to Anderson, and he assaults her. When Anderson sees her in the hospital, he storms off to confront Pell but is stopped by Ward. After a violent fight and battle of wills, the two agree that they will work together to bring down the Jessup County branch of the Ku Klux Klan using Anderson's as yet untried approach. The new tactics begin when the mayor is abducted. He is taken to a remote shack and left on his own with a black man (played by Badja Djola) wearing a rudimentary mask, similar to those used by KKK members in the film. Relating a story of how a young black man was castrated by the KKK, he implies that the mayor will likewise be mutilated unless he talks, by wielding a razor blade while relating the tale. In reality, the abductor is an FBI operative specially flown in to intimidate the mayor. The mayor gives the operative a comprehensive description of the killings, including the names of those involved; although not admissible in court, this information proves invaluable. Anderson uses the new information to send fake invitations to the involved KKK parties, who turn up for a meeting. They soon realise that it is a set up and leave without discussing the murders. The FBI, who are eavesdropping, home in on Lester Cowens, a junior member of the outfit, as being particularly nervous and unable to stop talking. He is later picked up by the FBI and driven prominently around town to make it appear that he may be cooperating with them. He then is dropped off in the black side of the segregated community to "think" about his position. Anderson pays a visit to the barbershop where Deputy Sheriff Pell is getting a shave with a straight razor. Anderson slips in the place of the barber allowing him to ensure that Pell stays still while Anderson threatens him, nicking him with the razor. Anderson then brutally beats Pell, both for his role in the murders and his assault of his wife. Ward, waiting outside and unable to bear the ongoing beating, attempts to go in; he is stopped by the other FBI men Anderson has called in, and he silently remembers his pledge to do things Anderson's way. Pell is left spinning in a barber's chair, unconscious, as Anderson leaves. A nervous Lester Cowens is at home when his window is shot out. On the lawn is a burning cross. Cowens tries to flee in his truck but is caught by three hooded men who begin to hang him. The FBI arrive, rescue Cowens, and chase the thugs to the sound of gunshots. Out of sight, the abductors stop running away and remove their masks to reveal that they are also FBI agents. The ruse works. Cowens, believing his life is in danger because his KKK co-conspirators think that he will talk, does just that. The FBI now has evidence admissible in court and can prosecute the culprits. They charge them with civil rights violations to ensure that they will be tried at the federal level; four of them had previously been convicted in a state court of firebombing a black man's home, only to receive five-year suspended sentences. Most are found guilty and receive sentences from three to ten years. Sheriff Stuckey is acquitted. The mayor, who was not charged with anything, hangs himself. Pell's wife returns to her home, which has been completely ransacked. She resolves to stay and rebuild her life, free of her wicked husband. The film concludes with a Sunday morning service on the site of a destroyed house of worship, attended by both white and black churchgoers singing in unison. Ward addresses Anderson as "Rupert" for the first time. |
99 |
|
Paul Holding (2005) |
Mission to Titan (BBC Docu) (45') |
100 |
|
Al Gore (2005) |
Eine unbequeme Wahrheit (90') |
101 |
|
Simone Reuter (2006) |
Carl Zuckmayer (45') |
102 |
|
Carl Zuckmayer, Helmut Käutner (1954) |
Des Teufels General (90', Film), nach dem gleichnamigen Schauspiel von Carl Zuckmayer INTENSO#2/Filme/Des Teufels General.mp4 Deutschland im Dezember 1941. Während des Zweiten Weltkriegs sucht die Führung der gefürchteten SS aus strategischen Gründen die Nähe des berühmten Luftwaffengenerals Harras. Dieser ist ein erfahrener Veteran des Ersten Weltkriegs sowie passionierter Pilot. Der weltoffene, charmante Harras teilt allerdings nicht die Ideologie der NS-Diktatur und verspottet diese. Neben dem Fliegen hegt er nur Affinitäten zu Frauen und Alkohol. Auf einer Veranstaltung im Rahmen einer Auszeichnung für Flieger lernt Harras die erst 21-jährige Dorothea kennen. Die beiden fühlen sich sogleich zueinander hingezogen. Während derselben Feier versucht der SS-Gruppenführer Schmidt-Lausitz, Harras für seine Ziele zu gewinnen. Der Versuch scheitert kläglich, General Harras weist ihn verachtungsvoll zurück. In der gleichen Nacht missachtet er die Warnungen seines Freundes Oderbruch, der ihm rät zu fliehen, da die SS ihn verhaften wolle. Harras tut die Warnungen ab und fährt dennoch in seine Wohnung, wo er umgehend von der Gestapo verhaftet wird. Er wird eingesperrt und soll durch psychische Folter gefügig gemacht werden. Damit will die SS gleichfalls ein Exempel statuieren, auf dass sich ihr niemand mehr widersetzen möge. Schmidt-Lausitz' Aktion ist persönlich genehmigt und gedeckt durch Heinrich Himmler. Nach 14 Tagen Haft und anschließender Freilassung ist Harras ein anderer Mann. Ihm ist nun bewusst, dass er durch seine Zeit bei der deutschen Luftwaffe einen fatalen Pakt mit dem Teufel geschlossen hat - diesen gilt es nun zu brechen. Aus diesem Grund schützt er seinen Freund Oderbruch. Dieser verschweigt einen gefährlichen Konstruktionsfehler an den in Erprobung stehenden Flugzeugen, damit diese nicht in den Fronteinsatz gehen können und so Hitlers Regime den Krieg verliert. Schmidt-Lausitz versucht Harras zu zwingen, entweder den Urheber des Konstruktionsfehlers binnen zweier Stunden zu benennen oder ein Rücktrittsgesuch von allen Ämtern zu unterschreiben, was einer Selbstbezichtigung gleichkäme. Da Harras den Urheber der Fehlkonstruktion deckt, würde er zum Tode verurteilt. Daraufhin eskaliert die Situation: Mittels vorgehaltener Waffe jagt Harras Schmidt-Lausitz aus dem Raum. Doch anstatt zu fliehen, eine Fluchtmaschine steht mit laufendem Motor für ihn bereit, startet er bewusst mit einer der fehlerhaften Maschinen und stürzt sich zu Tode in den Flughafen-Kommandostand, der in Flammen aufgeht. |
103 |
|
Thomas Grube, Enrique Sanchez Lansch (2004) |
Rhythm is it (100') Im Februar 2003 begannen die Berliner Philharmoniker und ihr Chefdirigent Sir Simon Rattle ein Projekt mit 250 Kindern und Jugendlichen aus 25 Nationen. Nach Anleitung des Choreografen und Tanzpädagogen Royston Maldoom proben sie die Aufführung von Igor Stravinskys Ballett Le sacre du printemps. Nur sechs Wochen Probezeit haben die Schüler, zumeist aus Berliner "Problemschulen", von denen niemand mit klassischer Musik und Tanz vertraut ist. Maldoom hatte bis dahin schon unter anderem mit Straßenkindern in Äthiopien und mit jugendlichen Strafgefangenen in England Stravinskys Ballett erfolgreich inszeniert.[2] Während dieser Phase werden drei der jungen Menschen näher vorgestellt: Martin, der Schwierigkeiten hat, sich auf andere Menschen einzulassen, sie doch in den Tanzsequenzen berühren soll, der kaum deutsch sprechende Kriegswaise Olayinka aus Nigeria, dem die Teilnahme an dem Projekt hilft, andere Menschen kennenzulernen. Und Marie, die sich zu Beginn für faul hält und dann doch beschließt, den Realschulabschluss zu machen, während ihre Freundin bald schon aussteigt aber an der nächsten Station wieder einsteigt. Dabei zeigt der Film die Entwicklung der jungen Menschen, die aus den wachsenden Erfolgen Selbstbewusstsein ziehen und als Persönlichkeit reifen. Er zeigt aber auch das Chaos der Proben, den unmotivierten Beginn der Jugendlichen und die Interventionen der besorgten Lehrer, die fürchten, ihre Schüler würden von Maldoom überfordert. Das Ende und der große Höhepunkt ist der umjubelte Auftritt in der Arena Berlin. Das Projekt wurde aufgrund des großen Zuspruchs weitergeführt. Die Berliner Philharmoniker setzten ihre Kooperation mit anderen Ballettstücken und Choreografen in den folgenden Jahren fort. "Die Filmemacher Thomas Grube und Enrique S√°nchez Lansch verwenden Strawinskys Stück nicht nur als Bühnenmusik, sie binden damit auch immer wieder Berliner Stadtbilder in die Geschichte der Aufführung ein, Impressionen einer faszinierenden, zwielichtigen Urbanität. Die spannendsten Momente aber zeigen Choreograph Royston Maldoom bei der Probenarbeit mit den Jugendlichen. Maldoom ist das Herz des Films: ein Zauberer, ein Alchimist der Begeisterung, der sich zu Beginn provokant als strenger Lehrmeister zu erkennen gibt." |
104 |
|
Hans Werner Henze, Ingeborg Bachmann (2006) |
Hans-Werner Henze - Ingeborg Bachmann Meine liebe arme kleine Allergrößte Noch bevor Ingeborg Bachmann ihn im August 1953 erstmals auf der Insel Ischia besucht, verkündet Henze ihr brieflich sein ¬ªCredo¬´ , das dann fast 20 Jahre lang gebetsmühlenartig in seinen Briefen wiederkehren wird: Nichts anderes zähle als die künstlerische Arbeit, nur sie habe die Macht, Gefühlschaos und verfehltes Leben in die Wahrheit einer höheren Ordnung zu überführen. Was Hofmannsthal für Richard Strauß war, das soll Ingeborg Bachmann für ihn werden. Sie ist es schließlich auch geworden, wenngleich sie auf ihrem Weg von der Ballettpantomime Der Idiot, für die sie noch 1953 den - in ihren ersten Gedichtband Die gestundete Zeit mit aufgenommenen - Monolog des Fürsten Myschkin schrieb, bis zu den luziden Libretti für Henzes Opern Prinz von Homburg und Der junge Lord zumeist ¬ªSchildkrötenverhalten¬´ an den Tag legte (so umschrieb es Henze, der oft schon ohne ihre Textvorlage ¬ªvorauskomponiert¬´ hatte). Umgekehrt erschien ihr der Freund in seinem ungebremsten Produktionsfuror manchmal, was sie ihm nicht verschwieg, als ¬ªMonster¬´. |
105 |
|
Curt Goetz, Valerie von Martens (1951) |
Das Haus in Montevideo (120') Das Haus in Montevideo ist die erste Verfilmung des gleichnamigen Bühnenstücks von Curt Goetz. Goetz selbst schrieb das Drehbuch und inszenierte den Film 1951 gemeinsam mit seiner Ehefrau Val√©rie von Martens, mit der er das Stück oft auf der Bühne gespielt hatte. Wie in den Jahren zuvor im Theater übernahm das Ehepaar auch die beiden Hauptrollen. Der untadelige Professor Traugott Hermann Nägler lebt mit seiner Frau Marianne und seinen zwölf (nach Figuren von Richard Wagner und der griechischen Mythologie benannten) Kindern in einer spießbürgerlichen Kleinstadtidylle. Als die älteste Tochter Atlanta von Näglers verstorbener Schwester ein Haus in Montevideo erbt, ist der moralisch integre Professor zunächst gar nicht erbaut - war seine Schwester doch das schwarze Schaf der Familie. Sie war schwanger geworden, ohne verheiratet zu sein. Doch gemeinsam mit Pastor Riesling, einem Freund der Familie, gelingt es Marianne, ihren Mann zur Reise nach Montevideo zu überreden, damit man die Erbschaft antreten kann. In Montevideo geraten die Moralvorstellungen der Näglers vollends ins Wanken, als sie vermuten, was für ein Etablissement sich in dem Haus der Toten verbergen möge. Tatsächlich ist es aber kein Bordell, sondern eine Art Musikinternat. Die Verstorbene hatte als begnadete und auch geschäftlich erfolgreiche Sängerin Mittel genug, das Haus zu errichten und den Unterrichtsbetrieb zu bezahlen. Allerdings ist mit der Erbschaft auch ein Betrag von 750.000 Dollar verbunden, der den Professor mit dem Lebenswandel seiner Schwester versöhnt. Doch an die Erbschaft ist eine Bedingung gebunden: In Näglers Familie muss sich innerhalb einer bestimmten Frist die gleiche moralische Entgleisung ereignen, für die er einst über seine Schwester den Stab gebrochen hatte. Professor Nägler will seine Tochter dazu bringen, ihren Liebsten nicht zu heiraten und trotzdem schwanger zu werden, um die Bedingung des Testaments erfüllt zu sehen. Natürlich stößt dieser Plan auf völliges Unverständnis. Letzten Endes kommt ihm ein Zufall zur Hilfe. |
106 |
|
Peter Beauvais, Siegfried Lenz (1971) |
Deutschstunde (240') Siggi Jepsen, Insasse einer Anstalt für schwer erziehbare Jugendliche, bekommt in einer Deutschstunde das Aufsatzthema "Die Freuden der Pflicht" gestellt und scheitert daran: Er gibt ein leeres Heft ab. Der Grund für sein Scheitern liegt jedoch darin, dass er zu diesem Thema zu viel zu sagen hat - im Arrest, der von ihm freiwillig immer weiter verlängert wird, schreibt Siggi nun über seine Kindheit und Jugend, die gerade unter dem Zeichen der "Pflicht" stand. Siggi Jepsens Vater war nämlich der "nördlichste Polizeiposten Deutschlands" in dem schleswig-holsteinischen Dorf Rugbüll. Jens Ole Jepsen erhält 1943 von der nationalsozialistischen Obrigkeit den Auftrag, gegen den expressionistischen Maler Max Ludwig Nansen ein Malverbot auszusprechen und dieses Verbot zu überwachen. Obwohl Jepsen seit seiner Jugend mit Nansen befreundet ist und dieser ihm sogar einmal das Leben gerettet hat, kommen ihm keinerlei Zweifel an seiner Pflicht, diese Anordnungen rigoros zu befolgen. Als er seinen zu dieser Zeit zehnjährigen Sohn Siggi dazu anstiften will, den Maler zu bespitzeln, bringt er ihn damit in einen Gewissenskonflikt, denn Nansens Atelier ist für Siggi wie ein zweites Zuhause. Er beschließt, seinem Vater nicht zu gehorchen, und hilft stattdessen Nansen beim Verstecken von Bildern. Siggis Vater ist von fanatischer Pflichterfüllung angetrieben, weniger von der nationalsozialistischen Ideologie, im Unterschied zu seiner Frau, die vollkommen vom Nationalsozialismus überzeugt ist. Als Siggis Bruder Klaas sich selbst verstümmelt, um nicht weiter Kriegsdienst leisten zu müssen, wird er von seinen Eltern verstoßen - nur mit Glück und der Hilfe von Nansen kann er den Krieg überleben. Selbst nach Kriegsende kommen Jens Jepsen keine Zweifel - im Gegenteil, er beharrt auf der √úberzeugung, dass es weiterhin seine Pflicht sei, Nansens Bilder zu vernichten. Siggi steigert sich nun in die Vorstellung hinein, Nansens Bilder vor seinem Vater "retten" zu müssen. Er wird so zum Kunstdieb, was schließlich zu seiner Verhaftung und der Einlieferung in die Besserungsanstalt führt. |
107 a - 107 c |
|
Dominque de Rivas, Jean-Luc Bourgeois (2003) |
108 |
|
|
Alfred Weidenmann (1954) |
Person: Wilhelm Canaris |
109 |
|
Carlos Saura |
Carmen (105') |
110 |
|
Alex Gibney (1990) |
America in the Fifties: Beat Kinsey-Report, Marilyn Monroe, Elvis Presley |
111 |
|
C. Archambeau, J. Barsac (1987) Luis Gualtieri |
100 Jahre Le Corbusier, Teile 2 & 3 Un viaje con Le Corbusier: La Tourette |
112 |
|
Pierre Boulez, Gidon Kremer, Berliner Philharmoniker (2004) |
Bela Bartok: Violinkonzert |
114 |
|
Robert Hughes (1981) |
Der Schock der Moderne: (The Shock of the New) Landschaften der Lust (Impressionismus) (45') Unruhe in Utopia (45') |
115 |
|
Frederic Luzy (2007) |
Callas (100') |
116 |
|
Andreas Ammer (2006) |
Walter Jens (45') |
117 |
|
Edgardo Casarinsky, Carol Weissweiler (1985) |
Jean Cocteau (60') |
118 |
|
Regina Wuiwoll (1993) |
118 |
|
|
Yehudi Menuhin (1981) |
Music of Man: Das Pochen des Lebens |
119 |
|
|
Tendenzen der 20er Jahre |
119 |
|
Frank Beyer (1981) |
Der König und sein Narr (100') |
120 |
|
arte (1990) |
Gorbatschow und die weltpolitische Wende (45') |
121 |
|
David LaChapelle (2005) |
122 |
|
|
Margarethe von Trotta (1981) |
123 |
|
|
Johannes Unger, Sascha Adamek (2007) |
Monika Berberich -M. B. redet über ihre Geschichte (1, 2), Stefan Aust, Klaus Wagenbach |
124 |
|
Romain Goupil (2007) |
Gustave Courbet: Die Ursprünge seiner Welt (52) |
125 |
|
Guillermo del Toro (2006) |
126 |
|
|
Alexander Mackendrick (1951) |
Alec Guinness, Cecil Parker, Joan Greenwood, Michael Gough, Vida Hope, Mandy Miller |
127 128 |
|
Alexander Mackendrick (1951) |
Der Mann im weißen Anzug (90') |
129 |
|
Fred Schepisi (1994) |
I.Q. - Liebe ist relativ (90') Walter Mattau als Einstein |
130 |
|
Mervyn LeRoy (1942) |
Madame Curie (120') |
131 |
|
Otto Preminger (1958) |
Bonjour Tristesse (90') |
132 |
|
Kurt Veth (1983) |
Martinus Luther, Teil 4 Regie: Kurt Veth
|
133 INTENSO#2 |
|
Wim Wenders, Peter Handke (1987) |
Himmel über Berlin (120') Die Engel Damiel und Cassiel treten als Beobachter der Welt auf, insbesondere in Berlin. Sie können nicht in das Leben der Menschen eingreifen und sich ihnen nicht zu erkennen geben. Sie können ihnen jedoch neuen Lebensmut einflößen. Der Wunsch, am Leben der Sterblichen teilzuhaben, wird bei Damiel so groß, dass er dafür bereit ist, auf seine Unsterblichkeit zu verzichten. Mit einer antiken Ritterrüstung als Startkapital wird er in die Welt hineingeworfen. In einer Trapezkünstlerin, die sich scheinbar von der Erdschwere löst, findet er seinen Gegenpart. Die Handlung wird von Peter Handkes Gedicht Lied Vom Kindsein umrahmt |
134 |
|
Uwe Janson (2005) |
Peer Gynt (80') "Regisseur und Drehbuchautor Uwe Janson präsentiert mit dem Ibsen-Klassiker nach Brechts "Baal" und Wedekinds "Lulu" erneut die Verfilmung eines Theaterstücks. Diesmal drehte er jedoch nicht auf der Bühne, sondern vornehmlich im freien, hier auf der Insel Usedom. Mit starken Darstellern - allen voran Robert Stadlober als "Faust des Nordens" - und verkürztem Inhalt (das Theaterstück dauert etwa vier Stunden) beschränkt sich Janson auf die großen Themen "Sinn des Lebens", "Liebe" und "Tod" und bricht dabei die Tragik oft mit humorvollen Szenen." |
137 |
|
Fatih Akin (2005) |
Crossing the Bridge - The Sound of Istanbul (90') Protagonist des dokumentarischen Werkes ist der Berliner Musiker Alexander Hacke, bekannt als Bassist der Einstürzenden Neubauten, den Akƒ±n bei einer musikalischen Entdeckungsreise durch die türkische Metropole Istanbul begleitet. Vom Straßenmusiker bis zum türkischen Megastar fängt Hacke die vielfältigen multikulturell beeinflussten Klänge Istanbuls mit einem ständig bei sich geführten mobilen Tonstudio ein, bisweilen musiziert er auch spontan mit den türkischen Musikern zusammen. Lexikon des Internationalen Films: Das spannende Mosaik begründet seine transkulturellen Thesen zwar nur oberflächlich, macht aber durch eine ausgefeilte Soundspur und exzellente Musiker mit einem höchst vitalen Underground bekannt.[1] |
138 |
|
Walter Ruttmann (1927) |
Berlin - Symphonie der Großstadt (70') Der dokumentarische Film beschreibt einen Tag in der Großstadt Berlin, die in den 1920er Jahren einen industriellen Aufschwung erlebte, und gibt auch heute noch einen Einblick in die Lebens- und Arbeitsverhältnisse zu dieser Zeit. Ruttmann konzipierte seinen Film als dokumentarisches Kunstwerk, das die Großstadt Berlin als lebenden Organismus darstellen soll. Im langsamen Erwachen der Stadt, in der Hektik des Tages und im langsameren Ausklingen am Abend sah er eine Analogie zu einer Sinfonie und unterstrich dies im Filmschnitt. Für die damalige Zeit ungewöhnlich, setzte Ruttmann zahlreiche kurze Schnitte ein, um die Lebendigkeit und Hektik der Stadt plastischer werden zu lassen. Als einer der ersten sinfonischen Filme nutzte Berlin - Die Sinfonie der Großstadt die Ende der 1920er Jahre entwickelte technische Möglichkeit, Filme exakt und in vielen kleinen Schnitten zu schneiden und wieder zu kleben. Auf diese Weise konnte auf die Möglichkeiten einer abwechslungsreichen Filmmusik mit filmischen Mitteln reagiert werden - und umgekehrt |
140 |
|
Marian Engel (2007) |
leben in der stadt von morgen (90') 50 Jahre Berliner Hansaviertel Deutschland 2007 | 97 Min 1957 fand in Berlin die erste Internationale Bauausstellung nach dem Krieg statt. |
141 |
|
Felix Oehler |
Berlin-Hansaviertel: Die Stadt von morgen wird 50 (90') Leicht, heiter, wohnlich, festlich, farbig, strahlend und geborgen sollte das Viertel werden, als Berlin 1957 die besten Architekten der Welt zur Interbau aufrief. Die westliche Welt wollte einen Gegenentwurf zu den gigantischen Bauten im sowjetischen Stil der Stalinallee. Eine Stadt von morgen für alle Schichten der Bevölkerung. |
142 |
|
Peter Rosen (2007) |
143 |
|
|
Andreas Krieger (2007) |
Oscar Niemeyer wird 100 (30') |
144 |
|
Marc-Henri Wajnberg (2000) |
144a |
|
|
Eva-Maria Walter, Hermann Pölking (200?) |
Das Emsland 1866 - 1946: Ein Filmchronik (60') Die FilmChronik "Das Emsland 1866-1946" erzählt in historischen Filmaufnahmen von den Traditionen und naturräumlichen Gegebenheiten, der Erschließung der Moore, der Schifffahrt auf der Ems, dem Schiffbau in Haren und Papenburg, den Anfängen der Industrie und dem Wandel in der Landwirtschaft. Sie zeigt die Kreise Lingen, Meppen und Aschendorf-Hümmling während der Nazidiktatur und das Kriegsende. Die FilmChronik endet mit dem Emslandplan und der ersten Phase seiner Umsetzung in den fünfziger Jahren. Die Filmaufnahmen aus privaten, staatlichen und Unternehmensarchiven spiegeln eine lebendige Geschichte in bewegenden und bewegten Bildern. Zu sehen sind weiterhin Filmsequenzen aus Rhede, den Städten Papenburg, Lingen, Meppen, einem Winterquartier für Binnenschiffer in Haren, dem Emslandhaus der SA, sowie Bilder, die Kriegszerstörungen und den Einmarsch der Briten und Kanadier bei Kriegsende zeigen, außerdem die Meyerwerft, den Küstenkanal, Schützenumzüge, u.a. in Emeln, Lengerich und in Lathen. Die historischen Aufnahmen und Kartensequenzen werden ergänzt durch Interviews mit den Historikern Prof. Dr. Heide Barmeyer, Dr. Helmut Lensing, Christoph Wagener M.A. und dem Leiter des Schifffahrtsmuseums Haren/Ems, Reinhard Wessels. |
145 |
|
Fernando Meirelles, John Le Carre (2005) |
The Constant Gardener (engl.) (129') Am abgelegenen Turkana-See im Norden Kenias werden die Leichen der in der Region engagierten Aktivistin Tessa Quayle und ihres einheimischen Fahrers gefunden. Tessas Reisegefährte Arnold Bluhm, ein schwarzer belgischer Arzt, ist unauffindbar. Alle Spuren deuten auf ein Verbrechen aus Leidenschaft hin. Sandy Woodrow, Sir Bernard Pellegrin und andere Mitglieder der britischen Hochkommission schließen die Akte schnell, in der Annahme, dass Tessas Witwer, der untadelige Diplomat Justin Quayle, nichts dagegen einzuwenden hat, wenn die Affäre um seine Ehefrau in einen Mantel des Schweigens gehüllt wird. Justin hatte die schöne und junge Tessa Abbott bei einem Vortrag in London kennengelernt. Das Abenteuer zwischen zwei Fremden hatte sich zu einer schnellen Heirat und einem gemeinsamen Umzug nach Kenia entwickelt. Während Tessa sich dort gemeinsam mit dem Arzt Arnold Bluhm der Probleme Afrikas annahm, ließ der intelligente, an der britischen Botschaft in Nairobi angestellte Diplomat das Elend der Bevölkerung nie an sich herankommen und kümmerte sich lieber um seinen peinlichst gepflegten Garten. Langsam wurden die Ehepartner einander fremd. Aufgefangene Gesprächsfetzen und eine zweideutig formulierte E-Mail ließen in Justin schließlich den Verdacht aufkommen, seine Ehefrau betrüge ihn. Die Totgeburt ihres gemeinsamen Kindes und dann Tessas gewaltsamer Tod werfen Justin aus seinen Gewohnheiten. Von Gewissensbissen getrieben und durch Gerüchte um die Untreue seiner Frau in Bewegung gebracht, stürzt er sich in eine gefährliche Odyssee, um die Wahrheit herauszufinden. Er entdeckt, dass Tessa vor ihrem Tod einen Bericht über Verbrechen der Pharmaindustrie in Afrika hatte publik machen wollen. Sie hatte Justin jedoch die Inhalte ihrer Arbeit verheimlicht, um ihn zu schützen und seine politische Karriere nicht zu gefährden. In Afrika und Europa kommt Justin schon bald der weit verzweigten Verschwörung auf die Spur, der Tessa im Weg gewesen war: Ein großes Pharmaunternehmen, das in Afrika kostenlose HIV-Tests unterstützt, lässt offenbar gleichzeitig an den Patienten ohne deren Wissen Dypraxa erproben, ein neues Mittel gegen eine erwartete Tuberkulose-Pandemie, von dem sich der Hersteller Riesenumsätze erhofft. Das unfertige Medikament kostete zwar zahlreiche der unfreiwilligen Testpersonen das Leben, aber so konnte Dypraxa billig und schnell optimiert werden. Die Toten wurden heimlich verscharrt und alle Unterlagen vernichtet, sodass sie offiziell nie existiert haben. Selbst Angehörige der Verstorbenen, die Justin befragt, werden daraufhin festgenommen. Justin reist zunächst nach London, wo sein Pass unter einem Vorwand einbehalten wird, um eine Weiterreise zu vereiteln. Mit falschen Papieren und unter anderem Namen, jedoch stets verfolgt, reist er weiter nach Berlin und nimmt dort Kontakt zu den Aktivisten der pharmakritischen Gruppe Hippo auf, die, wie er nun weiß, Tessa und Bluhm unterstützt hatte. Bluhms Leiche wurde in Kenia mittlerweile gefunden, er war bestialisch zu Tode gefoltert worden. Justin wird massiv unter Druck gesetzt: ihm blühe dasselbe Schicksal, wenn er seine Nachforschungen nicht einstelle. Dennoch kehrt er auf der Suche nach den letzten offenen Fragen schließlich an den Ort zurück, an dem Tessa zu Tode gekommen war. Von dort lässt er Tessas Cousin einen Bericht über seine eigenen Ermittlungen sowie eine noch vorhandene Kopie von Tessas unterschlagenem Bericht zukommen. Der Film endet, als Justin am Turkana-See, in Gedanken an Tessa versunken, von einem Killerkommando aufgespürt wird. |
146 |
|
Hugh Whitmore, James Bridie, Waris Hussein (1978) |
mit Laurence Olivier, Joan Plowright, Clive Arrindell, Bryant Marshall, Arthur Lowe |
147 |
|
Wolfgang Reitherman (1967) |
Jungle Book (75') The Jungle Book is a 1967 American animated film produced by Walt Disney Productions. Inspired by the Rudyard Kipling's book of the same name, it is the 19th animated feature in the Walt Disney Animated Classics series. Directed by Wolfgang Reitherman, it was the last to be produced by Walt Disney, who died during its production. The early versions of both the screenplay and the soundtrack followed Kipling's work more closely, with a dramatic, dark, and sinister tone which Disney did not want in his family film, leading to writer Bill Peet and composer Terry Gilkyson being replaced. The casting employed famous actors and musicians Phil Harris, Sebastian Cabot, George Sanders and Louis Prima, as well as Disney regulars such as Sterling Holloway, J. Pat O'Malley and Verna Felton, and the director's son, Bruce Reitherman, as Mowgli. The Jungle Book was released on October 18, 1967 to positive reception, with much acclaim to its soundtrack, featuring five songs by the Sherman Brothers and one by Gilkyson, "The Bare Necessities". |
148 |
|
Frank Beyer (1989) |
Der Bruch (114') Kriminalfilmkomödie Berlin im Jahr 1946: Im kalten Winter planen der frühere Marinesoldat und jetzige Lebemann Walter Graf und der Kriminelle Erwin Lubowitz den Coup ihres Lebens. Sie wollen mehrere Tageseinnahmen der Reichsbahn aus dem Safe der Deutschen Verkehrs-Kredit-Bank stehlen, die normalerweise als Lohngelder ausbezahlt werden. Als Vorbereitung haben sie bereits die Oberräume des Gebäudes gemietet und darin ein falsches Immobilienbüro eröffnet. So spionieren sie die Gegend aus. Da Walter keine Erfahrung hat und Erwin in der Vergangenheit immer nur als Handlanger bei großen Coups mitmachen durfte, sucht Erwin den alten Profi Bruno Markward auf. Der hatte bis 1945 weite Teile seines Lebens im Gefängnis verbracht - unter anderem durch Erwins Unvermögen und den Verrat seiner ersten, inzwischen verstorbenen Frau - und wollte sich eigentlich zur Ruhe setzen. Angesichts der hohen Geldsumme steigt er in den geplanten Bruch ein. Das Trio versucht zunächst vergeblich, einen Tunnel zum Tresor zu graben. Es zeigt sich Grundwasser und der junge Bauarbeiter Bubi, der den Tunnel graben sollte, wird nach kurzer Zeit entlohnt und weggeschickt. Bubi wiederum ist mit dem jungen Julian befreundet, doch die Freundschaft wird auf die Probe gestellt, als sich beide in die Friseurin Tina verlieben. Die wiederum geht mit Walter aus und Julian sieht sie mit ihm, Erwin und dem Schieber Pinske in einer Bar. √úber einige Zu- und Zwischenfälle wird Julian Polizeischüler, während Bubi indirekt am Bruch beteiligt ist. Der glückt schließlich unter Mithilfe verschiedener Personen: Bruno weiß, dass das Bankgebäude um 1943 verkürzt wurde, während die Tresorräume intakt blieben. Sie steigen nun über ein Nebengebäude direkt in den Tresorraum ein. Pinske besorgt das Schweißgerät von Dombrowski, während der Travestie-Künstler Müller das Fluchtauto fährt. Am nächsten Tag berichten die Zeitungen, dass über eine Million Reichsmark gestohlen wurden. Obwohl Walter, Erwin und Bruno die größte Vorsicht walten lassen, kommt man ihnen bald auf die Schliche. Grund ist unter anderem das auf den Namen Graf und Lubowitz zugelassene Immobilienbüro, das sie verdächtig macht. Zudem erkennt Julian Lubowitz auf einem Fahndungsfoto als einen der Männer wieder, den er einst mit Tina in der Bar gesehen hat. Die Spur jedoch führt ins Leere, weil Erwin bereits aus seiner Wohnung ausgezogen ist. Bei der Suche nach Walter Graf kommen die Ermittler irgendwann zu Grafs Ehefrau Anita, die zwar nicht weiß, wo Walter steckt, als anonyme Tippgeberin jedoch Pinske als einen der Mitwisser verrät. Pinske wiederum verrät Dombrowski und Bruno, dessen Anteil an der Beute bald im Grab seiner ersten Ehefrau entdeckt wird. Nun gibt auch Bruno seine Tat zu und verrät Müller, in dessen Bett sich Walter befindet. Bubi wiederum kann durch Julians Hilfe entkommen. Nur Erwin scheint wie vom Erdboden verschluckt. Schließlich ist es der junge Julian, der Erwin auf der Straße wiedererkennt. Obwohl dieser einen Bart trägt und einen falschen Pass vorweisen kann, wird er von Julian verhaftet. |
149 |
|
Helmut Käutner (1957) |
Monpti (96') Im Pariser Park Jardin du Luxembourg lernen sich ein junger, ungarischer Student (Horst Buchholz) und die 17-jährige Anne-Claire (Romy Schneider) kennen. Sie nennt ihn Monpti - also mon petit - "mein Kleiner". Die beiden verlieben sich ineinander und verleben eine glückliche Zeit. Anne-Claire behauptet, Tochter eines reichen Elternhauses zu sein, aber Monpti kommt bald dahinter, dass sie tatsächlich aus ärmlichen Verhältnissen kommt. Verärgert darüber, von ihr belogen worden zu sein, gibt Monpti ihr auf der Straße eine Ohrfeige und lässt sie stehen. Als Anne-Claire seinem Taxi nachläuft, wird sie überfahren. Auf dem Krankenbett verspricht er, sie zu heiraten, doch Anne-Claire stirbt kurze Zeit später an ihren Verletzungen. Parallel wird die Geschichte eines zweiten Paares gezeigt, dessen Beziehung in starkem Kontrast zur Haupthandlung steht. Ausgerechnet die Frau dieses Paares ist diejenige, die Anne-Claire überfährt. |
150 |
|
Elliot Silverstein (1984) |
Cat Ballou (92') Cat Ballou - Hängen sollst Du in Wyoming ist eine US-amerikanische Westernkomödie aus dem Jahre 1965. Regisseur Elliot Silverstein inszenierte den Film nach einem Roman von Roy Chanslor. Im Stil griechischer Chöre erzählen zwei fahrende Musikanten, Nat King Cole und Stubby Kaye, die Geschichte von Catherine Ballou, die sich von einer in einem Mädchenpensionat erzogenen jungen Dame in eine Gesetzlose verwandelt. Cat Ballou will die Mörder ihres Vaters und deren Hintermänner finden und überführen. Dazu übertritt sie mit ihren Helfern nicht nur zahlreiche Gesetze, sondern heuert auch einen abgehalfterten Revolverhelden an. |
151 |
|
Schimpf vor 12 (1963) Krisenslalom (1964) Halt die Presse (1963) |
152 |
|
|
Oliver Voss (202) |
Walter Rathenau (45') |
153 |
|
Andresen - Kremer (2007) |
California (45') |
154 |
|
Jonathan Halperin (2007) |
Nur 1 Grad mehr (45') Am Anfang: Al Gore in Stockholm |
155 |
|
Richard Lester (1965) |
Help! (90') |
156 |
|
Patrice Chereau, Daniel Barenboim, Mailänder Scala (2007) |
Richard Wagner: Tristan und Isolde (2 von 3) Schon früh befasste sich Ch√©reau auch mit dem Musiktheater, die erste Oper inszenierte er 1969. 1974 inszenierte er in Paris Les Contes d‚ÄôHoffmann von Jacques Offenbach (Dirigent Georges Pr√™tre). Legendär wurde sein Ring des Nibelungen zum 100-jährigen Bestehen der Richard-Wagner-Festspiele in Bayreuth 1976 - auch bekannt als Jahrhundertring. Aufsehen erregte auch seine Lulu-Interpretation der Oper von Alban Berg 1979 in Paris (Uraufführung der dreiaktigen Version von Friedrich Cerha; Dirigent Pierre Boulez). |
157 |
|
Pierre Boulez, Patrice Chereau, Bayreuth (1976) |
Richard Wagner: Die Götterdämmerung: 3. (letzter) Akt Pierre Boulez, der eigentlich erst Mathematik und technische Wissenschaften studieren wollte, wurde 1943 Kompositionsschüler von Olivier Messiaen am Pariser Konservatorium und studierte dann 1945/46 bei Andr√©e Vaurabourg, der Gattin von Arthur Honegger, und Ren√© Leibowitz. Er war 1946 - 1956 musikalischer Leiter des Ensembles Madeleine Renaud/Jean-Louis Barrault im Th√©√¢tre Marigny. 1951 beschäftigte er sich in der Groupe de Recherches Musicales von Pierre Schaeffer mit der Musique concr√®te und besuchte 1952 erstmals die Internationalen Ferienkurse für Neue Musik in Darmstadt. Dort wirkte er 1955 - 1967 als Dozent und als Dirigent des Darmstädter Kammerensembles. Neben Karlheinz Stockhausen und Luigi Nono gehört Pierre Boulez seit Mitte der 50er Jahre zu den herausragenden Vertretern der musikalischen Avantgarde, speziell der seriellen Musik. In seinen Kompositionen verbindet Boulez Rationalität und Logik mit den poetischen Traditionen der französischen Musik, insbesondere des Impressionismus. Seine erste Schaffensphase ist von einer äußerst kritischen Einstellung zum eigenen Werk wie zu den Kompositionen anderer geprägt. So störte er mehrfach mit Gleichgesinnten Aufführungen konservativerer Kollegen und zog zahlreiche Frühwerke wieder zurück. Aber auch später hat er seine älteren Werke immer wieder überarbeitet, so dass sie kaum endgültige Form erreichen, sondern immer nur Stufen eines kompositorischen Entwicklungsprozesses darstellen. |
158 |
|
Peter Kosminsky, Leigh Jackson (1999) |
Warriors - Einsatz in Bosnien (175'), Teil 1, Teil 2 Warriors (1999) is a British television drama serial, written by Leigh Jackson, produced by Nigel Stafford-Clark and directed by Peter Kosminsky. It starred Matthew Macfadyen, Damian Lewis and Ioan Gruffudd. The music was written by Debbie Wiseman.[2][3] It was screened on BBC One.[4] The series tells the story of a group of British peacekeepers serving in a peacekeeping operation of the UNPROFOR in Vitez, in Bosnia during the Lašva Valley ethnic cleansing in 1993. The film emphasises the contradictions of the mandate of the peacekeepers, and the psychological trauma that they sustain while being forced to observe atrocities perpetrated against civilians without being able to intervene, and being subject to deliberate provocations against which they are unable to retaliate. The ironic title of the programme is taken from the name of the armoured vehicle used by the British forces, the FV 510 Warrior. When it was released in the United States, the film was re-titled Peacekeepers. |
159 160 INTENSO#2 |
|
|
|
|
|
Rainer Wolffhardt (1977) |
Heinrich Zille (67' von 92'), Anfang fehlt mit: Martin Held, Christoph Felsenstein (Sohn von Walter Komische Oper Felsenstein), Ortrud Beginnen, Wolfgang Spier, Harald Juhnke, Camilla Spira, Otto Sander |
161 |
|
Simon Schama (2006) |
162 |
|
|
Simon Schama (2006) |
163 |
|
|
Claus Kleber (2007) |
Cirque du Soleil: KA (in Las Vegas) |
164 |
|
Robert Aldrich (1965) |
The Flight of the Phoenix, engl. version (142') The Flight of the Phoenix is a 1965 American drama film starring James Stewart (as aircraft pilot Towns), produced and directed by Robert Aldrich, and based on the 1964 novel The Flight of the Phoenix by Elleston Trevor. The story describes several men struggling to survive their aircraft's emergency landing in the Sahara desert, The German passenger Dorfmann works on a radical idea: He believes they can build a new aircraft from the wreckage. Just as the water runs out, the Phoenix is completed. Dorfmann panics when four out of the seven remaining Coffman engine starter cartridges fail to start the engine and Towns wants to use one of the remaining three cartridges just to clear the engine's cylinders. Dorfmann objects, but Towns ignores him and fires one cartridge with the ignition off. The next cartridge succeeds. Wikipediaa |
165 166 INTENSO#2 |
|
Matthew Broderick (1996) |
Infinity (119') Infinity is a 1996 American biographical drama film about the early life of physicist Richard Feynman. Feynman was played by Matthew Broderick, who also directed and produced the film. Broderick's mother, Patricia Broderick, wrote the screenplay, which was based on the books Surely You're Joking, Mr. Feynman! and What Do You Care What Other People Think?, both written by Feynman and Ralph Leighton. The film starts in 1924 with Richard and his father Melville walking through the woods where Melville shows his scientific inspiration for Richard. In 1934, Richard & Arline are in high school and their romantic relationship starts. The story then jumps to his college years and Arline getting sick with lymphatic tuberculosis. It continues to his move west to Los Alamos National Laboratory in Los Alamos, New Mexico, where Arline follows him later to a hospital in Albuquerque, New Mexico, where she dies. The film ends with Feynman crying at the sight of the red dress Arline had pointed out. |
167 |
|
Enrique Sanches Lansch (2007) |
Das Reichsorchester - die Berliner Philharmoniker und der Nationalsozialismus (90') |
169 |
|
James B. Harris, Mark Rascovich (book) (1965) |
Zwischenfall im Atlantik (The Bedford Incident) The American destroyer USS Bedford (DLG-113) detects a Soviet submarine in the GIUK gap near the Greenland coast. (Specifically, they are in Greenland territorial waters at the entrance to the J.C. Jacobsen Fjord, which is due northwest from Iceland.) Although the U.S. and the U.S.S.R. are not at war, Captain Eric Finlander (Widmark) harries his prey mercilessly, while civilian photojournalist Ben Munceford (Poitier) and NATO naval advisor, Commodore (and ex-World War II U-boat captain) Wolfgang Schrepke (Portman), look on with mounting alarm. |
170 171 |
|
Jacques Rivette (1991) |
La Belle Noiseuse (nur erste Hälfte) |
172 |
|
Marie-Monique Robin (2008) |
Die Welt nach Monsanto (138') |
173 |
|
174 |
||
|
Steven Sebring (2007) |
Dream of Life: Patti Smith |
175 |
|
Marcel Neudeck (2008) |
Wer ist Helmut Käutner |
176 |
|
Hermann Pölking (2005?) |
Das Land Oldenburg 1815 - 1946 (60'?) |
177 |
|
Hermann Pölking (2005?) |
Die Grafschaft Bentheim 1866 - 1946 (60') |
178 |
|
Otto Preminger (1956) |
179 |
|
|
Hermann Pölking, Rolf Hosfeld (2005?) |
Die Deutschen 1945 - 1953, 1953 - 1961, 1961 - 1972, 1972 - 1982, 1982 - 1992 (5 x 60') Filmmaterial, das bislang nicht zu sehen war: Bilder des alltäglichen Lebens aus allen Regionen Deutschlands, Aufnahmen von Profis und Amateurfilmern, aufgestöbert in regionalen Archiven und Unternehmen. |
180, 181, 182, 183, 184 |
|
Gruber (2008) |
Dani Karavan Retrospektive (40'), Video mit den Bildern des Ausstellungskatalogs Dani Karavan Website In den 1990er Jahren gestaltete Dani Karavan im Bereich der Gebäude des Bundestages in Berlin den Außenbereich der Spreeseite des Jakob-Kaiser-Hauses. Zentrales Element dieser Arbeit: In eine etwa drei Meter hohe Glaswand zwischen Jakob-Kaiser-Haus und Spree gravierte er mit Laser die 19 Grundrechtsartikel des deutschen Grundgesetzes in ihrer Urfassung von 1949. Damit werde den vorbeigehenden Bürgerinnen und Bürgern die Basis der deutschen Verfassung, die Grundrechte, in transparenter Weise verdeutlicht.[3] Im Duisburger Innenhafen befindet sich Karavans Garten der Erinnerung, ein etwa drei Hektar großer Park, in den der Bildhauer die Reste der ehemaligen Industriebauten gestalterisch integrierte. Der Park wurde in den Jahren 1996 bis 1999 realisiert und ist das bislang umfangreichste Werk des international renommierten Künstlers in Deutschland. In Israel hat Karavan u.a. das Negev Brigade Monument in Be'er Scheva und das Weiße Stadt Monument in Tel Aviv geschaffen. In Deutschland wurde dem israelischen Künstler Dani Karavan eine große Retrospektive gewidmet. Die Ausstellung wurde 14.3. - 1.6. 2008 im Martin-Gropius-Bau gezeigt. Das Besondere der künstlerischen Arbeit von Dani Karavan ist es, Stadt- und Landschaftsräume auf neue und bemerkenswerte Weise erfahrbar zu machen. Dani Karavan geht bei dieser gestalterischen Verwandlung immer von der Geschichtlichkeit des Ortes aus und entwickelt mit seinen komplexen Zeichensetzungen vielfältige gesellschaftliche, historische und politische Bezüge, die dem Betrachter durch eine ungewohnte und ästhetisch höchst verdichtete Gestaltgebung bewusst werden. Aus den Potentialen der Erinnerung transformiert Dani Karavan neue sinnliche und kommunikative Erfahrungsräume. Dani Karavan wurde 1930 in Tel Aviv geboren. Er studierte zunächst in Tel Aviv und in Jerusalem an der Bezalel Academy of Arts. Nach einigen Jahren im Kibbuz, dem Studium der Freskotechnik 1956/57 in Florenz und der Arbeit als Bühnenbildner für Theater- und Tanzkompanien wie die berühmte Martha Graham Dance Company begann Dani Karavan an großen Environments ortsspezifisch zu arbeiten. Sein erstes Hauptwerk, das 1968 vollendete Negev-Monument in Beersheba, trug ihm internationale Anerkennung ein. In Erinnerung an den Unabhängigkeitskrieg Israels 1947/48 schuf er ein machtvolles, tektonisches Skulpturengefüge, das in seiner archaischen Klarheit der streng geometrischen Formen zu einem Signal der Behauptung in der kargen Wüstenlandschaft wurde. |
185 |
|
Peter Schamoni (1986) |
Caspar David Friedrich: Grenzen der Zeit (84') Der Maler Caspar David Friedrich ist verstorben und wird beigesetzt. Seinem Sarg folgt unter anderem der Arzt und Maler Carl Gustav Carus, der Friedrich in seinen letzten Lebensmonaten behandelt hat und dabei ein ums andere Mal dessen Misanthropie in Kauf nehmen musste. Rück- und Vorblenden zeigen den Umgang mit Friedrichs Werk. Zu Lebzeiten ist Friedrich als Maler nicht anerkannt, seine oft düsteren Bilder treffen nicht den Geschmack der Zeit. Zwar verbessert sich Friedrichs finanzielle Lage etwas, als Kronprinz Friedrich Wilhelm einige seiner Bilder kauft und auch der Dichter Wassili Schukowski mehrere Werke für die russische Zarenfamilie erwirbt, doch ist auch Friedrichs Wesen seinem Erfolg wenig zuträglich. Mehrfach lehnt er Bildungsreisen ins Ausland ab, kann und will sich gesellschaftlich nicht unterordnen und zieht einsame Tage in der Sächsischen Schweiz der Gesellschaft der Menschen vor. Selten geht er mit Carl Gustav Carus auf Wandertouren, auf denen beide zeichnen. Carus wiederum fährt, angeregt durch Friedrichs Bilder, in den Norden Deutschlands, besucht Rügen und Greifswald, wo das Geburtshaus von Friedrichs steht. Er protegiert den Künstler und versucht ihm eine Stelle als Professor an der Dresdner Kunstakademie zu verschaffen. Die Professoren jedoch verreißen Friedrichs Werk, das jede Freude vermisse und auf dem Menschen stets abgewandt vom Betrachter in gleichförmigem Umriss zu sehen sind. Nach Friedrichs Tod wird sein Hausrat versteigert. Als wertvollstes Stück gelten nicht seine Bilder, sondern ein altes Schiffsmodell. Bilder vom Großfeuer im Münchner Glaspalast werden gezeigt, bei dem mehrere Hauptwerke Friedrichs verbrannten. Bis heute hat sich nur die Hälfte des Gesamtwerkes des Malers erhalten. Friedrich kommentiert aus dem Off, dass der Mensch von der Mitwelt nicht anerkannt werde, der die Grenzen seiner Zeit überschreitet. Er spinne sich in seinem Kokon ein und überlasse es der Zeit, was daraus werde: Eine Made oder ein Schmetterling. Wikipedia: Caspar David Friedrich - Grenzen der Zeit |
|
|
Gary Johnstone (2005) |
E = m c2 Die Biographie einer Gleichung, Teil 1, Teil 2 (114') Exactly 100 years ago, Albert Einstein grappled with the implications of his revolutionary special theory of relativity and came to a startling conclusion: mass and energy are one, related by the formula E = mc2. In "Einstein's Big Idea," NOVA dramatizes the remarkable story behind this equation. Samuel David James on YouTube |
187 INTENSO#2 |
|
Michael Gaumnitz (2005) |
Paul Klee: The Silence of the Angel (120') Klee and Bartok: 150 Paintings in Bern A visual journey into the work of a major painter of the 20th century by Michael Gaumnitz, an award-winning documentarian of artists and sculptors. Like Kandinsky and Delaunay, Klee revolutionized the traditional concepts of composition and color. hipinuff on YouTube |
188 189 |
|
Simon Brook (2007) |
arte Dokumentation Archival images are commented by an eclectic selection of artists from the cultural world, including film director Milos Forman, DJ Annie Nightingale, president Vaclav Havel, artist Ed Ruscha, photographer William Klein, actor Dennis Hopper, theatre director Peter Brook, designer Mary Quant. Simon Brook, Filmography, Generation 68 |
190 |
|
Volker Schlöndorff (2005) |
191 |
|
|
Oliver Becker, Katharina Bruner |
Dmitri Schostakowitsch: Dem kühlen Morgen entgegen (79') Close up Shostakovich - a Portrait Humour, sarcasm, grotesqueness - and not least an overriding pessimism - are characteristics not only found in Dmitry Shostakovich himself but also in his music. The film intends to be as authentic as possible in portraying the composer, neither denouncing him as an opportunist nor praising him as a dissident. The seven chapters rather try to reconstruct how the young star composer, who renouncing the traditional was known for his grotesque distortions, became the stiff state composer most of whose life is still shrouded in mystery. Touching, sensitive, depth documentary about Schostakovich's troubled life under the communist dictatorship. apternier in IMDb |
192 |
|
Loriot (1997) |
Loriot als Opa Hoppenstedt und Weinverkäufer Blümel (24') |
193 |
|
Wilfried Hauke (2006) Wilfried Hauke wurde 1957 in Kiel geboren. Er studierte Germanistik, Skandinavistik und Philosophie in Kiel, Aaarhus, Kopenhagen und Lund und promovierte mit einem Buch über die dänische Theaterliteratur. 1991 kam Wilfried Hauke als freier Kulturredakteur und Moderator zum NDR. Seit 1997 ist er Autor, Regisseur und Produzent für Fernsehdokumentationen und Dokudramen mit Arbeiten für ARD, ZDF, ARTE und NDR. Heute ist Wilfried Hauke Creative Director bei dmfilm- und tv-produktion, die Niederlassungen in Kiel, Hamburg und Bremen hat. |
Nolde - Farben und Landschaft eines Malers (26') Als sei er eben nur mal schnell zum Meer spaziert oder Farben holen gegangen - diesen Eindruck hat jeder Besucher im Haus und im Garten Emil Noldes in Seebüll, jenem kleinen Flecken in der nördlichsten Ecke Deutschlands. Es sind Bilder, die ohne die abseits gelegene Heimat Emil Noldes und die tief erlebte Landschaft nicht zu denken wären und die diese in immer neuen Variationen und Farbkompositionen zeigen: die Marsch und das Meer Nordfrieslands, der Kindheitsort Noldes nahe der dänischen Stadt Tondern, die Insel Alsen, das Dorf Rutebüll an der deutsch-dänischen Grenze und gleich daneben sein schleswig-holsteinischer Wohn- und Schaffensort Seebüll. Vor allem Noldes tiefe seelische Krisen, ausgelöst durch lange Armut und fehlende Anerkennung, haben ihn künstlerisch beeinflusst und reifen lassen. Seine bedeutendsten Motive neben den Porträts sind bis ins hohe Alter das Meer, der Himmel und die Landschaften im Norden - sowie die Blumen in seinem Garten, die in wahren Farborgien Gestalt finden. Nolde sieht sich als Teil einer großen Natur. Er spürt die besondere Kraft der Farben, sie sind die eigentliche Substanz seiner Bilder. Das Intellektuelle in der Kunst lehnt er ab. Er malt, mehr nicht. Unterstützt wird er dabei von seiner Frau Ada, die ihn 50 Jahre lang durch Höhen und Tiefen begleitete. Seine fratzenhaften Menschen und Dämonenwesen, seine gegen 1915 noch als blasphemisch eingestuften Christus- und Kreuzigungsbilder und viele seiner späteren von Zwergen und Elfen behausten Blumenaquarelle zeigen ein von tiefer Entwurzelung geprägtes Menschenbild und eine Sehnsucht nach einem fast animalischen Urzustand. Nolde, gemeinhin der Künstlergruppe "Brücke" und den Expressionisten zugerechnet, bleibt zeit seines Lebens ein malerischer Außenseiter. Seine großen Landschafts- und Mythenbilder der 20er und 30er Jahre entstehen in einer Zeit der Umwälzung. Mit den weltberühmten Blumen- und Dorfgemälden der Spätphase "Dahlien und Sonnenblumen", "Schwüler Abend", "Der große Gärtner" und "Großer Mohn (rot, rot, rot)" - seinem eigentlichen Hauptwerk - nimmt er die Herausforderung an, eine sich wandelnde Welt als Realität und als Vision einer besseren Existenz des Menschen auf die Leinwand zu bringen. Er versteht sich als "urdeutscher" Künstler, der für das "Schöne und Edle kämpft", gegen "√úberfremdung und Bevormundung". So begeistert er sich anfangs für den Nationalsozialismus und wird 1934 Mitglied der "Nationalsozialistischen Arbeitsgemeinschaft Nordschleswig". Doch völlig unverständlich für Nolde werden 1937 knapp 30 seiner Werke in der Ausstellung "Entartete Kunst" gezeigt und über tausend seiner Bilder aus den Museen beschlagnahmt, darunter seine Hauptwerke. 1941 erhält Nolde Malverbot. In der Abgeschiedenheit des Seebüller Ateliers entstehen - trotz ständiger Gestapobeobachtung - heimlich die sogenannten "Ungemalten Bilder": auf schlechtem Papier und mit wenigen komplementären Farben gemalte Aquarelle, wie "Meer mit roter Sonne", "Tier und Frau", "Tanzende unter großer Blüte". Sie zählen heute zu den wichtigsten Werken Noldes. |
194 |
|
Wilfried Hauke, Fazil Say Remix (2006) |
Nolde - Farben und Landschaft eines Malers (26') NoldeMQ.mp4 (auch als .mov) Fazil Say: Black Earth - 1997 for piano solo, 'Silence Anatolia' 'Obstinacy' - 2001 pieces for piano and chamber orchestra, Concerto 'Silk Road - 1994 for piano and chamber orchestra |
195 LEXAR_16GB |
|
Cirque du Soleil (2008) |
Kooza (90') Stéphane Roy designed Koozå's stage to evoke a public square that changes into a circus ring. The sight lines for the audience is quite grand, up to 260 degrees. The stage has one major component, a traveling tower dubbed the "bataclan." The decoration for the bataclan is inspired by Hindu culture, Pakistani buses and Indian jewelry. The large fabric structure behind the bataclan is organic in nature, as it's printed with a motif resembling the internal structure of leaves. As for the stage itself, the surface is decorated to look like the night sky. The center ring itself has a graphic representation of the night sky in Montréal the day which the show premiered.[6] |
196 |
|
Gruber remix (2008) |
Klimt with Mercan Dede on YouTube - Mercan Dede You Tube Mix by doublemoonchannel, Halitus |
197 198 |
|
2008 |
Geheimnisvolle Orte in Berlin: Tempelhofer Flugplatz, Treptower Park, Olympisches Dorf (73') |
199 |
|
Michael Sturminger (2008) |
Cecilia Bartoli: Hommage an Maria Malibran (Palau de Musica Catalan a Bercelona) |
200 |
|
Gruber (remix, 2008) |
Rappaport's (2006 - 2008) Jaqueline du Pre: Elgar, Dvorak, Violoin Concertos Brückner-Rüggeberg, W, Norddeutsche Philharmonie: Bach (Air), Brandenburgisches Konzert # 2, Satz 2 |
201 |
|
Gruber (remix, 2009) |
Hubble blickt in Weltall (90') Anton Bruckner, G. Tinter: Sinfonie #3, Satz 1 (Misterioso) und S. Celibidache: 8, Satz 1 (Allegro moderato) |
202 |
|
Charlotte Zwerin (1988) |
Thelonious Monk: Straight, No Chaser |
203 |
|
Leonard Bernstein (1975) |
Gustav Mahler: Sinfonie #8, Wiener Philharmoniker |
204 |
|
Michael Trabitzsch (2001) |
Zeichnen bis zur Raserei: Der Maler Ernst-Ludwig Kirchner (84') |
205 |
|
Peter-Michael Seiler, J. Gruber (2008) |
Kirchen In Mecklenburg-Strelitz in Glashaus mit Yehudi Menuhin, Phillippe Herrweghe |
206 |
|
Penny Marshall (1990) |
Awakenings (100') |
207 |
|
Peter Prince, Barry Davis (1980) |
Oppenheimer, Father of the Atomic Bomb (7 x 45') english copy using Formac digitization original-DVDs at 356 |
208 |
|
2009 |
Bernhard Grzimek: Ein Leben für Tiere (45') |
209 |
|
Loriot (1997) |
Opa Hoppenstedt, Weinverkäufer Blumel (60') |
209 |
|
Larry Weinstein (2009) |
Toscanini in his own words (60') |
210 |
|
Jacob Bronowski (1969 - 1973) |
The Ascent of Man
|
211 212 |
|
Norbert Buse, Thomas von Steinacker, Janos Darvas (2008) |
karlheinz stockhausen: musik für eine neue welt (45') |
213 |
|
Janos Darvas, MusikFabrik Peter Rundel (2008) |
Karlheinz Stockhausen: Michaels Reise um die Erde (60') |
213 |
|
IBM Labs Almaden (2006) |
1: From Brain Dynnamics to Consciousness - Gerald Edelman (1 May 2006) 2: Consciousness - Christof Koch (10 June 2006) (zusammen: 86') |
214 |
|
Erich Kästner, Wolf Grimm (1980) |
Fabian (95') |
215 |
|
UC Berkeley (March 2006) |
Conversations with History Christof Koch and Harry Kreisler (50') |
216 |
|
Yann Arthus-Bertrand (2009) |
Home (engl.) (90') |
217 |
|
F. Luft, Anna Bilger, Grit Lederer, Tbias Maier, Christine Thalmann (1965 und 2009) |
Walter Gropius im Gespräch (30') Eperiment, Mythos, Inspiration: das bauhaus (15') sfb-Gesprächsreihe von Friedrich Luft (rbb-Sendung) |
218 |
|
|
Ludwig Mies van der Rohe |
219 |
|
Iossif Pasternak (2009) |
Der Andersdenkende: Andrej Dmitrijewitsch Sacharow (98'), französische Produktion französische Produktion Der Physiker Andrej Dmitrijewitsch Sacharow gehört zu den Vätern der sowjetischen Atombombe. Doch der Physiker war nicht blind für das Gefahrenpotenzial seiner Forschungsergebnisse. Immer stärker engagierte er sich gegen den Einsatz von Atomwaffen und die Wahrung der Menschenrechte in seiner Heimat. Trotz einer Auszeichnung mit dem Friedensnobelpreis wurde er seiner Privilegien als Wissenschaftler beraubt und als Staatsfeind in die Verbannung geschickt. Unmittelbar nach dem Zweiten Weltkrieg wurde Andrej Dmitrijewitsch Sacharow Mitglied einer Forschungsgruppe zur Entwicklung der sowjetischen Atomwaffen. Auch dank seiner Arbeit verfügte die UdSSR mit der 1953 gezündeten ersten Wasserstoffbombe über das Instrument zur Sicherung ihrer Position im Gleichgewicht des Schreckens. Sacharow wurde in seiner Heimat als "Vater der sowjetischen H-Bombe" mit Ehrungen überhäuft. Doch immer stärker beunruhigten den Physiker die Folgen seiner Arbeit für die Zukunft der Menschheit, und er versuchte, auf die Gefahren des atomaren Wettrüstens aufmerksam zu machen. Ein Teilerfolg war, dass auch sein Land 1968 den Nichtverbreitungsvertrag für Atomwaffen unterzeichnete. In den 70er Jahren nutzte Sacharow sein hohes Ansehen als Wissenschaftler, um ein "Komitee zur Durchsetzung der Menschenrechte und zur Verteidigung politisch Verfolgter" zu gründen. Zunehmend engagierte er sich für die Verteidigung von Dissidenten. Doch seine 1975 mit dem Friedensnobelpreis ausgezeichneten Bemühungen machten ihn in der Sowjetunion zum "Staatsfeind Nummer eins". Wegen der Kritik an den Behörden seines Landes verlor er 1979 seine Privilegien, wurde seiner Ämter enthoben und nach Gorki verbannt. Dort lebte er bis 1986 unter strenger KGB-√úberwachung. Sacharows Verteidigung der Menschenrechte und der persönlichen Freiheit machte ihn als Wissenschaftler und Politiker zu einer Symbolfigur des zeitgenössischen Humanismus. Seltene Archivaufnahmen und Aussagen ihm nahestehender Menschen verdeutlichen Sacharows vielschichtige Persönlichkeit sowie die Aufrichtigkeit und Eindeutigkeit seiner Stellungnahmen. |
220 |
|
Stephen Saunders (2006) |
Fighting in the Blue Aus heiterem Himmel: Die Royal Air Force verteidigt die Heimat #1 Spirits in the Wind: Sir Hugh "Stuffy" Dowding (47') #2 Kämpferinnen (47') #3 Piloten #4 Feurige Herzen (1): "Stuffy" Sir Hugh Dowding, Oberbefehlshaber der Royal Air Force während der entscheidenden Luftgefechte vom Sommer 1940, bildet die zentrale Figur des ersten Teils der Dokumentationsreihe. "Stuffy", so der Spitzname des ungeselligen und kompromisslosen Militärs, war maßgeblich dafür verantwortlich, dass die Royal Air Force den Angriff der deutschen Luftwaffe abwehren konnte. Der Einzelgänger war seinen Piloten sehr verbunden und nahm sie gegen Angriffe vonseiten der Politik und der √ñffentlichkeit in Schutz. Ständig verlangte Sir Hugh Dowding nach personeller Verstärkung und Aufstockung der militärischen Mittel. Auch wenn ihm Ende August 1940 das Oberkommando entzogen wurde, ist er im kollektiven britischen Gedächtnis ein Kriegsheld und gilt als Retter Großbritanniens. In der britischen Gesellschaft der 40er Jahre beschränkte sich wie überall in Europa das Wirkungsfeld der Frauen traditionell auf Haus und Familie. Im Krieg hängten jedoch einige Frauen die Küchenschürze an den Nagel. Manche ließen sich ausbilden, um in den Radarräumen der Royal Air Force zu arbeiten, andere standen in den Rüstungsbetrieben am Band und produzierten Waffen und Munition. Es gab sogar einige wenige Pilotinnen, die - wenngleich zu Beginn mit Argwohn betrachtet - für die ATA neue Maschinen aus der Flugzeugwerft in die Militärbasen flogen. #2 Pilotinnen Die Frauen, die im zweiten Teil der Dokumentationsreihe zu Wort kommen, beschreiben ihr damaliges Wirken in einem männlichen und militärischen Umfeld und sie schildern, wie sie unter anderem lernen mussten, mit Gefahr und Todesangst umzugehen. Im Frühjahr 1940 suchte die Royal Air Force händeringend nach erfahrenen Piloten, um sie gegen eine scheinbare deutsche √úbermacht einzusetzen: Den 750 britischen Piloten standen 2.500 deutsche gegenüber. Grund für dieses Ungleichgewicht war die herkömmliche Pilotenausbildung in Großbritannien, die bis zu diesem Zeitpunkt nur einer kleinen Elite offen stand. Denn traditionsgemäß stammten die Royal Air Force-Piloten aus großbürgerlichen Familien, hatten eine Eliteschule abgeschlossen und sich dann für die Militärlaufbahn entschieden. Doch in jener kritischen Zeit erwies sich diese Rekrutierung als unzureichend. Die Royal Air Force sah sich gezwungen, Piloten aus dem Commonwealth (Indien, Kanada und anderen √úberseeländern) und aus europäischen Widerstandsbewegungen - insbesondere aus Polen - einzustellen. Da diese Piloten nicht immer die englische Sprache beherrschten, kam es zuweilen zu Missverständnissen, abgesehen davon, dass sie während des Fluges nicht immer die befohlene "Funkstille" wahrten ... |
221 222 |
|
Gerald Caillat, Alain Jaubert (2010) |
L'Art de Copin: Garrick Ohlson's Chopin J.M William Turner: Les poissons volonts (54') |
223 |
|
Andreas Morell (2010) |
Tzimon Barto: Mein Chopin (45') Doppelportrait: Barto und Chopin |
224 |
|
C. Archambeau, J. Barsac (1987) L. Gualtieri (2009) |
100 Jahre Le Corbusier, Teile 2 und 3 (2 x 45') Un viaje con Le Corbusier: La Tourette |
225 |
|
|
Schätze der Welt - Erbe der Menschheit: (1) Tel Aviv: Erich Mendelsohn (2) Haus Tugendhat: Ludwig Mies van der Rohe |
226 |
|
ARD, YouTube (2008/9) |
Obama in Berlin (24.7.2008) German Watch: Die Rechnung IPCC Copenhagen: Schwarzenegger, Prince Charles |
227 |
|
Michel Follin (2009) Christoph Post (2007) |
Bolero bodytalk: Polina Semionova |
228 |
|
C. Post (2007) |
bodytalk: Lateinamerikanische Tanze (Oxana Lebedew) |
229 |
|
Joshua Bell (2007) Gene Weingarten |
Beethoven Violin Concerto at L'Enfant Plaza Subway Station Can one of the nation's great musicians cut through the fog of a D.C. rush hour? Let's find out. By Gene Weingarten Washington Post Staff Writer Sunday, April 8, 2007 It was 7:51 a.m. on Friday, January 12, the middle of the morning rush hour. In the next 43 minutes, as the violinist performed six classical pieces, 1,097 people passed by. Almost all of them were on the way to work, which meant, for almost all of them, a government job. L'Enfant Plaza is at the nucleus of federal Washington, and these were mostly mid-level bureaucrats with those indeterminate, oddly fungible titles: policy analyst, project manager, budget officer, specialist, facilitator, consultant. Each passerby had a quick choice to make, one familiar to commuters in any urban area where the occasional street performer is part of the cityscape: Do you stop and listen? Do you hurry past with a blend of guilt and irritation, aware of your cupidity but annoyed by the unbidden demand on your time and your wallet? Do you throw in a buck, just to be polite? Does your decision change if he's really bad? What if he's really good? Do you have time for beauty? Shouldn't you? What's the moral mathematics of the moment? On that Friday in January, those private questions would be answered in an unusually public way. No one knew it, but the fiddler standing against a bare wall outside the Metro in an indoor arcade at the top of the escalators was one of the finest classical musicians in the world, playing some of the most elegant music ever written on one of the most valuable violins ever made. His performance was arranged by The Washington Post as an experiment in context, perception and priorities -- as well as an unblinking assessment of public taste: In a banal setting at an inconvenient time, would beauty transcend? The musician did not play popular tunes whose familiarity alone might have drawn interest. That was not the test. These were masterpieces that have endured for centuries on their brilliance alone, soaring music befitting the grandeur of cathedrals and concert halls. The acoustics proved surprisingly kind. Though the arcade is of utilitarian design, a buffer between the Metro escalator and the outdoors, it somehow caught the sound and bounced it back round and resonant. The violin is an instrument that is said to be much like the human voice, and in this musician's masterly hands, it sobbed and laughed and sang -- ecstatic, sorrowful, importuning, adoring, flirtatious, castigating, playful, romancing, merry, triumphal, sumptuous. So, what do you think happened? HANG ON, WE'LL GET YOU SOME EXPERT HELP. Leonard Slatkin, music director of the National Symphony Orchestra, was asked the same question. What did he think would occur, hypothetically, if one of the world's great violinists had performed incognito before a traveling rush-hour audience of 1,000-odd people? "Let's assume," Slatkin said, "that he is not recognized and just taken for granted as a street musician . . . Still, I don't think that if he's really good, he's going to go unnoticed. He'd get a larger audience in Europe . . . but, okay, out of 1,000 people, my guess is there might be 35 or 40 who will recognize the quality for what it is. Maybe 75 to 100 will stop and spend some time listening." So, a crowd would gather? "Oh, yes." And how much will he make? "About $150." Thanks, Maestro. As it happens, this is not hypothetical. It really happened. "How'd I do?" We'll tell you in a minute. "Well, who was the musician?" Joshua Bell. "NO!!!" A onetime child prodigy, at 39 Joshua Bell has arrived as an internationally acclaimed virtuoso. Three days before he appeared at the Metro station, Bell had filled the house at Boston's stately Symphony Hall, where merely pretty good seats went for $100. Two weeks later, at the Music Center at Strathmore, in North Bethesda, he would play to a standing-room-only audience so respectful of his artistry that they stifled their coughs until the silence between movements. But on that Friday in January, Joshua Bell was just another mendicant, competing for the attention of busy people on their way to work. Bell was first pitched this idea shortly before Christmas, over coffee at a sandwich shop on Capitol Hill. A New Yorker, he was in town to perform at the Library of Congress and to visit the library's vaults to examine an unusual treasure: an 18th-century violin that once belonged to the great Austrian-born virtuoso and composer Fritz Kreisler. The curators invited Bell to play it; good sound, still. "Here's what I'm thinking," Bell confided, as he sipped his coffee. "I'm thinking that I could do a tour where I'd play Kreisler's music . . ." He smiled. ". . . on Kreisler's violin." It was a snazzy, sequined idea -- part inspiration and part gimmick -- and it was typical of Bell, who has unapologetically embraced showmanship even as his concert career has become more and more august. He's soloed with the finest orchestras here and abroad, but he's also appeared on "Sesame Street," done late-night talk TV and performed in feature films. That was Bell playing the soundtrack on the 1998 movie "The Red Violin." (He body-doubled, too, playing to a naked Greta Scacchi.) As composer John Corigliano accepted the Oscar for Best Original Dramatic Score, he credited Bell, who, he said, "plays like a god." When Bell was asked if he'd be willing to don street clothes and perform at rush hour, he said: "Uh, a stunt?" Well, yes. A stunt. Would he think it . . . unseemly? Bell drained his cup. "Sounds like fun," he said. Bell's a heartthrob. Tall and handsome, he's got a Donny Osmond-like dose of the cutes, and, onstage, cute elides into hott. When he performs, he is usually the only man under the lights who is not in white tie and tails -- he walks out to a standing O, looking like Zorro, in black pants and an untucked black dress shirt, shirttail dangling. That cute Beatles-style mop top is also a strategic asset: Because his technique is full of body -- athletic and passionate -- he's almost dancing with the instrument, and his hair flies. He's single and straight, a fact not lost on some of his fans. In Boston, as he performed Max Bruch's dour Violin Concerto in G Minor, the very few young women in the audience nearly disappeared in the deep sea of silver heads. But seemingly every single one of them -- a distillate of the young and pretty -- coalesced at the stage door after the performance, seeking an autograph. It's like that always, with Bell. Bell's been accepting over-the-top accolades since puberty: Interview magazine once said his playing "does nothing less than tell human beings why they bother to live." He's learned to field these things graciously, with a bashful duck of the head and a modified "pshaw." For this incognito performance, Bell had only one condition for participating. The event had been described to him as a test of whether, in an incongruous context, ordinary people would recognize genius. His condition: "I'm not comfortable if you call this genius." "Genius" is an overused word, he said: It can be applied to some of the composers whose work he plays, but not to him. His skills are largely interpretive, he said, and to imply otherwise would be unseemly and inaccurate. It was an interesting request, and under the circumstances, one that will be honored. The word will not again appear in this article. It would be breaking no rules, however, to note that the term in question, particularly as applied in the field of music, refers to a congenital brilliance -- an elite, innate, preternatural ability that manifests itself early, and often in dramatic fashion. One biographically intriguing fact about Bell is that he got his first music lessons when he was a 4-year-old in Bloomington, Ind. His parents, both psychologists, decided formal training might be a good idea after they saw that their son had strung rubber bands across his dresser drawers and was replicating classical tunes by ear, moving drawers in and out to vary the pitch. TO GET TO THE METRO FROM HIS HOTEL, a distance of three blocks, Bell took a taxi. He's neither lame nor lazy: He did it for his violin. Bell always performs on the same instrument, and he ruled out using another for this gig. Called the Gibson ex Huberman, it was handcrafted in 1713 by Antonio Stradivari during the Italian master's "golden period," toward the end of his career, when he had access to the finest spruce, maple and willow, and when his technique had been refined to perfection. "Our knowledge of acoustics is still incomplete," Bell said, "but he, he just . . . knew." Bell doesn't mention Stradivari by name. Just "he." When the violinist shows his Strad to people, he holds the instrument gingerly by its neck, resting it on a knee. "He made this to perfect thickness at all parts," Bell says, pivoting it. "If you shaved off a millimeter of wood at any point, it would totally imbalance the sound." No violins sound as wonderful as Strads from the 1710s, still. The front of Bell's violin is in nearly perfect condition, with a deep, rich grain and luster. The back is a mess, its dark reddish finish bleeding away into a flatter, lighter shade and finally, in one section, to bare wood. "This has never been refinished," Bell said. "That's his original varnish. People attribute aspects of the sound to the varnish. Each maker had his own secret formula." Stradivari is thought to have made his from an ingeniously balanced cocktail of honey, egg whites and gum arabic from sub-Saharan trees. Like the instrument in "The Red Violin," this one has a past filled with mystery and malice. Twice, it was stolen from its illustrious prior owner, the Polish virtuoso Bronislaw Huberman. The first time, in 1919, it disappeared from Huberman's hotel room in Vienna but was quickly returned. The second time, nearly 20 years later, it was pinched from his dressing room in Carnegie Hall. He never got it back. It was not until 1985 that the thief -- a minor New York violinist -- made a deathbed confession to his wife, and produced the instrument. Bell bought it a few years ago. He had to sell his own Strad and borrow much of the rest. The price tag was reported to be about $3.5 million. All of which is a long explanation for why, in the early morning chill of a day in January, Josh Bell took a three-block cab ride to the Orange Line, and rode one stop to L'Enfant. AS METRO STATIONS GO, L'ENFANT PLAZA IS MORE PLEBEIAN THAN MOST. Even before you arrive, it gets no respect. Metro conductors never seem to get it right: "Leh-fahn." "Layfont." "El'phant." At the top of the escalators are a shoeshine stand and a busy kiosk that sells newspapers, lottery tickets and a wallfull of magazines with titles such as Mammazons and Girls of Barely Legal. The skin mags move, but it's that lottery ticket dispenser that stays the busiest, with customers queuing up for Daily 6 lotto and Powerball and the ultimate suckers' bait, those pamphlets that sell random number combinations purporting to be "hot." They sell briskly. There's also a quick-check machine to slide in your lotto ticket, post-drawing, to see if you've won. Beneath it is a forlorn pile of crumpled slips. On Friday, January 12, the people waiting in the lottery line looking for a long shot would get a lucky break -- a free, close-up ticket to a concert by one of the world's most famous musicians -- but only if they were of a mind to take note. Bell decided to begin with "Chaconne" from Johann Sebastian Bach's Partita No. 2 in D Minor. Bell calls it "not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. It's a spiritually powerful piece, emotionally powerful, structurally perfect. Plus, it was written for a solo violin, so I won't be cheating with some half-assed version." Bell didn't say it, but Bach's "Chaconne" is also considered one of the most difficult violin pieces to master. Many try; few succeed. It's exhaustingly long -- 14 minutes -- and consists entirely of a single, succinct musical progression repeated in dozens of variations to create a dauntingly complex architecture of sound. Composed around 1720, on the eve of the European Enlightenment, it is said to be a celebration of the breadth of human possibility. If Bell's encomium to "Chaconne" seems overly effusive, consider this from the 19th-century composer Johannes Brahms, in a letter to Clara Schumann: "On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind." So, that's the piece Bell started with. He'd clearly meant it when he promised not to cheap out this performance: He played with acrobatic enthusiasm, his body leaning into the music and arching on tiptoes at the high notes. The sound was nearly symphonic, carrying to all parts of the homely arcade as the pedestrian traffic filed past. Three minutes went by before something happened. Sixty-three people had already passed when, finally, there was a breakthrough of sorts. A middle-age man altered his gait for a split second, turning his head to notice that there seemed to be some guy playing music. Yes, the man kept walking, but it was something. A half-minute later, Bell got his first donation. A woman threw in a buck and scooted off. It was not until six minutes into the performance that someone actually stood against a wall, and listened. Things never got much better. In the three-quarters of an hour that Joshua Bell played, seven people stopped what they were doing to hang around and take in the performance, at least for a minute. Twenty-seven gave money, most of them on the run -- for a total of $32 and change. That leaves the 1,070 people who hurried by, oblivious, many only three feet away, few even turning to look. No, Mr. Slatkin, there was never a crowd, not even for a second. It was all videotaped by a hidden camera. You can play the recording once or 15 times, and it never gets any easier to watch. Try speeding it up, and it becomes one of those herky-jerky World War I-era silent newsreels. The people scurry by in comical little hops and starts, cups of coffee in their hands, cellphones at their ears, ID tags slapping at their bellies, a grim danse macabre to indifference, inertia and the dingy, gray rush of modernity. Even at this accelerated pace, though, the fiddler's movements remain fluid and graceful; he seems so apart from his audience -- unseen, unheard, otherworldly -- that you find yourself thinking that he's not really there. A ghost. Only then do you see it: He is the one who is real. They are the ghosts. IF A GREAT MUSICIAN PLAYS GREAT MUSIC BUT NO ONE HEARS . . . WAS HE REALLY ANY GOOD? It's an old epistemological debate, older, actually, than the koan about the tree in the forest. Plato weighed in on it, and philosophers for two millennia afterward: What is beauty? Is it a measurable fact (Gottfried Leibniz), or merely an opinion (David Hume), or is it a little of each, colored by the immediate state of mind of the observer (Immanuel Kant)? We'll go with Kant, because he's obviously right, and because he brings us pretty directly to Joshua Bell, sitting there in a hotel restaurant, picking at his breakfast, wryly trying to figure out what the hell had just happened back there at the Metro. "At the beginning," Bell says, "I was just concentrating on playing the music. I wasn't really watching what was happening around me . . ." Playing the violin looks all-consuming, mentally and physically, but Bell says that for him the mechanics of it are partly second nature, cemented by practice and muscle memory: It's like a juggler, he says, who can keep those balls in play while interacting with a crowd. What he's mostly thinking about as he plays, Bell says, is capturing emotion as a narrative: "When you play a violin piece, you are a storyteller, and you're telling a story." With "Chaconne," the opening is filled with a building sense of awe. That kept him busy for a while. Eventually, though, he began to steal a sidelong glance. "It was a strange feeling, that people were actually, ah . . ." The word doesn't come easily. ". . . ignoring me." Bell is laughing. It's at himself. "At a music hall, I'll get upset if someone coughs or if someone's cellphone goes off. But here, my expectations quickly diminished. I started to appreciate any acknowledgment, even a slight glance up. I was oddly grateful when someone threw in a dollar instead of change." This is from a man whose talents can command $1,000 a minute. Before he began, Bell hadn't known what to expect. What he does know is that, for some reason, he was nervous. "It wasn't exactly stage fright, but there were butterflies," he says. "I was stressing a little." Bell has played, literally, before crowned heads of Europe. Why the anxiety at the Washington Metro? "When you play for ticket-holders," Bell explains, "you are already validated. I have no sense that I need to be accepted. I'm already accepted. Here, there was this thought: What if they don't like me? What if they resent my presence . . ." He was, in short, art without a frame. Which, it turns out, may have a lot to do with what happened -- or, more precisely, what didn't happen -- on January 12. MARK LEITHAUSER HAS HELD IN HIS HANDS MORE GREAT WORKS OF ART THAN ANY KING OR POPE OR MEDICI EVER DID. A senior curator at the National Gallery, he oversees the framing of the paintings. Leithauser thinks he has some idea of what happened at that Metro station. "Let's say I took one of our more abstract masterpieces, say an Ellsworth Kelly, and removed it from its frame, marched it down the 52 steps that people walk up to get to the National Gallery, past the giant columns, and brought it into a restaurant. It's a $5 million painting. And it's one of those restaurants where there are pieces of original art for sale, by some industrious kids from the Corcoran School, and I hang that Kelly on the wall with a price tag of $150. No one is going to notice it. An art curator might look up and say: 'Hey, that looks a little like an Ellsworth Kelly. Please pass the salt.'" Leithauser's point is that we shouldn't be too ready to label the Metro passersby unsophisticated boobs. Context matters. Kant said the same thing. He took beauty seriously: In his Critique of Aesthetic Judgment, Kant argued that one's ability to appreciate beauty is related to one's ability to make moral judgments. But there was a caveat. Paul Guyer of the University of Pennsylvania, one of America's most prominent Kantian scholars, says the 18th-century German philosopher felt that to properly appreciate beauty, the viewing conditions must be optimal. "Optimal," Guyer said, "doesn't mean heading to work, focusing on your report to the boss, maybe your shoes don't fit right." So, if Kant had been at the Metro watching as Joshua Bell play to a thousand unimpressed passersby? "He would have inferred about them," Guyer said, "absolutely nothing." And that's that. Except it isn't. To really understand what happened, you have to rewind that video and play it back from the beginning, from the moment Bell's bow first touched the strings. White guy, khakis, leather jacket, briefcase. Early 30s. John David Mortensen is on the final leg of his daily bus-to-Metro commute from Reston. He's heading up the escalator. It's a long ride -- 1 minute and 15 seconds if you don't walk. So, like most everyone who passes Bell this day, Mortensen gets a good earful of music before he has his first look at the musician. Like most of them, he notes that it sounds pretty good. But like very few of them, when he gets to the top, he doesn't race past as though Bell were some nuisance to be avoided. Mortensen is that first person to stop, that guy at the six-minute mark. It's not that he has nothing else to do. He's a project manager for an international program at the Department of Energy; on this day, Mortensen has to participate in a monthly budget exercise, not the most exciting part of his job: "You review the past month's expenditures," he says, "forecast spending for the next month, if you have X dollars, where will it go, that sort of thing." On the video, you can see Mortensen get off the escalator and look around. He locates the violinist, stops, walks away but then is drawn back. He checks the time on his cellphone -- he's three minutes early for work -- then settles against a wall to listen. Mortensen doesn't know classical music at all; classic rock is as close as he comes. But there's something about what he's hearing that he really likes. As it happens, he's arrived at the moment that Bell slides into the second section of "Chaconne." ("It's the point," Bell says, "where it moves from a darker, minor key into a major key. There's a religious, exalted feeling to it.") The violinist's bow begins to dance; the music becomes upbeat, playful, theatrical, big. Mortensen doesn't know about major or minor keys: "Whatever it was," he says, "it made me feel at peace." So, for the first time in his life, Mortensen lingers to listen to a street musician. He stays his allotted three minutes as 94 more people pass briskly by. When he leaves to help plan contingency budgets for the Department of Energy, there's another first. For the first time in his life, not quite knowing what had just happened but sensing it was special, John David Mortensen gives a street musician money. THERE ARE SIX MOMENTS IN THE VIDEO THAT BELL FINDS PARTICULARLY PAINFUL TO RELIVE: "The awkward times," he calls them. It's what happens right after each piece ends: nothing. The music stops. The same people who hadn't noticed him playing don't notice that he has finished. No applause, no acknowledgment. So Bell just saws out a small, nervous chord -- the embarrassed musician's equivalent of, "Er, okay, moving right along . . ." -- and begins the next piece. After "Chaconne," it is Franz Schubert's "Ave Maria," which surprised some music critics when it debuted in 1825: Schubert seldom showed religious feeling in his compositions, yet "Ave Maria" is a breathtaking work of adoration of the Virgin Mary. What was with the sudden piety? Schubert dryly answered: "I think this is due to the fact that I never forced devotion in myself and never compose hymns or prayers of that kind unless it overcomes me unawares; but then it is usually the right and true devotion." This musical prayer became among the most familiar and enduring religious pieces in history. A couple of minutes into it, something revealing happens. A woman and her preschooler emerge from the escalator. The woman is walking briskly and, therefore, so is the child. She's got his hand. "I had a time crunch," recalls Sheron Parker, an IT director for a federal agency. "I had an 8:30 training class, and first I had to rush Evvie off to his teacher, then rush back to work, then to the training facility in the basement." Evvie is her son, Evan. Evan is 3. You can see Evan clearly on the video. He's the cute black kid in the parka who keeps twisting around to look at Joshua Bell, as he is being propelled toward the door. "There was a musician," Parker says, "and my son was intrigued. He wanted to pull over and listen, but I was rushed for time." So Parker does what she has to do. She deftly moves her body between Evan's and Bell's, cutting off her son's line of sight. As they exit the arcade, Evan can still be seen craning to look. When Parker is told what she walked out on, she laughs. "Evan is very smart!" The poet Billy Collins once laughingly observed that all babies are born with a knowledge of poetry, because the lub-dub of the mother's heart is in iambic meter. Then, Collins said, life slowly starts to choke the poetry out of us. It may be true with music, too. There was no ethnic or demographic pattern to distinguish the people who stayed to watch Bell, or the ones who gave money, from that vast majority who hurried on past, unheeding. Whites, blacks and Asians, young and old, men and women, were represented in all three groups. But the behavior of one demographic remained absolutely consistent. Every single time a child walked past, he or she tried to stop and watch. And every single time, a parent scooted the kid away. IF THERE WAS ONE PERSON ON THAT DAY WHO WAS TOO BUSY TO PAY ATTENTION TO THE VIOLINIST, it was George Tindley. Tindley wasn't hurrying to get to work. He was at work. The glass doors through which most people exit the L'Enfant station lead into an indoor shopping mall, from which there are exits to the street and elevators to office buildings. The first store in the mall is an Au Bon Pain, the croissant and coffee shop where Tindley, in his 40s, works in a white uniform busing the tables, restocking the salt and pepper packets, taking out the garbage. Tindley labors under the watchful eye of his bosses, and he's supposed to be hopping, and he was. But every minute or so, as though drawn by something not entirely within his control, Tindley would walk to the very edge of the Au Bon Pain property, keeping his toes inside the line, still on the job. Then he'd lean forward, as far out into the hallway as he could, watching the fiddler on the other side of the glass doors. The foot traffic was steady, so the doors were usually open. The sound came through pretty well. "You could tell in one second that this guy was good, that he was clearly a professional," Tindley says. He plays the guitar, loves the sound of strings, and has no respect for a certain kind of musician. "Most people, they play music; they don't feel it," Tindley says. "Well, that man was feeling it. That man was moving. Moving into the sound." A hundred feet away, across the arcade, was the lottery line, sometimes five or six people long. They had a much better view of Bell than Tindley did, if they had just turned around. But no one did. Not in the entire 43 minutes. They just shuffled forward toward that machine spitting out numbers. Eyes on the prize. J.T. Tillman was in that line. A computer specialist for the Department of Housing and Urban Development, he remembers every single number he played that day -- 10 of them, $2 apiece, for a total of $20. He doesn't recall what the violinist was playing, though. He says it sounded like generic classical music, the kind the ship's band was playing in "Titanic," before the iceberg. "I didn't think nothing of it," Tillman says, "just a guy trying to make a couple of bucks." Tillman would have given him one or two, he said, but he spent all his cash on lotto. When he is told that he stiffed one of the best musicians in the world, he laughs. "Is he ever going to play around here again?" "Yeah, but you're going to have to pay a lot to hear him." "Damn." Tillman didn't win the lottery, either. BELL ENDS "AVE MARIA" TO ANOTHER THUNDEROUS SILENCE, plays Manuel Ponce's sentimental "Estrellita," then a piece by Jules Massenet, and then begins a Bach gavotte, a joyful, frolicsome, lyrical dance. It's got an Old World delicacy to it; you can imagine it entertaining bewigged dancers at a Versailles ball, or -- in a lute, fiddle and fife version -- the boot-kicking peasants of a Pieter Bruegel painting. Watching the video weeks later, Bell finds himself mystified by one thing only. He understands why he's not drawing a crowd, in the rush of a morning workday. But: "I'm surprised at the number of people who don't pay attention at all, as if I'm invisible. Because, you know what? I'm makin' a lot of noise!" He is. You don't need to know music at all to appreciate the simple fact that there's a guy there, playing a violin that's throwing out a whole bucket of sound; at times, Bell's bowing is so intricate that you seem to be hearing two instruments playing in harmony. So those head-forward, quick-stepping passersby are a remarkable phenomenon. Bell wonders whether their inattention may be deliberate: If you don't take visible note of the musician, you don't have to feel guilty about not forking over money; you're not complicit in a rip-off. It may be true, but no one gave that explanation. People just said they were busy, had other things on their mind. Some who were on cellphones spoke louder as they passed Bell, to compete with that infernal racket. And then there was Calvin Myint. Myint works for the General Services Administration. He got to the top of the escalator, turned right and headed out a door to the street. A few hours later, he had no memory that there had been a musician anywhere in sight. "Where was he, in relation to me?" "About four feet away." "Oh." There's nothing wrong with Myint's hearing. He had buds in his ear. He was listening to his iPod. For many of us, the explosion in technology has perversely limited, not expanded, our exposure to new experiences. Increasingly, we get our news from sources that think as we already do. And with iPods, we hear what we already know; we program our own playlists. The song that Calvin Myint was listening to was "Just Like Heaven," by the British rock band The Cure. It's a terrific song, actually. The meaning is a little opaque, and the Web is filled with earnest efforts to deconstruct it. Many are far-fetched, but some are right on point: It's about a tragic emotional disconnect. A man has found the woman of his dreams but can't express the depth of his feeling for her until she's gone. It's about failing to see the beauty of what's plainly in front of your eyes. "YES, I SAW THE VIOLINIST," Jackie Hessian says, "but nothing about him struck me as much of anything." You couldn't tell that by watching her. Hessian was one of those people who gave Bell a long, hard look before walking on. It turns out that she wasn't noticing the music at all. "I really didn't hear that much," she said. "I was just trying to figure out what he was doing there, how does this work for him, can he make much money, would it be better to start with some money in the case, or for it to be empty, so people feel sorry for you? I was analyzing it financially." What do you do, Jackie? "I'm a lawyer in labor relations with the United States Postal Service. I just negotiated a national contract." THE BEST SEATS IN THE HOUSE WERE UPHOLSTERED. In the balcony, more or less. On that day, for $5, you'd get a lot more than just a nice shine on your shoes. Only one person occupied one of those seats when Bell played. Terence Holmes is a consultant for the Department of Transportation, and he liked the music just fine, but it was really about a shoeshine: "My father told me never to wear a suit with your shoes not cleaned and shined." Holmes wears suits often, so he is up in that perch a lot, and he's got a good relationship with the shoeshine lady. Holmes is a good tipper and a good talker, which is a skill that came in handy that day. The shoeshine lady was upset about something, and the music got her more upset. She complained, Holmes said, that the music was too loud, and he tried to calm her down. Edna Souza is from Brazil. She's been shining shoes at L'Enfant Plaza for six years, and she's had her fill of street musicians there; when they play, she can't hear her customers, and that's bad for business. So she fights. Souza points to the dividing line between the Metro property, at the top of the escalator, and the arcade, which is under control of the management company that runs the mall. Sometimes, Souza says, a musician will stand on the Metro side, sometimes on the mall side. Either way, she's got him. On her speed dial, she has phone numbers for both the mall cops and the Metro cops. The musicians seldom last long. What about Joshua Bell? He was too loud, too, Souza says. Then she looks down at her rag, sniffs. She hates to say anything positive about these damned musicians, but: "He was pretty good, that guy. It was the first time I didn't call the police." Souza was surprised to learn he was a famous musician, but not that people rushed blindly by him. That, she said, was predictable. "If something like this happened in Brazil, everyone would stand around to see. Not here." Souza nods sourly toward a spot near the top of the escalator: "Couple of years ago, a homeless guy died right there. He just lay down there and died. The police came, an ambulance came, and no one even stopped to see or slowed down to look. "People walk up the escalator, they look straight ahead. Mind your own business, eyes forward. Everyone is stressed. Do you know what I mean?" What is this life if, full of care, We have no time to stand and stare. -- from "Leisure," by W.H. Davies Let's say Kant is right. Let's accept that we can't look at what happened on January 12 and make any judgment whatever about people's sophistication or their ability to appreciate beauty. But what about their ability to appreciate life? We're busy. Americans have been busy, as a people, since at least 1831, when a young French sociologist named Alexis de Tocqueville visited the States and found himself impressed, bemused and slightly dismayed at the degree to which people were driven, to the exclusion of everything else, by hard work and the accumulation of wealth. Not much has changed. Pop in a DVD of "Koyaanisqatsi," the wordless, darkly brilliant, avant-garde 1982 film about the frenetic speed of modern life. Backed by the minimalist music of Philip Glass, director Godfrey Reggio takes film clips of Americans going about their daily business, but speeds them up until they resemble assembly-line machines, robots marching lockstep to nowhere. Now look at the video from L'Enfant Plaza, in fast-forward. The Philip Glass soundtrack fits it perfectly. "Koyaanisqatsi" is a Hopi word. It means "life out of balance." In his 2003 book, Timeless Beauty: In the Arts and Everyday Life, British author John Lane writes about the loss of the appreciation for beauty in the modern world. The experiment at L'Enfant Plaza may be symptomatic of that, he said -- not because people didn't have the capacity to understand beauty, but because it was irrelevant to them. "This is about having the wrong priorities," Lane said. If we can't take the time out of our lives to stay a moment and listen to one of the best musicians on Earth play some of the best music ever written; if the surge of modern life so overpowers us that we are deaf and blind to something like that -- then what else are we missing? That's what the Welsh poet W.H. Davies meant in 1911 when he published those two lines that begin this section. They made him famous. The thought was simple, even primitive, but somehow no one had put it quite that way before. Of course, Davies had an advantage -- an advantage of perception. He wasn't a tradesman or a laborer or a bureaucrat or a consultant or a policy analyst or a labor lawyer or a program manager. He was a hobo. THE CULTURAL HERO OF THE DAY ARRIVED AT L'ENFANT PLAZA PRETTY LATE, in the unprepossessing figure of one John Picarello, a smallish man with a baldish head. Picarello hit the top of the escalator just after Bell began his final piece, a reprise of "Chaconne." In the video, you see Picarello stop dead in his tracks, locate the source of the music, and then retreat to the other end of the arcade. He takes up a position past the shoeshine stand, across from that lottery line, and he will not budge for the next nine minutes. Like all the passersby interviewed for this article, Picarello was stopped by a reporter after he left the building, and was asked for his phone number. Like everyone, he was told only that this was to be an article about commuting. When he was called later in the day, like everyone else, he was first asked if anything unusual had happened to him on his trip into work. Of the more than 40 people contacted, Picarello was the only one who immediately mentioned the violinist. "There was a musician playing at the top of the escalator at L'Enfant Plaza." Haven't you seen musicians there before? "Not like this one." What do you mean? "This was a superb violinist. I've never heard anyone of that caliber. He was technically proficient, with very good phrasing. He had a good fiddle, too, with a big, lush sound. I walked a distance away, to hear him. I didn't want to be intrusive on his space." Really? "Really. It was that kind of experience. It was a treat, just a brilliant, incredible way to start the day." Picarello knows classical music. He is a fan of Joshua Bell but didn't recognize him; he hadn't seen a recent photo, and besides, for most of the time Picarello was pretty far away. But he knew this was not a run-of-the-mill guy out there, performing. On the video, you can see Picarello look around him now and then, almost bewildered. "Yeah, other people just were not getting it. It just wasn't registering. That was baffling to me." When Picarello was growing up in New York, he studied violin seriously, intending to be a concert musician. But he gave it up at 18, when he decided he'd never be good enough to make it pay. Life does that to you sometimes. Sometimes, you have to do the prudent thing. So he went into another line of work. He's a supervisor at the U.S. Postal Service. Doesn't play the violin much, anymore. When he left, Picarello says, "I humbly threw in $5." It was humble: You can actually see that on the video. Picarello walks up, barely looking at Bell, and tosses in the money. Then, as if embarrassed, he quickly walks away from the man he once wanted to be. Does he have regrets about how things worked out? The postal supervisor considers this. "No. If you love something but choose not to do it professionally, it's not a waste. Because, you know, you still have it. You have it forever." BELL THINKS HE DID HIS BEST WORK OF THE DAY IN THOSE FINAL FEW MINUTES, in the second "Chaconne." And that also was the first time more than one person at a time was listening. As Picarello stood in the back, Janice Olu arrived and took up a position a few feet away from Bell. Olu, a public trust officer with HUD, also played the violin as a kid. She didn't know the name of the piece she was hearing, but she knew the man playing it has a gift. Olu was on a coffee break and stayed as long as she dared. As she turned to go, she whispered to the stranger next to her, "I really don't want to leave." The stranger standing next to her happened to be working for The Washington Post. In preparing for this event, editors at The Post Magazine discussed how to deal with likely outcomes. The most widely held assumption was that there could well be a problem with crowd control: In a demographic as sophisticated as Washington, the thinking went, several people would surely recognize Bell. Nervous "what-if" scenarios abounded. As people gathered, what if others stopped just to see what the attraction was? Word would spread through the crowd. Cameras would flash. More people flock to the scene; rush-hour pedestrian traffic backs up; tempers flare; the National Guard is called; tear gas, rubber bullets, etc. As it happens, exactly one person recognized Bell, and she didn't arrive until near the very end. For Stacy Furukawa, a demographer at the Commerce Department, there was no doubt. She doesn't know much about classical music, but she had been in the audience three weeks earlier, at Bell's free concert at the Library of Congress. And here he was, the international virtuoso, sawing away, begging for money. She had no idea what the heck was going on, but whatever it was, she wasn't about to miss it. Furukawa positioned herself 10 feet away from Bell, front row, center. She had a huge grin on her face. The grin, and Furukawa, remained planted in that spot until the end. "It was the most astonishing thing I've ever seen in Washington," Furukawa says. "Joshua Bell was standing there playing at rush hour, and people were not stopping, and not even looking, and some were flipping quarters at him! Quarters! I wouldn't do that to anybody. I was thinking, Omigosh, what kind of a city do I live in that this could happen?" When it was over, Furukawa introduced herself to Bell, and tossed in a twenty. Not counting that -- it was tainted by recognition -- the final haul for his 43 minutes of playing was $32.17. Yes, some people gave pennies. "Actually," Bell said with a laugh, "that's not so bad, considering. That's 40 bucks an hour. I could make an okay living doing this, and I wouldn't have to pay an agent." These days, at L'Enfant Plaza, lotto ticket sales remain brisk. Musicians still show up from time to time, and they still tick off Edna Souza. Joshua Bell's latest album, "The Voice of the Violin," has received the usual critical acclaim. ("Delicate urgency." "Masterful intimacy." "Unfailingly exquisite." "A musical summit." ". . . will make your heart thump and weep at the same time.") Bell headed off on a concert tour of European capitals. But he is back in the States this week. He has to be. On Tuesday, he will be accepting the Avery Fisher prize, recognizing the Flop of L'Enfant Plaza as the best classical musician in America. |
230 |
|
Errol Morris (2003) |
The Fog of War: Robert S. McNamara (100') Documentary about Robert McNamara, Secretary of Defense in the Kennedy and Johnson Administrations, who subsequently became president of the World Bank. The documentary combines an interview with Mr. McNamara discussing some of the tragedies and glories of the 20th Century, archival footage, documents, and an original score by Philip Glass. Written by Richard Latham |
231 |
|
Reinhard Joksch (2007) |
Fritz Kolbe - Der ungeliebte Patriot Spion gegen Hitler (40') |
232 |
|
Alejandro Amenabar (2009) |
Agora - Die Säulen des Himmels (127') Teil 1 Teil 2 mit Rachel Weisz als Hypatia von Alexandria |
233 233a 233b |
|
Jan Palfremon, Nabay Linde, Robert Hone (1991) |
Eine Maschine verändert die Welt fehlt Teil 4 Teil 1 Eine Maschine verändert die Welt - Wie die Computer rechnen lernten Ein Jahr nach dem 2. Weltkrieg wurde der erste Großrechner um eine Summe von 3 Millionen Dollar gebaut. Dieser Großrechner hatte die Kapazität eines heutigen Taschenrechners, war aber trotzdem eine bahnbrechende Erfindung. In wenigen Jahrzehnten entwickelte sich der Computer zur wichtigsten Maschine unserer Zeit und wurde für die Menschen, ob zu Hause oder in der Berufswelt, allgegenwärtig. Doch wie kam man überhaupt auf die Idee, eine solche Maschine zu bauen. Der erste Mensch, der sich mit der Idee befasste, eine solche Maschine zu bauen, war Charles Babbage, um Rechenprozeduren von Fehlern zu befreien. Zu seiner Zeit gab es noch sogenannte "Rechenknechte", deren Aufgabe es war, langwierige Rechenoperationen auszuführen, die für die Industrie und die Schifffahrt (Navigation) sehr wichtig waren. 1822 erfand Babbage die erste Rechenmaschine, die aber noch mechanisch arbeitete und nichts mit den heutigen Computern gemeinsam hatte. Seine "Differenzmaschine", mit Dampf betrieben, funktionierte jedoch nie. Bald schon merkte der Professor für Mathematik an der Universität in Cambridge, dass eine solche Maschine zu einseitig war, und versuchte eine variablere Maschine herzustellen. Erste Heimcomputer kamen mit einem ROM, der das Betriebssystem beinhaltete. Damit war ein Update nur durch Austausch dieses (seinerzeit teuren) Bausteins möglich. Auch standen nicht immer ROMs mit ausreichender Speicherkapazität zur Verfügung. Daher ging man dazu über, die Computer mit einer Firmware auszuliefern, die das Betriebssystem von einem externen Speichermedium lädt. Da der IBM-PC - im Gegensatz zu seinen damaligen Konkurrenzerzeugnissen - ausschließlich mit handelsüblichen Komponenten aufgebaut war, führte dies zu zahlreichen Nachbauten. Der IBM-PC entwickelte sich zu einem inoffiziellen Industriestandard, weil er ohne Lizenzierung von IBM nachgebaut werden konnte.. |
234 |
|
Gene Roddenberry |
Star Trek - The Next Generation: 04/25/92 221 45761.3 The Perfect Mate A beautiful woman, chosen by her people to serve as a peace offering to end a centuries-long war, falls in love with Picard. 05/30/92 225 45944.1 The Inner Light (clips) After a mysterious accident, Picard awakes up living the life of another person on a faraway planet. |
235 |
|
Gene Roddenberry |
Star Trek - The Next Generation 09/28/91 202 45047.2 Darmok The crew is rendered helpless when Picard is kidnapped and forced to go to war with an alien captain |
236 |
|
Gene Roddenberry |
Star Trek - The Next Generation 05/09/92 223 45854.2 I Borg Picard and the crew suffer from conflicting emotions when the Enterprise rescues a critically-injured Borg. 03/21/92 218 45652.1 Cause And Effect The Enterprise is trapped in a time warp that forces the crew to endlessly repeat the same experiences |
237 |
|
Gene Roddenberry (1989) |
Star Trek -The Next Generation 01/23/93 238 46424.1 Ship In A Bottle (S6E12: 2x engl.) A calculating Sherlock Holmesian character traps Picard and others in a holodeck simulation. 03/25/89 138 42625.4 The Royale (S2E12: 2x engl.) Investigating the discovery of a piece of metal bearing a United States Air Force insignia, the Away Team finds itself trapped in the world of "The Hotel Royale", a novel come to life. |
238 |
|
Gene Roddenberry |
Star Trek - The Next Generation 06/13/92 226 45959.1 Time's Arrow #1 After Data learns of his own death in late- 19th-century San Francisco, a freak accident transports him back to that period. |
239 |
|
Gene Roddenberry (1993) |
Star Trek - The Next Generation 05/01/93 247 46778.1 Frame of Mind (S6E21: 2x engl.) Trapped in an alien mental hospital, with little memory of the past, Riker is convinced he is going insane. |
240 |
|
Gene Roddenberry (1993) |
Star Trek - The Next Generation 05/16/92 224 N/A The Next Phase |
241 |
|
Gene Roddenberry (1988) |
Star Trek - The Next Generation 04/30/88 124 41697.9 We'll Always Have Paris (S1E24: 1x engl.) Captain Picard is unexpectedly reunited with his first love in the midst of an investigation into lethal time warp experiments. |
242 |
|
Petra Nagel |
Liebe an die Macht: Michail & Raissa Gorbatschow |
242 |
|
Gene Roddenberry |
Star Trek - The Next Generation 01/07/89 132 42477.2 Loud As A Whisper (S2E5: 1x engl.) The future of a warring planet depends on a deaf mediator, who suddenly loses his ability to communicate. ... Troi comes to Riva (the mediator) and tells him she is going to try to mediate, and asks him for suggestions. Riva suggests she find something the two factions have in common, no matter how small, and says the real trick is "turning a disadvantage into an advantage." Troi challenges him to do the same, and he decides to beam back down. When all is in place, Riva tells the Enterprise crew they can leave. Everyone is puzzled, except for Troi, who tells Riker that Riva is going to teach the Solari his sign language, which will help them communicate, not only with him, but with each other. The Enterprise leaves, confident that he will resolve the war, and Picard thanks Troi warmly for all she has done. |
243 |
|
Gene Roddenberry |
Star Trek - The Next Generation 01/21/89 131 42437.5 The Schizoid Man (S2E6: 1x engl.) A brilliant but terminally ill scientist seeks eternal life by transferring his mind into Data's body. |
243 |
|
Gene Roddenberry |
Star Trek - The Next Generation 01/28/89 133 42494.8 Unnatural Selection (S2E7: 1x engl.) The crew grapples with a mysterious disease which accelerates the aging process, causing humans to die of old age within a matter of days. |
244 |
|
Gene Roddenberry |
Star Trek - The Next Generation 02/11/89 135 42523.7 The Measure Of A Man (S2E9: 3x engl.) When Data refuses to be disassembled for research purposes, Picard is enlisted to defend his rights in court. |
245 |
|
Gene Roddenberry |
Star Trek - The Next Generation 02/18/89 136 42568.8 The Dauphin (S2E10: 3x engl.) Wesley finds romance with the beautiful young ruler of Daled Four whose secret power could destroy the Enterprise and her crew. The Enterprise arrives at Klavdia Three and picks up Salia, future ruler of Daled Four, with her guardian Anya. Geordi takes the opportunity to make some minor adjustments to the warp engines, and sends Wesley for a magnet. Wes gets it, and then runs into Salia, and they seem immediately attracted to one another. While Troi expresses concern that Salia and Anya may not be exactly what they appear to be (i.e. humanoid), Geordi sends Wesley out of Engineering until his hormones calm down. Wes consults with Worf, Data, and Riker about what to say to Salia, but none are particularly helpful. While Anya (whom we've seen change her shape earlier) takes a tour of the ship, Wes lurks outside Salia's door, until she asks him in to find out how to work the food dispenser |
245 246 |
|
Gene Roddenberry |
Star Trek - The Next Generation 02/11/89 135 42523.7 The Measure Of A Man When Data refuses to be disassembled for research purposes, Picard is enlisted to defend his rights in court. |
246 |
|
Gene Roddenberry |
Star Trek - The Next Generation 02/04/89 134 42506.5 A Matter Of Honor (S2E8: 1x engl.) Riker's loyalties are put to the test when he is assigned to a Klingon vessel which plans to attack the Enterprise. |
247 |
|
Gene Roddenberry |
Star Trek - The Next Generation 03/18/89 137 42609.1 Contagion (S2E9: 1x engl.) The Enterprise's computer system falls prey to a mysterious electronic "virus" which programs the ship to self destruct. |
|
|
Gene Roddenberry |
Star Trek - The Next Generation 03/25/89 138 42625.4 The Royale (S2E12: 1x engl.) They detect one building down planetside, with breathable air smack in the middle of a vicious storm system. Riker, Data and Worf beam down. They find only an antique revolving door. When they go through, they find themselves in "The Hotel Royale", a hotel and gambling casino, and are welcomed by the desk clerk as three foreign gentlemen (expected, of course). Communications with the ship are lost, and Geordi and Wes begin working on finding a frequency that will work. Data, meanwhile, finds that none of the figures they see around them are emitting life signs. While Geordi and Wes continue their work, Data learns how to play blackjack from Texas, one of the gamblers, and wins easily. Riker, becoming less amused, assembles Data and Worf and the three try to leave, only to find they cannot. The revolving door takes them back where they started, and no other exits can be found. (The walls are also phaser-resistant.) Riker confronts the desk clerk again, who doesn't seem to realize he's not on Earth, and is not at all helpful. Then, Data detects signs of human DNA, and they go upstairs to investigate. |
248 260 |
|
Gene Roddenberry |
Star Trek - The Next Generation 04/01/89 139 42679.2 Time Squared (S2E13: 1x engl.) The U.S.S. Enterprise discovers a Federation shuttle containing an exact double of Captain Picard from six hours in the future. |
248 |
|
Gene Roddenberry |
Star Trek - The Next Generation 04/29/89 141 42695.3 Pen Pals (S2E15: 2x engl.) Data races against time to save the life a little alien girl on a planet doomed for destruction. |
249 |
|
|
Star Trek - The Next Generation 05/06/89 142 42761.3 Q Who (S2E16: 2x engl.) The crew is hurled into the future by the malevolent Q, who sets them up for destruction by a race of half-human, half-robot aliens known as the Borg |
249 |
|
Gene Roddenberry |
Star Trek - The Next Generation 05/13/89 143 42779.1 Samaritan Snare (S2E17: 1x engl.) While Picard fights for his life in surgery, Geordi is held hostage by the leaders of an alien race |
250 |
|
Gene Roddenberry |
Star Trek - The Next Generation 05/20/89 144 42823.2 Up The Long Ladder (S2E18: 1x engl.) The crew's rescue of a missing earth colony leads to the discovery of a civilization composed entirely of clones. |
250 |
|
Gene Roddenberry |
Star Trek - The Next Generation 06/24/89 146 42901.3 The Emissary (S2E20: 3x engl.) An official mission becomes a personal matter when Worf's former love is sent to the Enterprise to mediate a dispute between Klingons and the |
251 |
|
Gene Roddenberry |
Star Trek - The Next Generation 06/17/89 145 42859.2 Manhunt (S2E19: 1x engl.) In her search for the perfect mate, Troi's mother beams aboard the Enterprise-and sets her sights on Captain Picard. |
251 |
|
Gene Roddenberry |
Star Trek - The Next Generation 09/28/91 202 45047.2 Darmok The Enterprise is in the El'A'Drel system to meet with the Tamarians, a race which seems peaceful, but have been described as "incomprehensible" in past encounters. Both sides try to converse, but no progress seems to be made; although the words are understandable, their meaning is not. The Tamarian captain, after a brief and heated discussion with his first officer about "Darmok and Jilad at Tanagra," beams off his bridge-and Picard is beamed off the Enterprise at the same time. Attempts to retrieve him fail, as the Tamarians have set up a transporter- blocking field in the planet's ionosphere. Worf's first assumption is that this is some sort of challenge ritual, e.g., personal combat. Picard at first believes this as well, and throws away the knife that Captain Dathon throws to him, refusing to fight. Dathon replies, frustratedly, "Chaka...when the walls fell." Riker's first attempts to communicate with the Tamarians fail, and he orders Worf to assemble a team and take a shuttle down to save Picard, hoping the Tamarians won't push things that far. Picard, meanwhile, is still getting nowhere-Dathon appears friendly, and throws Picard a brand with which to light his own campfire, but communication is still seemingly impossible. The shuttle tries to go down and is hit by Tamarian phasers-but only with enough force to make them go back. Riker is puzzled. Geordi thinks that given enough time, he might be able to punch through a very tight beam and get Picard off, but it'll take at least a day to get ready. Riker orders him to get on it, and orders Data and Troi to work on establishing a communication of some sort. They find very little at first-"Darmok", used as a name of some sort, has 47 different meanings in nearby systems. After Troi expresses her frustration at the situation, they try again, this time with "Tanagra". It also has many meanings-but the meanings for a particular planet combine nicely ("Darmok" is a mythical hunter-hero, and "Tanagra" is a mythical island). Meanwhile, Picard examines Dathon's campsite when he finds Dathon gone, and discovers some sort of captain's log. But just then, Dathon hurries back, and frantically tries to give Picard a knife again, saying "Darmok and Jilad at Tanagra!" repeatedly. Picard refuses-but then a loud growl is heard from not very far away. "Darmok, and Jilad..." says Dathon with resignation, "at Tanagra." Picard then takes the knife, realizing that the problem is not with Dathon. Since ship's sensors are picking up this creature (whatever it is) moving towards the two captains, Riker hurries Geordi along with the transporter, despite Geordi's warning that it might not work. Meanwhile, as the creature approaches, Picard makes an intuitive breakthrough, and finally realizes that the Tamarians communicate via metaphor, by citing examples from their own culture. "Sucat, his eyes uncovered!" exclaims Dathon in elation. However, the creature's attack easily breaks through the defenses of both men, and Dathon is sorely battered. Picard moves to help-and is promptly seized by a transporter beam. The beam isn't strong enough to get him, though, and Picard (who screamed out against the beam when it came) is returned to the surface, just in time to see the creature vanish, and Dathon fall unconscious. As the situation worsens in orbit (the interference field has now been strengthened, Data and Troi conclude that although they know how the Tamarians communicate, they don't know what the examples mean, and Riker prepares to fire on the Tamarian ship to remove the field), Picard "talks" with a wounded Dathon. Eventually, he pieces together the puzzle-Dathon intended for the two of them to come down to the planet and fight a common enemy to form a bond between them, just as Darmok and Jilad did against the beast of Tanagra. Picard, in return, tells Dathon a tale of Gilgamesh and Enkidu- just before Dathon succumbs to his wounds and dies. When Riker receives word that Dathon's life signs have vanished, and that the creature has been detected moving towards Picard again, he decides they're out of options, and they open fire. The field is removed, and Picard is saved just in time. Both ships trade shots several times, and the Enterprise is close to destruction, but Picard manages to communicate the facts of the situation enough to the Tamarian first officer that both sides leave peacefully; not necessarily as friends, but certainly not as enemies. |
252 |
|
Gene Roddenberry |
Star Trek - The Next Generation 10/02/93 255 47215.5 Interface (S7E3: 2x engl.) The USS Raman is in jeopardy, trapped inside a gas giant, and the Enterprise is naturally called in to rescue them. They plan to do so by using a new piece of technology, a probe that Geordi uses via a direct neural interface, letting him experience the probe's responses as if he were actually where the probe is. Although the gas giant's atmosphere is very turbulent, the probe should be able to transmit without problems. All is well - until Starfleet calls Picard with a message of bad news. The U.S.S. Hera disappeared four days ago, along with all of her crew - and her captain, Geordi's mother. |
252 261 262 |
|
Gene Roddenberry |
Star Trek - The Next Generation 04/29/89 141 42695.3 Pen Pals 05/06/89 142 42761.3 Q Who |
253 |
|
|
05/30/92 225 45944.1 The Inner Light (S5E25: 3x engl.) The Enterprise encounters an object: a probe of unknown and fairly primitive design, which quickly begins matching their course and speed. It initially seems nonthreatening, but soon emits a beam of nucleons. The shields go up, but it manages to break through the shields in a very narrow region, and Picard suddenly faints. He blearily sees Riker holding him...and then Riker dissolves into a youngish woman with a careworn look on her face, who asks Picard if he's feeling better, referring to him as "Kamin". Picard initially believes he's stuck in a holodeck program and attempts to leave, but to no avail. Feeling trapped, he paces. "What is this place?" "This...is your home, of course." |
254 |
|
Gene Roddenberry |
Star Trek - The Next Generation 07/08/89 147 42923.4 Peak Performance (S2E21: 1x engl.) A simulated war game turns deadly when the crew is ambushed by a Ferengi battleship. Due to the Borg threat, the Enterprise is taking part in Federation wargames, overseen by the Zakdorn strategist Sirna Kolrami, who is unpleasant, to say the least. Kolrami tells Riker he will be commanding the 80-year-old U.S.S. Hathaway, and putting her in simulated combat against the Enterprise. Riker selects his complement of 40, including Worf, Geordi and Wesley. Before Riker leaves, he invites Kolrami to play a game of strategema, a game at which Kolrami is a grandmaster. Kolrami easily defeats Riker (who did not expect to win, but merely played for the privilege of playing him), and Pulaski suggests to Data that he play Kolrami, to knock Kolrami down a few pegs. Riker and company arrive at the Hathaway and are given 48 hours to get her into shape. This may prove difficult, as Geordi finds they have virtually no dilithium, and no antimatter for the warp drive. Worf considers the possibility of fooling the Enterprise sensors, and Wesley returns to the Enterprise, to pick up a "science project" of his which just happens to have antimatter. Data, put up to the match by Pulaski, plays Kolrami-and loses. Concerned that his loss may be a sign of a malfunction in his systems, Data goes into seclusion in his quarters, and neither Pulaski nor Troi can help him. Picard, after yelling at Kolrami for his belittling attitude towards Riker, goes to Data's quarters with a no- nonsense attitude and gets Data back to the bridge, where the two confer about Riker's probable tactics. ... |
254 |
|
Gene Roddenberry |
Star Trek - The Next Generation 05/30/92 225 45944.1 The Inner Light |
255 258 |
|
Gene Roddenberry |
Star Trek - The Next Generation 04/25/92 221 45761.3 The Perfect Mate (S5E21: 1x engl.) The Enterprise is ferrying Kriosian ambassador Briam to a meeting with his opposite number, Voltan ambassador Alric, where the two warring systems will finally settle their differences on board the Enterprise. Unfortunately, some Ferengi on board wreak havoc at the wrong time, and Briam's "cargo" is revived early, and revealed to be a beautiful woman named Kamala, who seems to show an immediate interest in Picard. Kamala is a rarity, a female empathic metamorph, who unconsciously molds her personality to meet the desires of those men around her. Eventually, she will bond to one man, and she has been intended since birth to bond to Alric, ending their bitter feud. Riker takes her to some quarters, but she quickly turns herself into his ideal woman and tries to seduce him. The following morning, after being told by a very angry Beverly that Briam has Kamala confined to quarters, Picard goes to see her. She explains that her presence could be detrimental to the crew, and when Picard asks her to stop changing herself in this way, she explains that it's part and parcel of who she is; "one might as well ask a Vulcan to forgo logic." Picard asks her what she and other metamorphs do or want when there's no one else to mold to. She says, simply, that she's incomplete. Picard leaves, visibly disturbed by her forceful approach. After initially failing to convince Briam that she can move freely, Picard appoints Data her chaperone. Even Data has his hands full, however, when Kamala causes trouble in Ten- Forward with a group of miners. Kamala later tells Picard that she thinks she should remain in her quarters, and will-but only on the condition that he visit. Picard first demurs, then becomes fascinated when she shows a sudden interest in and knowledge of archaeology. Panicking at his own interest, Picard attempts to convince her that he's really a very dull fellow. She doesn't believe him, but he manages to make his refusal stick. However, shortly thereafter, the Ferengi's attempt to bribe Briam results in Briam being severely injured. The Ferengi are sent to a nearby Starbase, but now the negotiations are in jeopardy. A delay is not possible, since Kamala's ability to permanently bond does not last long, and Picard is put in the position of having to conclude the negotiations-and worse yet, work closely with Kamala for days in preparing for them. They become closer over those days, and Kamala admits that until this voyage, she had never been alone at all. She understands her place in history, and intends to fulfill it, "but I find it ironic that on the eve of this ceremony, which I spent my entire life preparing for, that I should meet a man like you." Alric arrives that evening, but is woefully stuffy; by his own admission, he's far more interested in the trade agreements between their two worlds than he is in Kamala. Picard brings Kamala up to date on the arrangements (she is to be presented to Alric the following morning at ten), but Kamala asks him not to leave. He tries to simply sit and talk, but Kamala draws ever closer, not even entirely knowing why. The following morning at tea, a morose Picard bares his soul a bit to Beverly. He says that although he realizes she "will change as soon as the next man comes in the room...I find myself hoping the next man won't come in." Bev sympathizes, but tells him she doesn't think she can help. Picard arrives to escort Kamala, only to have her tell him that she's already bonded; to him. Regardless, she intends to go ahead with the ceremony; being empathic, she can still please Alric and ensure that he never knows. Picard gives away the bride, looking rather stricken. Finally, the recovered Briam heads back to his ship-but when he asks Picard how he could possibly have resisted her influence, Picard merely tells him to have a safe trip home. |
255 |
|
Gene Roddenberry |
Star Trek - The Next Generation 06/24/89 146 42901.3 The Emissary (S2E20: 1x engl.) |
256 257 |
|
Gene Roddenberry |
Star Trek - The Next Generation 05/11/91 197 44821.3 The Host (S4E23: 1x engl.) Beverly's life has taken a turn for the better- she's in love with Ambassador Odan, a negotiator of the Trill race, who's on board to get to a dispute between two moons of the world Peliar. However, Odan isn't quite what he seems-Troi keeps getting fluctuations of emotion from him, and when he's alone, we see...something...moving around in his stomach. The trip is for the most part uneventful, marked only by Bev receiving a bit of ribbing from Deanna about her new flame. Once they arrive at the planet in question, however, things happen very fast. Odan and Riker attempt to shuttle down to the planet (Odan claiming he's not comfortable with transporters), but the shuttle is fired on. Riker manages, barely, to get it back to the Enterprise, but Odan is critically injured. Or rather, Odan's host body is critically injured-as it happens, the Trill are a joint species, and the parasite within the host body is the true Odan. The body dies, and a replacement host from the Trill is 40 hours away, far longer than Odan could survive alone, even in stasis. Since Odan might be able to survive in a human host, Riker volunteers to be that host temporarily. The process is a little bumpy, but it works. The aftermath is a problem, however. First, Riker/Odan must convince both Governor Leka and the two representatives of the factions that he's legitimate. Secondly, Riker's body is slowly but surely rejecting Odan, and it's unclear how long he can last. Thirdly, Beverly is very...uncomfortable with this situation, particularly when Riker/Odan says he still loves her, and still wants her. All three problems are resolved, more or less. Odan is accepted as negotiator by all three parties, and Beverly manages to accept that the man she loves is still there, inside Riker's body. Unfortunately, the rejection continues, and Odan makes Beverly swear to remove him at the end of the day's negotiations, regardless of whether the new host has arrived. Fortunately, his negotiations are successful, and while Odan has to spend a little time in stasis between hosts, both Odan and Riker survive. The change of hosts, however, becomes too much for Beverly, especially when she finds that the new Trill host is a woman. Saying "I can't keep up," she tells Odan that although she still loves him and will never forget him, it's over. |
256 257 |
|
Gene Roddenberry |
Star Trek - The Next Generation 05/01/93 247 46778.1 Frame of Mind Riker, looking very disheveled, is deep in conversation with an unseen doctor. It soon becomes clear that he's in an insane asylum, brought there until he can stand trial for his actions. Riker steadily loses what little cool he has, and in the end has some sharp words for the doctor ... |
259 |
|
Gene Roddenberry |
Star Trek - The Next Generation 01/23/93 238 46424.1 Ship In A Bottle (on youtube) Moriarty managed to "leave" the holodeck because it was a holodeck within a holodeck. Moriarty is in a huge holodeck program of his own making - and so are they. ... Picard then steps in, shutting down the holodeck program that Moriarty had entered ever since Picard's conversation with the Countess and saving Moriarty and the Countess in an isolated memory cube. He then shuts down the program Moriarty created and leaves the holodeck. As the Enterprise retreats to observe the planetary collision from a safe distance, Picard explains this to everyone, pointing out that Moriarty's perceived "reality" right now may be no different from their own - and perhaps they are just a fiction playing itself out on a box on someone's table. |
260 |
|
Gene Roddenberry |
Star Trek - The Next Generation 02/15/92 214 45494.2 Conundrum (S5E14: 2x engl.) The Enterprise is tracking some odd signals which could be a sign of intelligent life. Troi and Data are in Ten-Forward: Troi manages to beat Data at three-D chess and then coaxes Data into paying off his bet. Beverly, meanwhile, is examining a diver who missed a dive by a little too much. Riker and Ro, en route to the bridge, are arguing over innovative techniques and proper procedure. Once they arrive, a ship comes into range, and appears to be the origin of the signals. It's a one-man craft with minimal armament, so they hail it and keep shields down. The craft's scans then mimic an optical data reader and increase more than tenfold in power, so the shields go up. Data, behind the bar, offers Troi her winnings: a Samarian Sunset [a drink], traditionally made. Suddenly, a green flash washes over Data, and then the rest of the crew in rapid succession. On the bridge, everyone seems oddly confused...and rightly so, for all have suddenly lost all memory of who they are! They quickly realize that they're on a starship, and Ro (at helm..."Looks like I'm the pilot") finds that the helm is down. Riker and Worf examine tactical, which is also inoperative. Everyone's ability to do these things makes it clear that while their identities have vanished, their basic skills have not. Riker notes that Picard, with four pips, is probably the starship's leader, although Worf (also decorated, with the sash) points out that there are other possibilities. Picard, however, points out that who leads is unimportant right at the moment; the important thing is to find out their identities and mission. And, as an unidentified person in a commander's uniform points out, they need to know what happened to them, and how.... |
261 262 |
|
Gene Roddenberry |
Star Trek - The Next Generation 10/24/92 232 46192.3 True Q (S6E6: 1x engl.) The Enterprise is busy picking up relief supplies for the pollution-stricken planet of Tagra Four, and also picks up Amanda Rogers, an honor student interning on board. She is put to work in all departments, but primarily for Dr. Crusher, with whom she strikes up a fast friendship. However, strange occurrences seem to center on Amanda very quickly; her pet dogs (which she didn't bring on board) mysteriously appear and disappear in her quarters, and a large container nearly falls on Riker before suddenly being deflected (with no visible cause for either). Finally, things fly completely out of control when Amanda single-handedly contains and reverses a warp-core breach explosion. Questions fly fast and furious at a conference shortly after this incident, but no answers are forthcoming until Q pays a visit. He confesses that he was responsible for the warp-core breach and the falling container, but only to test Amanda's powers - for, in fact, she is the offspring of two Q, and probably one herself. He announces that he's come to train her and then take her back to the Qontinuum, but in the end agrees to let her make the choice herself in exchange for Picard introducing them. The initial meeting goes very badly, however, as Q informs his superiors. "However, there is the possibility we won't have to terminate the girl." Amanda, reluctantly, decides to allow Q to train her how to use her power. This training appears to hone her skills, but also strengthens her doubts about how to use it all. In fact, she even finds that in some circumstances they do her no good at all; when Q convinces her to speed up a test she's doing for Beverly, the artificial enhancement renders the results useless. As the mystery around Amanda's parents deepens (they appear to have been killed by an extremely unusual tornado), Amanda appears to be embracing Q's amoral attitude more and more strongly. She joins him in a game of hide-and- seek while teleporting all around the ship, and briefly abducts Riker in an attempt to be romantic. This last backfires, however, even when she forcibly makes him love her. "I thought it would be romantic...but it's empty." Picard, meanwhile, speaks to Q of his findings, and asks outright if the "tornado" that killed Amanda's parents was a tool of execution by the Qontinuum. Q does not answer, but suggests that it might have been, and insists that Amanda really has no choice in the matter. If she is a Q, he says, she must return with him; and if not, she is to be killed. When Picard asks Q what he's concluded, Q responds offhandedly, "I haven't decided yet." As the Enterprise arrives at Tagra Four to begin its mission (now including the fixing of a dangerously damaged reactor), Picard decides to inform Amanda of the situation. She calls Q and demands to know what right the Qontinuum has to play judge, jury, and executioner, either for her or her parents. After a brief exchange over morality, he tells her that in fact, she is not to be harmed. She gets a choice: either return with him to the Qontinuum, or refuse to ever use her powers. (Her parents, he points out, chose the latter - and failed.) She chooses the latter, but after an immediate emergency on the planet forces her hand, she decides to go with him after all. After saying goodbye to both Crusher and Picard, she departs. |
263 |
|
Gene Roddenberry |
Star Trek - The Next Generation 11/07/92 234 46271.5 A Fistful of Datas (S6E8: 1x engl.) A holodeck fantasy goes awry, sending Worf and his son into a Wild West showdown with a villain who's a dead ringer for Data. |
263 |
|
Gene Roddenberry |
Star Trek - The Next Generation 10/17/92 231 46154.2 Schisms (S6E5: 1x engl.) The Enterprise crew suffers bizarre consequences following a secret, unwelcome alien visit. |
264 |
|
Gene Roddenberry |
Star Trek - The Next Generation 10/31/92 233 46235.7 Rascals (S6E7: 1x engl.) A bizarre transporter mishap transform Picard and three other staff members into children just as Ferengis invade and disable the ship. |
264 |
|
Gene Roddenberry |
Star Trek - The Next Generation Behind the Scenes Tribute to Gene Roddenberry |
265 |
|
Won Kar Wai |
270 |
|
|
Hail Bop: A Portrait of John Adams |
271 |
|
|
(1955) |
272 |
|
|
Penny Marshall, Oliver Sacks (1990) |
273 274 |
|
|
Ron Howard (2001) |
275 |
|
|
Craig Boreham (2010) |
276 |
|
|
Alfonso Cuaron (2006) |
277 |
|
|
George Clooney (2005) |
Good Night, and Good Luck. is a 2005 American drama film co-written and directed by George Clooney and starring David Strathairn, Clooney, Robert Downey, Jr., Patricia Clarkson and Jeff Daniels. The movie was written by Clooney and Grant Heslov, both of whom also act in the film, and portrays the conflict between veteran radio and television journalist Edward R. Murrow and U.S. Senator Joseph McCarthy of Wisconsin, especially relating to the anti-Communist Senator's actions with the Senate Permanent Subcommittee on Investigations. |
278 |
|
Robert Zerneckis, Carl Sagan (1997) |
Contact (Contact, novel by Carl Sagan) |
279 |
|
Oliver Stone (2003) |
280 |
|
|
Fernando Meirelles (2005) |
Constant Gardener (novel Constant Gardener by John le Carre) |
281 |
|
Paul May (1957) |
Im Kriegsfilm Der Fuchs von Paris von Regisseur Paul May schlägt sich der junge deutsche Offizier Hardy Krüger auf die Seite der R√©sistance. Der Fuchs von Paris erzählt die Geschichte von einer Gruppe deutscher Generäle, die 1944 in den Widerstand gegen Hitler gehen. Um die sinnlose Opferung von drei Divisionen zu verhindern, spielen die Generäle den Alliierten wichtige Verteidigungspläne Hitlers zu. Doch der ausgeklügelte Spionageapparat der Gestapo funktioniert einwandfrei. Der junge Hauptmann Fürstenworth (Hardy Krüger), dessen Onkel zu den Verschwörern zählt, wird unwissentlich zum Mittler. Bevor die Gestapo ihn schnappen kann, verliebt er sich in die Französin Yvonne (Marianne Koch). Doch Fürstenworth schweigt im Verhör und so nimmt die Tragödie ihren Lauf. Hintergrund & Infos zu Der Fuchs von Paris mehr bei Cinema.de: http://www.cinema.de/film/der-fuchs-von-paris,1327076.html Copyright ¬© Cinema.de Frankreich, 1944: Der junge deutsche Hauptmann Fürstenwerth (Krüger) verliebt sich in die Französin Yvonne (Marianne Koch), die Kontakte zur R√©sistance hat. Seinem Onkel, General Quade (Martin Held), kommt das sehr gelegen: Er und andere deutsche Offiziere wollen unnötiges Blutvergießen verhindern und den Alliierten Hitlers Pläne zuspielen‚Ķ (Quelle: Movieplot) |
282 leer: 283 - 285 |
|
Sidney Pollak (2005) |
Sketches of Frank Gehry is a 2006 American documentary film directed by Sydney Pollack and produced by Ultan Guilfoyle, about the life and work of the Canadian-American architect Frank Gehry. The film was screened out of competition at the 2006 Cannes Film Festival.[1] Pollack and Gehry had been friends and mutual admirers for years.[2] The film features footage of various Gehry-designed buildings, including a hockey arena for the Mighty Ducks of Anaheim, the Guggenheim Museum Bilbao, and the Walt Disney Concert Hall. The film includes interviews with other noted figures, including the following:
The film also discusses work on Gehry's own residence, which was one of the first works that brought him to notoriety. |
286 |
|
Lasse Halstrom (2000) |
287 |
|
|
Gus van Sant (1997) |
Good Will Hunting is a 1997 American drama film directed by Gus Van Sant and starring Matt Damon, Robin Williams, Ben Affleck, Minnie Driver, and Stellan Skarsgård. Written by Affleck and Damon, and with Damon in the title role, the film follows 20-year-old South Boston laborer Will Hunting, an unrecognized genius who, as part of a deferred prosecution agreement after assaulting a police officer, becomes a patient of a therapist (Williams) and studies advanced mathematics with a renowned professor (Skarsgård). Through his therapy sessions, Will re-evaluates his relationships with his best friend (Affleck), his girlfriend (Driver), and himself, facing the significant task of thinking about his future |
288 |
|
Studentendorf Schlachtensee (2008) |
Hansaviertel: Die Energie der Nachkriegsmoderne Tagung in der Akademiie der Künste zu Wärmebrücken, Kühlrippen, Kondenswasser, Energieeffizienz, Revitalisierungskonzepten und Denkmalschutz |
289 |
|
Marian Engel (2007) |
leben in der stadt von morgen: 50 jahre berliner hansaviertel |
290 |
|
Yann Arthus-Bertrand (2009) |
Home is a 2009 documentary by Yann Arthus-Bertrand. The film is almost entirely composed of aerial shots of various places on Earth. It shows the diversity of life on Earth and how humanity is threatening the ecological balance of the planet. The movie was released simultaneously on 5 June 2009, in cinemas across the globe, on DVD, Blu-ray, television, and on YouTube, opening in 181 countries. |
291 |
|
Terry George (2004) |
Hotel Rwanda is a 2004 American historical drama film directed by Terry George. It was adapted from a screenplay written by both George and Keir Pearson. Based on real life events in Rwanda during the spring of 1994, the film stars Don Cheadle as hotelier Paul Rusesabagina, who attempts to rescue his fellow citizens from the ravages of the Rwandan Genocide. Sophie Okonedo and Nick Nolte also appear in principal roles. The film, which has been called an African Schindler's List, documents Rusesabagina's acts to save the lives of his family and more than a thousand other refugees, by granting them shelter in the besieged Hôtel des Mille Collines.[3] Hotel Rwanda explores genocide, political corruption, and the repercussions of violence.[4] |
292 |
|
Stephen Doldry (2002) |
The Hours is a 2002 drama film directed by Stephen Daldry, and starring Nicole Kidman, Meryl Streep, Julianne Moore and Ed Harris. The screenplay by David Hare is based on the 1999 Pulitzer Prize-winning novel of the same title by Michael Cunningham. The plot focuses on three women of different generations whose lives are interconnected by the novel Mrs Dalloway by Virginia Woolf. These are Clarissa Vaughan (Streep), a New Yorker preparing an award party for her AIDS-stricken long-time friend and poet, Richard (Harris) in 2001; Laura Brown (Moore), a pregnant 1950s California housewife with a young boy and an unhappy marriage; and Virginia Woolf (Kidman) herself in 1920s England, who is struggling with depression and mental illness whilst trying to write her novel. |
293 |
|
Nicolas Roeg (1985) |
Insignificance is a 1985 British comedy-drama film directed by Nicolas Roeg, produced by Jeremy Thomas and Alexander Stuart, and adapted by Terry Johnson from his play of the same name. The film is set in 1954, with most of the action taking place in a hotel room in New York City. The action revolves around the interplay of four characters who represent iconic figures of the era, Marilyn Monroe, Joseph McCarthy, Joe DiMaggio, and Albert Einstein called The Actress, The Senator, The Ballplayer, and The Professor, respectively. |
294 |
|
Raul Ruiz (2006) |
Gustav Klimt's life story unfolds in a series of disjointed sequences in the artist's mind as he lies dying of pneumonia in a Viennese hospital where he is visited by his friend, Egon Schiele (Nikolai Kinski). Themes within the film include Klimt's platonic friendship with Emilie Floege (Veronica Ferres).[3] Much of the film is centred on Klimt's relationship with Lea de Castro (Saffron Burrows), a dancer to whom he is introduced by the film pioneer Georges Méliès.[4] |
295 |
|
Radu Michaileanu (2009) |
Konzert (Le Concert) A former world-famous conductor of the Bolshoi Theatre orchestra, known as "The Maestro", Andrey Simonovich Filipov, had had his career publicly broken by Leonid Brezhnev for defending Jewish musicians and is reduced to working as a mere janitor in the theatre where he once conducted, becoming an alcoholic in the process. While cleaning his boss' office he intercepts an official invitation from the prestigious Théâtre du Châtelet in Paris to replace a concert of the Los Angeles Philharmonic Orchestra that was canceled at the last minute. Filipov comes up with a plan to reunite his old orchestra, composed of old Jewish and Gypsy musicians - who also have been reduced to making a living as movers or taxi drivers - to perform in Paris and complete a performance of Tchaikovsky's Violin Concerto, which was interrupted 30 years earlier by former KGB Agent Ivan Gavrilov, who is enrolled by Filipov in his scheme as the orchestra's manager and is actively and efficiently supporting Filipov's plan, much to the dismay and suspicion of Aleksandr 'Sasha' Abramovich Grossman (the orchestra's main cellist), because it turns out that Gavrilov has his own agenda for the Paris trip. Gavrilov and Filipov demand several conditions from the Châtelet, that they are forced to accept, since the concert with the Bolshoi is significantly less expensive; one of those conditions is that the solo violinist is Anne-Marie Jacquet, who famously has never played Tchaikovsky's concerto because she is afraid of it, but has long dreamt of playing it with the Bolshoi and particularly with Filipov - whose fame outside of Russia has not diminished -; her agent, Guylène de La Rivière, who is also Anne-Marie's adoptive mother, is reluctant to allow that, because she is acquainted with Filipov and his past, but Anne-Marie insists and she has no option but to accept. The orchestra is also forced to accept the sponsorship of an openly mafia boss who likes to play the cello, despite the fact that he does so terribly and who is part of the orchestra. Once in Paris, the entire orchestra disappears partying and raising money in other jobs such as taxi drivers, movers or translators. The unprofessionalism of the Russian musicians and Anne-Marie's own impression that the performance serves as a means of catharsis for Filipov, forces Anne-Marie to call off her participation in the concert, but Sasha convinces her to come to the theater because the Concert holds the key to Anne-Marie's past and her parents, whom she has never met, and whom she believes to be scientists who died during her infancy in the Alps. As it turns out, Filipov and his wife Irina were the best friends of Leia and Yitzhak Strum, also Jewish musicians. Leia was an accomplished violinist and the soloist at the time of the interrupted concert thirty years before in Moscow. After the public humiliation they suffered under Gavrilov and the entire Brezhnev regime, the couple spoke openly against the government on Radio Free Europe, an American radio station that was banned in the former USSR, and as a result were deported to Siberia, where they spent the rest of their lives. Leia, who was, as we learn, Anne-Marie's mother, lost her mind and played the Tchaikovsky concert in her imagination every day for her husband until her death in 1981, which was followed by his six months later. Baby Anne-Marie managed to escape with Guylène, at the time the representative of a visiting French orchestra, hidden in a cello case at the behest of Irina, Filipov and Sasha. At the last moment, the entire orchestra, after receiving a SMS message calling them to play in honor of Leia, appears at the Theatre despite the fact that not a single rehearsal has taken place. In the meantime, the real manager of the Bolshoi, who happened to be vacationing in Paris and learned about the concert by chance, appears at the theatre to prevent the performance, but he is intercepted by Gavrilov who locks him in a broom closet. The concert has a wobbly beginning due to the lack of rehearsals, but they all manage to reach Filipov's ideal spontaneous harmony once Anne-Marie mesmerizes everyone with her magnificent interpretation of the solo part, which she studied on her mother's annotated score. The concert is a huge success and Filipov is able to restart his career as a conductor of the new "Andreï Filipov Orchestra" along with Anne-Marie, who joins him in a world tour. |
296 |
|
Kurt Hoffmann (1963) |
Liebe will gelernt sein (Drehbuch von Erich Kästner, nach seinem Theaterstück "Zu treuen Händen") Ilse Lehmbruck ist besorgt: Ihr Sohn Hansgeorg zeigt so gar kein Interesse an Frauen, sondern widmet sich mit ganzem Herzen seinem Medizinstudium. Auch hier will er nicht Frauenarzt werden, sondern als Kinderarzt seine Brötchen verdienen. Bevor aus Hansgeorg noch ein Muttersöhnchen wird, schickt ihn Mutter Ilse zur Untermiete zu seinem Onkel Christoph Mylius nach München, der als Schriftsteller sein Geld verdient. Hier soll er behutsam in die Welt der Erwachsenen und vor allem die der Frauen eingeführt werden. Christoph Mylius ist der Liebling der Frauen, trifft er mit seinen Romanen doch in ihre Herzen. Privat führt er eine lange Zeit eher geheim gehaltene Beziehung zur erfolgreichen Schauspielerin Hermine und muss sich gegen die vorsichtigen Avancen seiner Sekretärin Dora wehren. Schnell wird deutlich, dass Hansgeorg seine Hintergedanken hatte, als er bei Onkel Christoph einzog. Zum einen will er seine Mutter mit dem Nachbarn verkuppeln und dabei nicht im Weg stehen, und zum anderen mag er München nicht nur wegen der Universität, sondern vor allem wegen der Leihbücherei-Inhaberin Margot. Beide sind seit vier Jahren heimlich ein Paar und er verbringt jede freie Minute bei ihr. Christoph führt Hansgeorg in die Gesellschaft ein: Sie gehen zu Tanzkursen, wo Christoph von der Damenwelt belagert wird, und besuchen Hermine im Filmatelier, wo sie die Aufnahme einer Badewannennacktszene verfolgen, die unfreiwillig komisch endet. Im Striplokal schließlich zeigt sich Hansgeorg weniger von der sich entkleidenden Dame als vielmehr von der Bardame begeistert, die zu hohen Puls hat. Er geht für sie zur Apotheke, um Medizin zu holen - und lässt sich beim wartenden Christoph schriftlich entschuldigen, da er noch zu arbeiten habe. Christoph wiederum wird von Dora überrascht, die mit ihm die Nacht verbringt. Der nächste Morgen bringt ein gemeinsames Eintreffen in Christophs Haus: Während Christoph verkatert und übermüdet ist, ist Hansgeorg ausgeruht, sodass er sich erklären muss und endlich zugibt, eine Freundin zu haben. Bei einem Fest im Hause Christoph stellt Hansgeorg ihm Margot vor, während sich Hermine und Dora auszusprechen versuchen und unversöhnt auseinandergehen. Kurze Zeit später hat Christoph eine neue Sekretärin. Hansgeorg gibt vor, auf längere Zeit an den Rhein zu verreisen. In Wirklichkeit lebt er in Margots Wohnung in München. Dort erfährt er, dass seine Mutter Hals über Kopf den Nachbarn Eberhard geheiratet hat und beschließt, nun auch seine Beziehung nicht mehr geheim zu halten. Kurz nach seiner "offiziellen" Rückkehr vom Rhein bittet er die Familie zusammen. Mutter Ilse, die Margot aus Prinzip ablehnen will, wird überrascht, als sie in ihr Hansgeorgs Jugendliebe erkennt und nun weiß, dass beide schon seit Jahren ein Paar sind. Beide erklären der Familie, dass sie noch in diesem Monat heiraten werden: nicht, weil Margot schwanger ist, sondern weil beide schon einen zweijährigen Jungen namens Andreas haben. Die √úberraschung ist perfekt und Ilse nach kurzem Zögern eine stolze Großmutter. Wenig später folgt die Hochzeit, an der die gesamte Familie teilnimmt. |
297 |
|
George Miller (1992) |
In dem Film wird die Geschichte von Lorenzo Odone erzählt, der an der seltenen Krankheit Adrenoleukodystrophie (ALD) leidet. Da die Odones sich mit der infausten Prognose nicht zufriedengeben, wenden sie sich an verschiedene Ärzte, die aber jeweils nur auf ihrem Gebiet Spezialisten sind. Da das Problem aber viele Wissenschaftsbereiche durchzieht, bringt diese Vorgehensweise die Eltern nicht weiter. Sie vertiefen sich deshalb in medizinische Fachbücher. Dabei stoßen sie auf ein polnisches Experiment mit einfach ungesättigtem Rapsöl, von dem sie glauben, dass es Lorenzos Krankheit möglicherweise verlangsamen kann. Doch die Ärzte wollen zunächst nicht darauf eingehen, da keine Studien existieren, in denen Auswirkungen auf Menschen getestet worden wären. Die Odones geben trotz des Risikos ihrem Kind das Rapsöl, und es hilft, aber nicht vollständig. Der Vater forscht weiter und macht eine Entdeckung. Aber ein weiteres Mal wird ihm von akademischer Seite nicht geholfen. Durch viel Arbeit und gute Kontakte kommt er an ein weiteres √ñl, das zusammen mit dem ersten das Kind vor weiteren Schäden weitgehend bewahrt. Dieses √ñl wird später Lorenzos √ñl genannt. Der Vater versucht weiter, seinem Jungen zu helfen und unterstützt Zelltransplantationen an Tieren, in der Hoffnung, dass diese vielleicht später mal Menschen helfen könnten. Am Schluss des Films wendet sich das Blatt für Lorenzo. Nachdem der Film die gesamte Zeit seinen Leidensweg und den seiner Familie gezeigt hat, bis er zuletzt in einem Koma-ähnlichen Zustand auf dem Bett lag und nicht einmal seinen Speichel schlucken konnte, sieht man nun in den letzten Minuten wie Lorenzo sich bemerkbar macht, die Augen und dann die Finger bewegt. Der Spielfilm beschreibt den Lebensweg Lorenzos von Juli 1983 bis Ende 1992. Er endet mit einem Standbild, in dem der eingeblendete Text darauf hinweist, dass Lorenzo weiter Fortschritte macht und sich schon durch Laute bemerkbar machen kann. |
298 |
|
Wieland Giebel (2004) |
The Making of Berlin |
299 |
|
Tony Gilroy, Sidney Pollack (2007) |
Michael Clayton is a 2007 American legal thriller film written and directed by Tony Gilroy, starring George Clooney, Tom Wilkinson, Tilda Swinton and Sydney Pollack. The film chronicles the attempts by attorney Michael Clayton to cope with a colleague's apparent mental breakdown, and the corruption and intrigue surrounding a major client of his law firm being sued in a class action case over the effects of toxic agrochemicals. |
300 |
|
Wolfgang Staudte (1946) |
Der Film spielt im Jahr 1945 im zerbombten Berlin. Der ehemalige Militär-Chirurg Dr. Hans Mertens (Ernst Wilhelm Borchert) kehrt nach dem Krieg zurück nach Berlin und lebt in einem Mehrparteienhaus. Mit den kaputten Fenstern ist in der Wohnung nur ein sehr karges Leben möglich. Mertens leidet noch unter den schrecklichen Kriegserinnerungen und wird zum Alkoholiker. Für seine Mitmenschen hat er nur Sarkasmus übrig. Die junge Fotografin Susanne Wallner (Hildegard Knef), eine KZ-√úberlebende, findet ihn in ihrer alten Wohnung vor, und beide werden Mitbewohner. Während Susanne versucht, zur Normalität zurückzukehren, ist Mertens noch nicht dazu bereit und betrinkt sich regelmäßig. Erst langsam entwickelt er freundschaftliche und dann auch liebevolle Gefühle für sie. Susanne liebt ihn ebenfalls und wartet darauf, dass er sich ihr öffnet. Bald darauf begegnet Mertens seinem ehemaligen Hauptmann Ferdinand Brückner (Arno Paulsen). Dieser ist ein beliebter Bürger und erfolgreicher Geschäftsmann, der aus alten Stahlhelmen Kochtöpfe produziert. Er ist hocherfreut, den "Kriegskameraden" Mertens wiederzusehen, und lädt ihn zum Essen ein. Zusammen mit seiner Ehefrau und seinen Söhnen führt er wieder ein gutbürgerliches Leben. Zu einem späteren Anlass schlägt Brückner Mertens vor, gemeinsam in ein Bordell zu gehen. Mertens geht mit diesem durch eine einsame Gegend, wo er Brückner erschießen will. Dort taucht eine besorgte Mutter auf und überredet Mertens, ihre Tochter durch eine Operation zu retten. Brückner vergnügt sich zu dieser Zeit mit leichten Mädchen. Das Gefühl, ein Leben gerettet zu haben, führt bei Mertens zu einer Stimmungsaufhellung. Am Weihnachtsabend 1945 verfinstert sich seine Stimmung wieder; er verlässt die gemeinsame Wohnung und sagt Susanne, dass er sich noch um etwas kümmern müsse. Die Erinnerung an den Weihnachtsabend 1942 kommt wieder bei Dr. Mertens hoch. Brückner ließ über einhundert Zivilisten aus einer polnischen Ortschaft erschießen. Mertens hatte noch versucht, ihn davon abzubringen. Anschließend feierte Brückner unbeschwert zusammen mit seinen Soldaten den Weihnachtsabend. Mertens wartet die betriebliche Weihnachtsfeier Brückners ab und kündigt diesem an, ihn zu erschießen. Brückner, der sich keiner Schuld bewusst wird, wird von Susanne Wallner gerettet. Diese hatte Mertens‚Äô Tagebuch gelesen und gesehen, was er vorhatte. Wallner sagt Mertens, dass man nicht selber richten, sondern nur anklagen dürfe. In der Schlussszene werden verschiedene Motive übereinandergeblendet: Ermordete Zivilisten, Brückner im Gefängnis, Soldaten und Massengräber. |
301 |
|
(2004) |
The film is set in a colourful Burkina Faso village dotted with termite mounds, and a mosque made from clay that resembles a gigantic hedgehog. The village is a symbol of green Africa, a time capsule that nonetheless is not immune to the influences of the outside and ‘modern’ world.[4] Collé is the second of her husband's three wives. She is the most intelligent, humorous, charming, and is also loved most by her husband, who is portrayed as a temperate enlightened man. Her nubile daughter, Amasatou, has become engaged, although she has not undergone female genital cutting, considered a prerequisite for marriage in the local tradition. Collé opposes this practice. This has led the elders in the village, women as well as men, to despise her daughter. Amasatou herself unceasingly requests to have her genitals cut to secure her social status and marriage acceptance, but Collé remains unmoved. She is willing to protect not only her daughter from the life-threatening genital cutting but also four little girls who join her to refuse the practice. Collé draws a symbolic line, the colorful rope Moolaadé, a "magical protection," across the gate of the family's premises. Moolaadé prevents the women elders who carry out the practice, and who have been searching for the girls, from entering the house. In the beginning, the first wife seems to be against Collé's plan to protect the girls. However, later they become closer and she tells Collé that she also opposes female genital cutting. She feared making it known, but has been helping her all along, without anyone's notice. While facing her daughter's request to be circumcised, Collé explains that she does not want her daughter to end up on the same road she travelled. Her first reason is that it has too many indefinite outcomes, some of which can be fatal. An even bigger reason is that Collé had two unsuccessful pregnancies before Amasatou, which caused her great physical and emotional pain and were almost fatal. In a flashback, there is a scene of her and her husband having sexual intercourse which it clear is causing her physical pain. He falls asleep, while she is unable to do so because the sexual intercourse brings unbearable pain for her rather than pleasure. She keeps biting her ring finger, symbol of her marriage, and dares not say a single word even when her finger bleeds. At dawn, she is still awake to wash her body, as well as her blood off the bed sheet. If Collé represents African women who awaken to resist patriarchal control, then her daughter's fiance Ibrahima, a rich, upstanding, and open-minded young man living in France, one of Africa's former colonizers, who returns, filmically representing the enlightened elite educated abroad who is welcomed home and observes the barbaric tradition of his village home. His knowledge, money and technologies such as television are appreciated. He witnesses a funeral of two little girls, who desperately drowned themselves in a well to avoid the mutilation of their genitals. The girls' relatives are sad, but the incident does not lead the villagers to question the tradition. Ibrahima is shocked and worried by this scene which keeps fermenting in his mind. Meanwhile, Ibrahima's father wants him to renounce his engagement to Amasatou, and marry his innocent eleven-year-old cousin instead, who has already undergone female genital cutting. Ibrahima refuses to do so, recognizing such an act as child abuse, and visits Amasatou's house despite what the villagers say. He confirms her as his fiancée, regardless of her "impure" status according to the local tradition. The African women's most important daily entertainment, besides sitting together and chatting under the tree shadow enjoying the cool air, is enjoying the radio which transmits news of the world and the music. Some incidents including Ibrahima's revolt against his father on the engagement and Collé's protection of the five little girls, including her own daughter, from the life-threatening female genital cutting in the village causes the elders to think that the atmosphere is bad. Collé's husband has lost the ability to control his own wife and the elders insist that he beat her with a leather whip in the presence of the community to restore order. The elders want her to utter the magic word so they can take away the four little girls from her protection but, no matter how hard her husband whips her, she endures, refusing to give her tormenters the satisfaction of a scream or cry. Opposite groups of women shout to her to revoke or to be steadfast, but no woman interferes. When she is on the verge of collapse, the merchant steps out and stops the whipping. The womanizing merchant is called Mercenaire by people in the village. He is a war veteran who has become a merchant. When he converses with Ibrahima, he accuses him, his father, and his uncle of pedophilia and is suddenly no longer concerned about the money that he could possibly get from the rich young man. He is bringing all the plastic junk to the village; the junk is brightly and boldly colored as the magnificent costumes the people wear in Africa. He sells his stuff at extremely high prices (he even raises the prices when Ibrahima came to pay for his dad's bill). Later he is hunted out of the village and, when out of sight, murdered.[4] During the whipping, one of the four girls' mother steals her daughter from Collé's house and sends her to get her genitals cut, although the little girl screams and tries to resist. The girl dies as a result of the cutting and her mother regrets her previous support of it. The other mothers all see the tragedy happen and thus change their minds and begin opposing genital cutting. From the men's point of view, the radio is a bad influence on the women because it teaches them things from the outside world, such as the idea of equality. Therefore, the elders decide that all the radios in the village must be confiscated and burned. Although all the radios are supposed to be burned, some are hidden by the women of the village. The women are united because of the pain caused by the genital cutting. They are all mourning, they are all awakened, they seize the blade and pursue the genital cutters, shouting, "No more genital cutting!” Ibrahima stands up to his father, says he is not going to listen to him, and announces that he is going to marry Amasatou because he is proud of her. The end of the movie is the smoke of the burning radios, which speaks both to speaking out and repression of speech. |
302 |
|
Fabiano Maciel, Sacha |
Oscar Niemeyer: Das Leben ist ein Hauch (A vida e um sopro) |
303 |
|
Jacques Perrin, Jacques Cluzard, Michel Debats (2001) |
Nomaden der Lüfte: Das Geheimnis der Zugvögel Die Aufnahmen wurden von sechs Kamerateams über einen Zeitraum von drei Jahren auf allen sieben Kontinenten gedreht und zeigen 50 Vogelarten, darunter Kanadagans, Weißwangengans, Streifengans, Rothalsgans, Schneegans, Singschwan, Kranich, Mandschurenkranich, Weißstorch, Andenkondor, Wanderalbatros, Felsenpinguin, Küstenseeschwalbe und Rosapelikan. Auf den enormen Distanzen werden alle Arten von Wetterbedingungen und Landschaftsarten durchflogen. Die Vögel wurden auf die Kameraleute geprägt, einige der Arten sogar zum ersten Mal überhaupt, und an die Beobachtungsgeräte wie Ultraleichtflugzeug, Gleitschirm, Heißluftballon sowie Autos, Motorräder, Motorboote, einen ferngesteuerten Roboter und ein französisches Marineschiff gewöhnt. Die Musik von Bruno Coulais stammt von bulgarischen und korsischen Sängergruppen sowie von Nick Cave und Robert Wyatt. Dabei wurde der Musik teilweise das Schlagen von Flügeln beigemischt, um dem Betrachter den Eindruck zu geben, er sei ein Mitglied der gezeigten Vogelgruppe. Die Originalmusik von Bruno Coulais greift immer wieder auf die Themen der anderen Songs des Soundtracks zurück. In The Red Forest hallen zum Beispiel die Melodien von To be by your Side und Masters of the Field nach. |
304 |
|
Niki Caro (2005) |
In 1989, Josey Aimes returns to her hometown in northern Minnesota with her children, Sam and Karen, after escaping from her abusive husband. She moves in with her parents, Alice and Hank. Hank is ashamed of Josey, who became pregnant at the age of 16, and believes that this was the result of Josey being promiscuous. The townspeople believe the same, which causes them not to allow Josey to blend in. Her only friends are Glory and Glory's husband Kyle Dodge. Glory, who works at the local iron mines (the town's main source of income), aids Josey in getting a job there. Glory and Kyle also allow Josey to stay at their place with her children, due to Josey's bad relationship with her father. Josey quickly befriends the other female workers at the mine, who include Glory, Sherry and Big Betty, and becomes the target of provocations spearheaded by Bobby Sharp, Josey's high school boyfriend who also works at the mine. Her attempts to stop the provocations by reporting them to the mine's higher-ups only worsens matters, and soon all the women are being verbally and physically abused by men at the mine. Josey is also sexually harassed by many of them, including Bobby. Josey's refusal to give in to her male co-workers' demands causes them to spread lies about her being promiscuous and trying to seduce them, which cause Josey to be further harassed not only by her father and the men's wives, but also by Sam, who starts believing that his mother is indeed promiscuous after discovering that he was the result of her teenage pregnancy. After even the mine's board of directors refuses to hear Josey's complaints about the way women are treated at the mine, she quits and asks Bill White, a lawyer friend of Kyle and Glory, to help her file a lawsuit against the company. Bill tells her that the best way to win a case like this is by convincing the other women to back up her statements in court. The women, however, are hesitant, as this would mean risking their jobs, and refuse. Josey also discovers that Glory has ALS (amyotrophic lateral sclerosis, more commonly known as Lou Gehrig's Disease.) Hank is disappointed by Josey's decision, and Alice leaves him, tired of hearing him criticizing their daughter. Hank later attends a union meeting. Josey appears, hoping to address the miners and explain her reasons for suing the mine. When they refuse to hear her and start verbally abusing her, Hank stands up for his daughter and reprimands his co-workers for their rude treatment of Josey and all the women at the factory. At the court, the mine's lawyers attempt to hold Josey's so-called "promiscuous" past against her, and have Bobby Sharp testify on how Sam is the fruit of a consensual sexual relationship between Josey and one of her teachers. Josey then reveals the truth: When she and Bobby were 16, they were caught skipping class and kissing by their teacher and were forced to stay after class as punishment. When detention ended, Bobby left first to start up his car, intending to give Josey a ride. While he was away, Josey was attacked and raped by her teacher. Bobby witnessed the rape and not knowing what to do, he left the school quickly. Josey got pregnant from the rape, but refused to abort the baby or give it away, and had Sam. Josey's lawyer Bill gets Bobby to admit he is lying about the sex being consensual. Glory has come to the court in her wheelchair and from the back of the room her husband reads a letter saying she stands with Josey. Other women then stand up to support Josey's complaint. They are followed by more women, family members, and miners. With this, the mining company loses the case and is forced to pay the women for what they suffered, in addition to establishing a sexual harassment policy at the workplace. Josey, vindicated, thanks Bill for all that he has done for her and her family and departs to teach Sam how to drive, telling him that she intends to buy him a car on his 18th birthday. |
|
|
Simon Schama (2002) |
|
306 |
|
Mario Andreaccio (2003) |
Paradies: Die Leidenschaft des Paul Gauguin Paris, 1880. Paul Gauguin ist ein erfolgreicher Börsenmakler und geht nebenbei seiner großen Leidenschaft, dem Malen, nach. Als Camille Pissarro, ein von Gauguin geschätzter Künstler ihm großes Talent bescheinigt, beschließt Gauguin sein bisheriges Leben an den Nagel zu hängen und sich ganz seiner Leidenschaft hinzugeben. Das trifft besonders seine Frau Mette und ihre vier Kinder, heißt es doch den bequemen Lebensstil aufzugeben und in eine kleine Wohnung außerhalb der Stadt zu ziehen. Auf der Suche nach neuer Inspiration reist Gauguin nach Tahiti und kreiert revolutionierende Werke, die jedoch in der √ñffentlichkeit auf Unverständnis stoßen. Lediglich Mette und Pissarro halten noch zu ihm. |
307 |
|
Roman Polanski (2002) |
The Pianist is a 2002 historical drama film directed by Roman Polanski, scripted by Ronald Harwood and starring Adrien Brody.[1] It is based on the autobiographical book The Pianist, a World War II memoir by the Polish-Jewish pianist and composer Władysław Szpilman. The film is a co-production between Poland, France, Germany and the United Kingdom. In September 1939, Władysław Szpilman, a Polish-Jewish pianist, plays on radio in Warsaw when the station is bombed during Nazi Germany's invasion of Poland at the outbreak of World War II. Hoping for a quick victory, Szpilman rejoices with family at home when learning that Britain and France have declared war on Germany. But Germany defeats Poland quickly and its troops enter Warsaw, where life for Jews deteriorates as the Nazi authorities prevent them from working or owning businesses and force them to wear blue Star of David armbands. By November 1940, Szpilman and his family have been forced from their home into the overcrowded Warsaw Ghetto where conditions only get worse. People starve, the guards are brutal and corpses are left in the streets. On one occasion, the Szpilmans witness the SS kill an entire family during a łapanka (raid) in an apartment across the street. |
308 |
|
Linda La Plante (1991 - 2006) |
The series focuses on a no-nonsense female Detective Chief Inspector (DCI), Jane Tennison (played by Helen Mirren), who is attached to the Metropolitan Police, initially at the fictional Southampton Row police station. It is set mostly in London and the outer areas, with series 5 being set in Manchester. In later series, she is promoted to Detective Superintendent and reassigned to rotating duties, beginning with the vice squad in Soho. The series shows how she survives and negotiates in a male-dominated profession determined to see her fail with the support of her boss, Detective Chief Superintendent Mike Kernan and loyal Sgt. Richard Haskons. As mentioned in the behind-the-scenes documentary that accompanies "The Final Act" DVD, Jackie Malton, who was one of only four female DCIs at the time this series began, acted as an advisor to the writers. |
309 |
|
Wolfgang Staudte (1959) |
In den letzten Tagen des Zweiten Weltkrieges wird der Gefreite Rudi Kleinschmidt vom Kriegsgerichtsrat Dr. Wilhelm Schramm beschuldigt, zwei Dosen Scho-Ka-Kola-Schokolade (Fliegerschokolade) gestohlen zu haben. Kleinschmidt verteidigt sich damit, dass er die Schokolade von holländischen Schwarzmarkthändlern gekauft habe. Schramm beantragt die Höchststrafe wegen Diebstahls und Wehrkraftzersetzung, die Todesstrafe. Auf dem Weg zur Hinrichtung an einem Waldrand unterschreibt Schramm gerade das Urteil, um zu dokumentieren, dass es vollstreckt worden sei, als der Trupp von einem feindlichen Flugzeug angegriffen wird. Schramm und das Exekutionskommando fliehen. Der Wachmann lässt Rudi Kleinschmidt entkommen. Auf der Flucht fängt er das durch die Luft wirbelnde Blatt des Todesurteils mit der im Vorgriff unterschriebenen und gestempelten Vollzugsmeldung auf. Nach dem Krieg schlägt sich Rudi mehr schlecht als recht als Verkäufer von Trick-Spielkarten durch. In einem Sommergarten trifft er zwei Möbelwagenfahrer, die ihn mit nach Hamburg nehmen wollen. Auf dem Weg dorthin kommen sie durch eine Stadt, in der Rudi anhalten lässt. Er kennt hier noch jemanden - die mittlerweile zur Lokal- und Pensionsbesitzerin aufgestiegene Lissy Flemming, die ihn bei sich aufnimmt. Als Rudi seine Trick-Spielkarten auf der Straße anpreist, kommt ihm einer der umstehenden Zuschauer merkwürdig bekannt vor. Es ist der ehemalige Kriegsgerichtsrat Schramm, der mittlerweile Oberstaatsanwalt ist. Schramm hatte bei der Entnazifizierung seine Rolle als Militärjurist des NS-Regimes verschwiegen und wurde daher wieder in den Justizdienst übernommen. Schramm herrscht zu Hause immer noch mit autoritären Vorkriegsansichten, schwärmt von den "alten Zeiten", schimpft auf die "amerikanische Negermusik" im Radio und kauft, sich verstohlen umblickend, am Zeitungsstand die "Deutsche Soldatenzeitung". Am Morgen des Tages wurde ihm ein Strauß weißer Rosen zugestellt. Seine Frau argwöhnte schon eine außereheliche Beziehung, doch Schramm beruhigte sie. Die Rosen stammen von der Frau des wegen antisemitischer Äußerungen beschuldigten Studienrates Zirngiebel und sind das verabredete Zeichen für dessen gelungene Flucht. Schramm war der Meinung, doch "wegen sowas" keine Anklage erheben zu können; deshalb hatte er den Haftbefehl zurückgehalten und Zirngiebel dadurch die Flucht ermöglicht. Auch Schramm ahnt, dass er Rudi kennt und lässt Erkundigungen über ihn einholen. Rudi hat den Beruf Schramms in Erfahrung gebracht und besucht eine seiner Gerichtsverhandlungen, um ihn noch einmal genauer anzusehen. Während der Verhandlung erhält Schramm einen Zettel mit Rudis Personalien. Nach der Verhandlung beschuldigt Schramm Rudi, "etwas im Schilde" zu führen, kann ihn aber immer noch nicht in seine Vergangenheit einordnen. Abends verliert Schramm fast völlig die Selbstkontrolle, da er immer noch nicht weiß, was mit diesem seltsamen Straßenverkäufer los ist, als sein Stiefsohn Werner spät nach Hause kommt und diesem bei Schramms Standpauke eine Dose "Scho-Ka-Kola" aus der Tasche fällt. Schramm erkennt nun, mit wem er es zu tun hat. |
310 |
|
Josef von Baky, Fritz Kortner (1949) |
Der Ruf (internationaler Titel: The Last Illusion) ist ein tragischer Spielfilm des ungarischen Regisseurs Josef von B√°ky, basierend auf einem Drehbuch des österreichischen Regisseurs und Schauspielers Fritz Kortner. Der am 19. April 1949 im Berliner Marmorhaus uraufgeführte Kinofilm nahm an den Internationalen Filmfestspielen von Cannes 1949 teil. "Der Ruf" gehört zur Gattung der Trümmerfilme. Er handelt von einem jüdischen Professor, der wenige Jahre nach Ende des Zweiten Weltkriegs aus 15-jähriger Emigration in den USA nach Deutschland zurückkehrt. Zwar erhält er seine frühere Arbeitsstelle, macht aber wie viele andere Rückkehrer die Erfahrung, dass sowohl frühere Arbeitskollegen als auch seine Familie die verinnerlichten reaktionären und nationalsozialistischen Auffassungen nicht abgelegt haben und erfährt daher Schikane und Ablehnung. Im zermürbenden Kampf gegen diese Einstellungen stirbt er. Die Hauptrolle des Professors Mauthner wird von Fritz Kortner selbst gespielt. Die Handlung des Films trägt Züge seines Lebens: Kortner, eigentlich Fritz Nathan Kohn, war ebenfalls Jude, aus dem Dritten Reich in die USA emigriert und Ende 1947 nach Deutschland zurückgekommen. In weiteren Rollen sind beispielsweise Johanna Hofer, Rosemary Murphy, Charles Regnier, Lina Carstens, William Sinningen, Michael Murphy, Ernst Schröder, Paul Hoffmann, Arno Assmann, Alwin Edwards, Harald Mannl, Friedrich Domin, Hans Fitze, Fritz Benscher, Hans Clarin, Annemarie Holtz, Walter Janssen, Georg Lehn, Wolfried Lier, Angelika Schrobsdorff zu sehen. Die Kamera führte Werner Krien, die Filmmusik stammt von Georg Haentzschel, als Szenenbildner wirkte Fritz Maurischat. Wolfgang Becker schnitt den Film und assistierte bei der Regie. Produktionsfirma war die von Josef von B√°ky gegründete Objectiv-Film GmbH in München-Geiselgasteig, Produktionsleiter Richard König. Eine Besonderheit des Films ist, dass die Figuren je nach Situation deutsch oder englisch sprechen, was für das USA-Exil der Hauptfigur sowie allgemein für die Zeit der damaligen Besatzung Deutschlands durch u.a. die US-Amerikaner realistisch ist. |
311 |
|
Alexander Sokurov (2002) |
Russian Ark is a 2002 historical drama film directed by Alexander Sokurov. It was filmed entirely in the Winter Palace of the Russian State Hermitage Museum using a single 96-minute Steadicam sequence shot. On a winter's day, a small party of men and women arrive by horse-drawn carriage to a minor, side entrance of the Winter Palace. The narrator (whose point of view is always in first-person) meets another spectral but visible outsider, "the European", and follows him through numerous rooms of the palace. Each room manifests a different period of Russian history, but the periods are not in chronological order. Featured are Peter the Great harassing one of his generals; a spectacular presentation of operas and plays in the era of Catherine the Great; an imperial audience in which Tsar Nicholas I is offered a formal apology by the Shah of Iran for the death of Alexander Griboedov, an ambassador; the idyllic family life of Tsar Nicholas II's children; the ceremonial changing of the Palace Guard; the museum's director whispering the need to make repairs during the rule of Joseph Stalin; and a desperate Leningrader making his own coffin during the 900-day siege of the city during World War II. A grand ball follows, featuring music by Mikhail Glinka, with many of the participants in spectacular period costume, and a full orchestra conducted by Valery Gergiev, then a long final exit with a crowd down the grand staircase. The narrator then leaves the building through a side exit and sees an endless ocean, but does not look back or see the building, which can be interpreted as an ark preserving Russian culture as it floats in the sea of time. |
312 |
|
Simon Schama (2007) |
Simon Schama's Power of Art Each of the eight one hour episodes examines the biography of an artist and his key work through Schama's considerations and some reenactments:
The role of Caravaggio was performed by Paul Popplewell, while van Gogh was played by Andy Serkis. |
313 |
|
Jacques Tati (1958 ff) |
Mein Onkel (Mon oncle), Tatis Herrliche Zeiten (Playtime), Die Ferien des Monsieur Hulot (Les vacances de M. Hulot), Tatis Schützenfest (Jour de fete) Mein Onkel (Originaltitel: Mon oncle) ist eine französische Filmkomödie von Jacques Tati aus dem Jahr 1958. Tati verkörpert in dieser Satire, die die sterile und automatisierte moderne Welt karikiert, nach Die Ferien des Monsieur Hulot zum zweiten Mal den tollpatschigen Außenseiter Monsieur Hulot. Mein Onkel wurde zu Tatis größtem Erfolg. |
314 |
|
Alastair Reid (1989) |
The Hamburg police arrest an international businessman, charging him with smuggling heroin from Pakistan. While he's on trial, his trophy wife, a former Olympic swimmer, discovers steely ruthlessness within herself. In Pakistan, the British home minister tours the poppy-eradication project and returns to London to find that his daughter is a heroin addict. While trying to save her, and helped by a crusading attorney, he learns the limits of government policy. Fazal, a peasant burned off his land where he farmed poppies, goes to Karachi and works for Tarik Butt, a murderous drug lord. Fazal's frankness and sense of worth are his strength and his liability. Stories cross and collide. Quelle: IMDB |
315 |
|
Thomas Grube (2008) |
Trip to Asia zeigt Einblicke in das Innenleben der Berliner Philharmoniker, die als eines der besten Orchester der Welt gelten. Die Filmemacher haben das Orchester dafür auf seiner Asien-Tourn√©e 2005 durch die Städte Beijing, Seoul, Shanghai,Hongkong, Taipeh und Tokio begleitet. |
316 |
|
Hugo Kitch (1999) |
Turandot (Oper von G. Puccini) at the Forbidden City Zubin Mehta (conductor), Orchestra and Chorus of the Maggio Musicale Fiorentino |
|
|
|
318 |
|
|
Sydney Pollack, Arthur Laurents (1973) |
The Way We Were The Way We Were is a 1973 American romantic drama film, starring Barbra Streisand and Robert Redford, and directed by Sydney Pollack. The screenplay by Arthur Laurents was based on his college days at Cornell University and his experiences with the House Un-American Activities Committee. Told partly in flashback, it is the story of Katie Morosky (Barbra Streisand) and Hubbell Gardiner (Robert Redford). Their differences are immense: she is a stridently vocal Marxist Jew with strong anti-war opinions, and he is a carefree WASP with no particular political bent. While attending the same college, she is drawn to him because of his boyish good looks and his natural writing skill, which she finds captivating, although he doesn't work very hard at it. He is intrigued by her conviction and her determination to persuade others to take up social causes. Their attraction is evident, but neither of them act upon it, and lose touch after graduation. The two meet again at the end of World War II while Katie is working at a radio station, and Hubbell, having served as a naval officer in the South Pacific, is trying to return to civilian life. They fall in love despite the differences in their background and temperament. Soon, however, Katie is incensed by the cynical jokes Hubbell's friends make at the death of FDR and is unable to understand his acceptance of their insensitivity and shallow dismissal of political engagement. At the same time, his serenity is disturbed by her lack of social graces and her polarizing postures. Hubbell breaks it off with Katie, but, soon, agree to work things out. When Hubbell seeks a job as a Hollywood screenwriter, Katie believes he's wasting his talent and encourages him to pursue writing as a serious challenge instead. Despite her growing frustration, they move to California, where he becomes a successful albeit desultory screenwriter, and the couple enjoy an affluent lifestyle. As the Hollywood blacklist grows and McCarthyism begins to encroach on their lives, Katie's political activism resurfaces, jeopardizing Hubbell's position and reputation. Alienated by Katie's persistent abrasiveness, Hubbell has a liaison with Carol Ann, his college girlfriend and the departing ex-wife of his best friend J.J., even though Katie is pregnant. Katie and Hubbell decide to part when she finally understands he is not the man she idealized when she fell in love with him and will always choose the easiest way out, whether it is cheating in his marriage or writing predictable stories for sitcoms. Hubbell, on the other hand, is exhausted, unable to live on the pedestal Katie erected for him and face her disappointment in his decision to compromise his potential. Katie and Hubbell meet by chance some years after their divorce, in front of the Plaza Hotel in New York City. Hubbell, who is with a stylish beauty and apparently content, is now writing for a popular sitcom as one of a group of nameless writers. Katie has remained faithful to who she is: flyers in hand, she is agitating for the newest political causes. Katie, now re-married, invites Hubbell to come for a drink with his lady friend, but he confesses he can't. Katie's response acknowledges what they both finally understand: Hubbell was at his best when he was with her, and no one will ever believe in him or see as much promise in him as she once did. Their past is behind them; all the two share now (besides their daughter, whom they name Rachel) is a memory of the way they were. |
319 |
|
tier.tv |
Das Weihnachtsspektakel 2007 |
320 |
|
Raul Ruiz (1999) |
Die wiedergefundene Zeit (Les temps retrouve) nach Marcel Proust: Auf der Suche nach der verlorenen Zeit Paris 1922: Der von Alter und Krankheit gezeichnete Schriftsteller Marcel Proust liegt in seinem Bett und diktiert seiner Haushälterin Celeste. Während er sich alte Fotos anschaut, beginnt er, sich an sein Leben im Kreise der dekadenten Pariser Gesellschaft Anfang des 20. Jahrhunderts zu erinnern. Dabei vermischen sich seine Erinnerungen an die Menschen, die ihm als Vorlagen für die Romanfiguren seines Hauptwerks Auf der Suche nach der verlorenen Zeit dienten. Er begegnet ihnen wechselweise als Kind, Jugendlicher und Erwachsener. Die schöne Gilberte brachte ihm einst die Liebe bei. Ihre Mutter Odette hatte zahlreiche Liebschaften. Auch den Frauen war sie dabei nicht abgeneigt. In ihr sieht Proust dennoch das Ideal von einer Frau und die ewige Jugend. Auch die liebreizende Schauspielerin Albertine hatte es ihm einst angetan. In seiner Fantasie trifft Proust mehrfach auf den zynischen und homosexuellen Baron de Charlus. Mit dem jungen Pianisten Morel, der trotz des Ersten Weltkriegs am liebsten Beethoven spielt, hatte Charlus eine Beziehung. Morel wandte sich jedoch von ihm ab und geht ihm nunmehr aus dem Weg. Eines Abends läuft Proust durch die Straßen von Paris. Um sich ein wenig Rast zu gönnen, sucht er schließlich eine Pension auf. Aus einem Nebenzimmer hört er plötzlich Geräusche. Neugierig schaut er durch eine runde √ñffnung in ebendieses Zimmer, wo sich Charlus von einem Mann auspeitschen lässt und diesen anschließend für seine Dienste bezahlt. Neben der Literatur, der Liebe und dem Wandel der Zeit beschäftigt Prousts Geist stets auch der Krieg. Immer wieder hört er die Sirenen, die vor den feindlichen Truppen warnen. Gilbertes Mann Robert berichtet ihm von den Soldaten und wie selbst einfachste Männer sich im Schützengraben als Helden erweisen. Morel wird derweil als Deserteur von der Polizei gesucht. Proust nimmt auch an einer Reihe von Beerdigungen teil. Indem er die Vergänglichkeit akzeptiert, verliert er letztlich die Furcht vor dem eigenen Tod. Es beschleicht ihn jedoch die Angst, sein literarisches Werk nicht vollenden zu können. Mit Hilfe der Fiktion die Realität zu überwinden - darin erkennt er den Sinn seiner Existenz. |
321 |
|
Kurt Hoffmann (1958) |
basiert auf dem 1957 veröffentlichten satirischen Roman gleichnamigen Titels von Hugo Hartung Der Zuschauer verfolgt den Lebensweg des jungen Hans Boeckel über 40 Jahre (1913 bis 1957): von der - vermeintlichen - Begegnung seines Klassenkameraden Bruno Tiches mit Kaiser Wilhelm II. bis zur bundesrepublikanischen Wirtschaftswunderzeit. Boeckel wird Journalist, verliert seine Stellung aber unter dem Nationalsozialismus, den er für ein vorübergehendes Phänomen hält. Seine erste Freundin Vera emigriert mit ihrem Vater, ebenso sein jüdischer Schulfreund. Er heiratet die Dänin Kirsten, die ihm mit ihrer Familie über die schwere Zeit hilft, bis er schließlich in den 1950er Jahren wieder erfolgreich für eine Zeitung arbeitet. Kontrastiert wird seine Geschichte mit der seines sinistren Schulfreundes Bruno Tiches, der es mit Opportunismus vom NS-Funktionär über den Schwarzhändler bis zum Generaldirektor bringt. |
322 |
|
William Amtz (2004) |
stylized as What tнē #$*! D̄ө ωΣ (k)πow!? and What the #$*! Do We Know!?, it combines documentary-style interviews, computer-animated graphics, and a narrative that posits a spiritual connection between quantum physics and consciousness. The plot follows the story of a photographer as she encounters emotional and existential obstacles in her life and begins to consider the idea that individual and group consciousness can influence the material world. Her experiences are offered by the filmmakers to illustrate the movie's thesis about quantum physics and consciousness. |
323 |
|
Joe Wright (2007) |
... chronicles a crime and its consequences over the course of six decades, beginning in the 1930s. In 1935, Briony Tallis, a 13-year-old girl from a wealthy English family, has just finished writing a play. As Briony attempts to stage the play with her cousins, they get bored and decide to go swimming. Briony stays behind and witnesses a significant moment of sexual tension between her older sister, Cecilia, and Robbie Turner, a servant's son, a man that Briony has a childish crush on. Robbie returns home and writes several drafts of letters to Cecilia, including one that is explicit and erotically charged. He does not, however, intend to send it and sets it aside. On his way to join the Tallis family celebration, Robbie asks Briony to deliver his letter, only to later realise that he has mistakenly given her the prurient draft. Briony secretly reads the letter and is simultaneously disgusted and jealous. That evening, Cecilia and Robbie meet in the library, where they make love and then confess their love for one another. During the act, Briony watches through the partially open door and her confused emotions about Robbie become heightened. At dinner it is revealed that the twin cousins have run away. Briony goes off alone into the woods looking for them and stumbles upon a man running away from apparently raping her teenage cousin Lola. Lola claims that she does not know the identity of her attacker. In a fit of pique, the still-hurt Briony tells everyone, including the police, that she saw Robbie commit the act. She shows Robbie's shocking letter to her mother. Everyone believes her story except for Cecilia and Robbie's mother. Robbie is arrested and sent to prison. Decades later, an elderly Briony reveals in an interview that she is dying of vascular dementia, and that her novel, Atonement, which she has been working on for most of her adult life, will be her last. Briony reveals that the book's ending where she apologised to Cecilia and Robbie is fictional. Cecilia and Robbie never saw each other again once he left for war. In reality, Robbie actually died at Dunkirk of septicemia while awaiting evacuation, and Cecilia died a few months later as one of the flood victims in the Balham tube station bombing during The Blitz. |
324 |
|
Nickolaus Lehnhoff (2007) |
Boulevard Solitude (Oper von H.W. Henze) Mit der 1952 in Hannover uraufgeführten abendfüllenden Oper Boulevard Solitude, einer modernen Version des Manon-Lescaut-Stoffes, etablierte H.W. Henze sich endgültig als einer der führenden Komponisten seiner Generation. |
325 |
|
Edward Zwick (1996) |
Lieutenant Colonel Nathaniel Serling (Denzel Washington) was involved in a friendly fire incident in Al Bathra during the Gulf War. He was an M1 Abrams tank battalion commander who, during the nighttime confusion of Iraqi tanks infiltrating his unit's lines, gave the order to fire, destroying one of his own tanks and killing his friend Captain Boylar. The details were covered up (Boylar's parents were told that their son was killed by enemy fire), and Serling was shuffled off to a desk job. Later, he is assigned to determine if Army Captain Karen Emma Walden (Meg Ryan) should be the first woman to receive (posthumously) the Medal of Honor for valor in combat. A Medevac Huey commander, she was sent to rescue the crew of a Black Hawk that had been shot down. Finding them under heavy fire from an Iraqi T-54 tank and infantry, her men dropped an auxiliary fuel bladder on the tank and ignited it with a flare gun. Shortly after, her helicopter was also hit and downed. The two crews were unable to join forces. The survivors were rescued the next day, but Walden had been killed. At first, everything seems to be straightforward, but Serling begins to notice inconsistencies between the testimonies of the witnesses. |
326 |
|
Fred Zinnemann (1973) |
Based on the 1971 novel The Day of the Jackal by Frederick Forsyth, the film is about a professional assassin known only as the "Jackal" who is hired to assassinate French president Charles de Gaulle in the summer of 1963.[1] In the Paris suburb of Petit-Clamart on 22 August 1962, an assassination attempt is made on the President of France General Charles de Gaulle by the militant French underground organisation OAS in anger over the French government granting independence to Algeria. As the president's motorcade passes, de Gaulle's unarmoured Citroën DS car is raked with machine gun fire, but the entire entourage escapes without injury. Within six months, OAS leader Jean Bastien-Thiry and several other members of the plot are captured and executed. The remaining OAS leaders, now exiled in Vienna, decide to make another attempt, and hire a professional British assassin (Edward Fox) who chooses the code name "Jackal". Agreeing to the killer's demand of half a million US dollars for his services, the OAS leaders order several bank robberies to raise the money. Meanwhile, the Jackal begins to plan his assassination of the highly-protected French president. He travels to Genoa and commissions a custom-made rifle and fake identity papers. As a professional, he spares the reliable gunsmith, but kills the forger who attempts to blackmail him. In Paris, he sneaks an impression of the key to a flat that overlooks the Place du 18 Juin 1940. In Rome, where the OAS team have moved, members of the French Action Service identify and kidnap the OAS chief clerk Viktor Wolenski (Jean Martin). Using torture, they extract some elements of the assassination plot, including the word "Jackal", and report their findings to the Interior Minister (Alan Badel) who convenes a secret cabinet meeting of the heads of the French security forces. When asked to provide his best detective, the Police Commissioner Berthier (Timothy West) recommends his own deputy, Claude Lebel (Michael Lonsdale). Soon after, Lebel is given special emergency powers to conduct his investigation, which is complicated by de Gaulle's express orders for secrecy and his refusal to change any of his upcoming public appearances. As the investigation progresses, one of the cabinet members, St. Clair (Barrie Ingham), unknowingly discloses the government's knowledge of the plot to his new mistress Denise (Olga Georges-Picot), an OAS plant who immediately passes this information on to her contact. Meanwhile, Lebel uses an old boy network of police agencies in other countries to determine that suspect "Charles Calthrop" may be travelling under the name "Paul Oliver Duggan", who appears in British records as someone who died as a child. Learning that "Duggan" has crossed into France, Lebel orders his men to search all hotel registrations in an effort to locate the killer. After learning from his OAS contact that his code name is known, the Jackal still decides to carry on with his plan. He meets and seduces Colette de Montpellier (Delphine Seyrig) in a hotel in Grasse. Just before Lebel and his men arrive, the Jackal eludes his pursuers in his Alfa Romeo Giulietta Spider, and drives to Madame de Montpellier's estate. After sleeping with her again and discovering that the police had talked to her, he strangles her. The Jackal then assumes the identity of a bespectacled Danish school teacher, Per Lundquist, using a stolen Danish passport. He drives Madame de Montpellier's Renault Caravelle to the station at Tulle and catches a train for Paris. After Madame de Montpellier's body is discovered, and her car is recovered at the Tulle train station, Lebel initiates an open manhunt for a murderer—his investigation no longer hindered by forced secrecy. After checking the train schedule, he rushes to the Paris Austerlitz railway station, just a few minutes after the Jackal arrived. Looking to avoid hotels that are now being monitored, the Jackal goes to a Turkish bathhouse, where he allows himself to be picked up by a man and taken to the man's flat. The next day, the Jackal kills the man after the man learns from a television news flash that "Lundquist" is wanted for Madame de Montpellier's murder. Meanwhile, at a meeting with the Interior Minister's cabinet, Lebel admits that the Jackal has not checked into any Paris hotel under his new identity. He informs the cabinet that they have three days to find the killer, who will most likely attempt to shoot de Gaulle on Liberation Day, 25 August, during the ceremony honoring members of the French Resistance. Later, Lebel plays a tape recording of a phone call made from the house of one of the cabinet members. The cabinet hears St. Clair's mistress passing along information about the manhunt to her OAS contact. St. Clair acknowledges that the call was made from his house and leaves in disgrace. Later, he kills himself, and his mistress is caught. On Liberation Day, the Jackal, disguised as an elderly veteran amputee, is allowed access to the building he had cased earlier. He assembles his custom-made rifle, which was cleverly concealed in one of his crutches, and takes up a position at a window in an upper apartment. When de Gaulle enters the square to present medals to veterans of the Resistance, the Jackal takes aim. Downstairs, Lebel questions the policeman who allowed the disguised Jackal to pass, and the two run to the building. As de Gaulle presents the first medal, the Jackal shoots just as the president leans down to kiss the recipient on the cheek, and the bullet misses. When Lebel and the policeman burst into the apartment, the Jackal turns and shoots the policeman, killing him. As the Jackal tries to re-load, Lebel picks up the policeman's submachine gun and kills the Jackal. Back in Britain, the real Charles Calthrop enters his flat surprising the police, who realise the Jackal's real name was not Charles Calthrop after all. In fact, they now realize the killer could have been pretending to be British, just as he pretended to be Danish and French. At the cemetery, Lebel watches as the Jackal's coffin is lowered into a grave. The authorities wonder, "But if the Jackal wasn't Calthrop, then who the hell was he?" |
327 |
|
Krzysztof Kieslowski (1989) |
The Decalogue I - III (Die 10 Gebot) |
328 |
|
Petra Höfer |
Deutschland von oben |
329 |
|
|
Bremerhaven 1968 - 2002 |
330 |
|
Yann Arthus-Bertrand (2009) |
Die Erde von oben 1. Artenvielfalt 2. Erde und Ressourcen 3. Wasser 5. Nahrung für die Welt |
331 |
|
Josef von Baky, Erich Kästner (1950) |
Zwei zehnjährige Mädchen, die freche Luise Palfy aus Wien und die höfliche, bescheidene Lotte Körner aus München, treffen in einem Ferienheim für Mädchen in Seebühl am Bühlsee aufeinander. Sie können sich anfangs überhaupt nicht ausstehen, weil sie sich so ähnlich sehen. Nach einigen Nachforschungen stellt sich dann heraus, dass die beiden Zwillinge sind und durch die Scheidung ihrer Eltern auseinandergerissen wurden. Luises Vater ist Komponist in Wien, und Lottes Mutter, die wieder ihren alten Familiennamen angenommen hat, arbeitet in München. Am Ende der Ferien vertauschen die Zwillinge ihre Rollen, was wegen der unterschiedlichen Fähigkeiten und Charaktereigenschaften zu einiger Verwirrung bei ihren nichtsahnenden Eltern führt. Als Lotte erfährt, dass ihr Vater wieder heiraten will, wird sie vor Kummer krank. Die Mutter erfährt durch einen Zufall von der Begegnung der Schwestern und schließlich auch von der Krankheit. Mutter und Luise fahren nach Wien, wo die Familie wieder zusammenfindet. |
332 |
|
John Patrick Shanley (2008) |
Set in 1964 at a Catholic church in the Bronx, New York. ...Under the pretext of discussing the school's upcoming Christmas pageant, Sisters Aloysius and (to a lesser extent) James voice their suspicions that Father Flynn's relationship with Donald may be inappropriate. Several times, Father Flynn asks them to leave the matter alone as a private issue between the boy and himself, but Sister Aloysius persists. Despite having no evidence and no support from anyone, Sister Aloysius again confronts Father Flynn and demands that he tell her the truth; otherwise, she will go to the Bishop. Father Flynn is adamant that there is no illicit relationship, but Sister Aloysius claims that she has learned that he has a history of problems, having moved to three different parishes in the last five years. She tells him that she has contacted a nun from one of his prior churches (she refuses to say whom), who corroborated her suspicions. Father Flynn is furious that she has contacted a nun rather than the church's pastor, which is proper church protocol. Sister Aloysius tells him he doesn't deserve to wear the collar, and asks for his resignation. Unable to stand up to her determination to ruin his reputation, he succumbs to her demands. Following his final sermon, Father Flynn steps down from the pulpit and shakes hands with the members of the congregation. Some time later, Sisters Aloysius and James are sitting together in the church garden. Sister Aloysius tells Sister James that although Father Flynn resigned, the bishop has appointed him to pastor at a larger church and its parochial school, in essence promoting him to a more prestigious position and perpetuating the same issue with Father Flynn. She then admits she lied about speaking to a nun at Father Flynn's former church, and thus drove him out with no more than her suspicions; her justification is that if Father Flynn truly were innocent of wrongdoing, he would not have given in. Repeating a line from earlier in the film, Sister Aloysius says that "in the pursuit of wrongdoing, one steps away from God." Sister Aloysius concludes that she has paid a price in pursuing the wrongdoing of Father Flynn. While discussing her inability to fully expose Father Flynn and have him dismissed from the diocese as a whole, she reflects upon her larger faith in the diocese as she breaks down in tears and says to Sister James: "I have doubts...I have such doubts." The film ends with Sister James comforting Sister Aloysius. |
333 |
|
Krzysztof Kieslowski, Agnieszka Holland (1993) |
Das Thema des ersten Films der Trilogie ist die Freiheit. Blau ist der intensivste der drei Filme, er wird vom Gefühl des Schmerzes dominiert. Der Film beginnt mit einem schweren Verkehrsunfall. Die allein √úberlebende Julie, die dabei ihre einzige Tochter und ihren Mann, einen berühmten Komponisten, verliert, versucht danach nicht, sich mit der Situation zurechtzufinden und ihre Trauer zu bewältigen, sondern bricht radikal mit dem bisherigen Leben, versucht vor der eigenen Erinnerung zu flüchten und baut sich eine vollkommen neue Existenz auf. Sie geht nach Paris, um ein Leben fast ohne Kontakt zu anderen Menschen zu führen. Sie beauftragt einen Makler, den Landsitz, auf dem die Familie lebte, zu verkaufen, und vernichtet alte Notationen ihres Mannes. Im Laufe der Handlung gelingt es ihr jedoch nicht, diese Lebensweise durchzuhalten. Die Freiheit, die die Protagonistin wählt, indem sie sich von allen Dingen des vorherigen Lebens trennen möchte, führt nicht zum gewünschten Ziel. Erst als sie sich auf die Vergangenheit einlässt, Kontakt zu einem alten Freund aufnimmt und an der unvollendeten Komposition ihres Mannes weiterarbeitet, gelingt es ihr, sich von ihrem Schmerz zu befreien. |
334 |
|
Fatih Akin (2007) |
The Edge of Heaven Der zweite Teil beginnt am gleichen Tag wie der erste und mit Blick auf das gleiche Ereignis: einer Demonstration zum 1. Mai, allerdings in Istanbul, und kontrastiv angelegt als Großveranstaltung mit politischem Sprengstoff. Bei dieser wird ein verdeckt ermittelnder Polizist enttarnt und niedergeschlagen, wobei er seine Pistole verliert; diese landet bei Ayten, der es gelingt, sie auf einer Dachterrasse zu verstecken. Sie gehört zu einer Zelle linker Politaktivisten, die auffliegt, weil Ayten auf der Flucht ihr Handy verloren hat; zufällig ist sie bei der Verhaftung abwesend und beschließt, mit einem gefälschten Pass nach Deutschland zu fliegen und in Hamburg unterzutauchen. Als sie sich jedoch von der dortigen Kontaktgruppe im Streit trennt und eine erste Suche nach ihrer Mutter in Bremer Schuhläden fehlschlägt, steht sie allein und mittellos da. Auf dem Campus der Universität bittet sie die Studentin Lotte, ihr ein Mittagessen zu bezahlen, und bekommt viel mehr als erwartet. Lotte ist selbst auf der Suche: nach einer Aufgabe, nach Liebe, nach einer Bindung, die sie von ihrer Mutter abnabelt. So nimmt sie Ayten kurzerhand in die mütterliche Wohnung mit zu sich, hilft ihr bei der weiteren Suche nach Yeter und beginnt ein Verhältnis mit ihr. Bei einer polizeilichen Routinekontrolle jedoch gerät Ayten in Panik; sie flieht, wird gestellt und beruft sich auf ihr Asylrecht. Ihr Antragsverfahren, von Lottes Mutter Susanne finanziert, wird nach einem Jahr abschlägig beschieden; Ayten wird in die Türkei ausgewiesen. Lotte folgt ihr und erfährt, dass sie sofort inhaftiert wurde und ihr als Mitglied einer "bewaffneten Organisation" möglicherweise 15 bis 20 Jahre Gefängnis drohen. Durch die vage Aussicht auf eine Besuchserlaubnis getröstet, beschließt sie (gegen den Widerstand ihrer Mutter, die ihr weitere Unterstützung verweigert) zu bleiben. Die Suche nach einer Unterkunft führt sie auch in Nejats Buchhandlung, der ihr anbietet, bei ihm zur Untermiete zu wohnen. Der Besuch im Untersuchungsgefängnis hingegen hat fatale Folgen. Ayten, der von ihrer Gruppe signalisiert wurde, die versteckte Pistole werde gebraucht, erliegt der Versuchung, Lottes Ergebenheit auszunutzen. Zwar gelingt es Lotte, die Pistole an sich zu bringen, doch wird ihr die Umhängetasche unterwegs von Straßenjungen entrissen. Als sie diese schließlich stellt, wird sie von einem von ihnen erschossen. Susanne fliegt nach Istanbul, um sich mit dem Tod ihrer Tochter auseinanderzusetzen. Sie trifft sich mit Nejat, übernachtet im Zimmer ihrer Tochter, liest ihr Tagebuch und bleibt. Indem auch sie Ayten besucht, setzt sie Lottes Mission fort und hat damit, wenngleich indirekt, Erfolg. Ayten bittet um Vergebung und bereut. Da sie ihre Reue auch der Justiz gegenüber bekundet, wird sie freigelassen. Zurück in Istanbul, nimmt sie Susannes Angebot an, zunächst bei Nejat unterzukommen, dessen Wohnung und Buchhandlung er Susanne in seiner Abwesenheit übertragen hat. Nejat hatte erfahren, dass sein Vater Ali aus Deutschland abgeschoben worden ist, den Kontakt mit ihm jedoch vermieden habe (in der Annahme, er wolle ihn nicht) und nun unterwegs sei zu seinem Anwesen in Trabzon. Nejat folgt ihm. Als er hört, dass Ali zum Fischen ausgefahren ist, erwartet er ihn am Strand. |
335 |
|
Darren Aronofsky (2006) |
2006 American romantic drama film that blends elements of fantasy, history, religion, and science fiction.. At its core, The Fountain is the story of a 21st-century doctor, Tom Creo (Hugh Jackman), losing his wife Izzi (Rachel Weisz) to cancer in 2005. As she is dying, Izzi begs Tom to share what time they have left together, but he is focused on his quest to find a cure for her. While he's working in the lab, she writes a story about 16th century Queen Isabella losing her territory to the Inquisition while her betrothed, conquistador Tom√°s Verde plunges through the Central America forest in Mayan territory, searching for the Tree of Life for his Queen. Since she does not have time herself, Izzi asks Tom to finish the story for her. As they look out to the stars, she imagines that their souls will meet there when the star dies. And we see astronaut Tommy, in 2500, travelling there for the event, in a spaceship made of an enclosed biosphere containing the Tree of Life. The three story lines are told nonlinearly, each separated by five centuries. The three periods are interwoven with match cuts and recurring visual motifs; Hugh Jackman and Rachel Weisz play the main characters for all three narratives.[1] Even within a given narrative, the elements of that particular story are not told in chronological order. Whether these stories are actual events, or symbolic, is not clarified; and, director Darren Aronofsky emphasized that the storylines in their time periods and their respective convergences were open to interpretation.[2] The director has said of The Fountain's intricacy and underlying message, "[The film is] very much like a Rubik's Cube, where you can solve it in several different ways, but ultimately there's only one solution at the end."[2] In a 2012 interview, Aronofsky stated that "ultimately the film is about coming to terms with your own death".[3] Tom√°s the conquistador[edit] One of the film's narratives takes place during the Spanish Inquisition, where public trials of heresy destroyed the lives of those accused. The film opens with conquistador Tom√°s Verde in New Spain fighting a horde of Mayans to gain entry into a pyramid, where he is attacked by a Mayan priest with a flaming sword. Through flashbacks, it is revealed that the conquistador has been commissioned by Queen Isabella of Spain to travel to the New World in search of the Biblical Tree of Life. Tommy the space traveler[edit] The narrative for Tommy is set entirely in deep space in a small, self-contained biosphere bubble. Jackman's character in this plot is alone, flying in outer space toward the golden nebula of Xibalba with a large tree and a few personal effects inside his ship. While traveling, he meditates, performs t'ai chi, grows mushrooms and cuts pieces of bark from the tree for nourishment. He also converses with apparitions of Izzi from 2005. The Fountain's theme of fear of death is "a movement from darkness into light, from black to white"[5] that traces the journey of a man scared of death and moving |
336 |
|
Peter Weir (1981) |
Gallipoli is a 1981 Australian film directed by Peter Weir and starring Mel Gibson and Mark Lee, about several young men from rural Western Australia who enlist in the Australian Army during the First World War. They are sent to the peninsula of Gallipoli in the Ottoman Empire (in modern-day Turkey), where they take part in the Gallipoli Campaign. During the course of the movie, the young men slowly lose their innocence about the purpose of war. The climax of the movie occurs on the Anzac battlefield at Gallipoli and depicts the futile attack at the Battle of the Nek on 7 August 1915. Gallipoli provides a faithful portrayal of life in Australia in the 1910s—reminiscent of Weir's 1975 film Picnic at Hanging Rock set in 1900—and captures the ideals and character of the Australians who joined up to fight, as well as the conditions they endured on the battlefield. It does, however, modify events for dramatic purposes and contains a number of significant historical inaccuracies. It followed the Australian New Wave war film Breaker Morant (1980) and preceded the 5-part TV series ANZACs (1985), and The Lighthorsemen (1987). Recurring themes of these films include the Australian identity, such as mateship and larrikinism, the loss of innocence in war, and the continued coming of age of the Australian nation and its soldiers (later called the ANZAC spirit). The numerous running sequences in the film are set to Jean Michel Jarre's Oxygène. |
337 |
|
Roman Polanski/Robert Harris (2010) |
An unnamed British ghostwriter (Ewan McGregor) is recruited to complete the memoirs of former Prime Minister Adam Lang (Pierce Brosnan). His predecessor on the project and Lang's long-term aide, Mike McAra, has recently died in an apparent accident. The writer travels to the fictional Massachusetts village of Old Haven on Martha's Vineyard, where Lang is staying with his wife, Ruth (Olivia Williams), and a staff of servants and security personnel. The writer is checked into a small hotel. Lang's personal assistant (and mistress), Amelia Bly (Kim Cattrall), forbids him to take McAra's manuscript outside, emphasizing that it is a security risk. Shortly after the writer's arrival, Lang is accused by former Foreign Secretary Richard Rycart (Robert Pugh) of authorising the illegal seizure of suspected terrorists and handing them over for torture by the CIA, a possible war crime. Lang faces prosecution by the International Criminal Court unless he stays in the U.S. or any other country that does not recognise the court's jurisdiction. As reporters and protesters swarm the island, the writer is moved into McAra's old room at Lang's house, where personal belongings have not been cleared out yet. Lang then travels to Washington, D.C.. While clearing the room, the writer finds an envelope containing photographs of Lang's university days that suggest McAra may have stumbled across clues to a dark secret. Among the material is a handwritten phone number he rings and is answered by Rycart. |
338 |
|
Wolfgang Becker (2003) |
Der Film erzählt die Erlebnisse der ostdeutschen Familie Kerner. Der Film beginnt im Sommer 1978, als sich der Familienvater in den Westen absetzt und seine Frau Christiane und die beiden Kinder Alexander und Ariane in der DDR zurücklässt. Zuerst von der Politik der DDR nicht sehr begeistert, beginnt Christiane nach schweren Depressionen, sich - nicht ganz freiwillig, da man ihr drohte, ihr die Kinder wegzunehmen - für den Sozialismus einzusetzen. Sie wird im Staatsratsgebäude als "verdienstvolle Persönlichkeit" ausgezeichnet. Für den 7.Oktober 1989 erhält die Mutter eine Einladung zum Festakt anlässlich des 40. Jahrestages der DDR im Palast der Republik. Auf dem Weg dorthin wird sie zufällig Zeugin einer Demonstration, an der sich auch ihr Sohn Alexander beteiligt. Als sie mit ansieht, wie die Demonstration von der Volkspolizei zerschlagen und Alexander festgenommen wird, erleidet sie einen Herzinfarkt, bricht zusammen und fällt ins Koma. Wenige Wochen später fällt die Mauer. Auch sonst ändert sich einiges für die Kerners. Alexanders Betrieb wird abgewickelt, er ist nunmehr Vertreter für Satellitenschüsseln. Außerdem verliebt er sich in die russische Krankenschwester Lara. Seine Schwester Ariane bricht ihr Studium ab und verliebt sich in einen Westdeutschen, der mit in die Plattenbauwohnung der Familie einzieht. Im Juni 1990, als Alex zum ersten Mal Lara küsst, wacht Christiane plötzlich aus dem Koma auf. |
339 |
|
BBC Earth (2013) |
Die fantastische Reise der Vögel |
340 |
|
Billy Wilder (1954) Stanley Donen (1957) Blake Edwards (1961) |
Sabrina (1954, Musik von Friedrich Holländer) Linus und David Larrabee sind Söhne einer wohlhabenden Familie auf Long Island. Linus, der ältere, geht ganz in seiner Arbeit auf. Er ist damit ausgelastet, das Familienunternehmen zu führen, und hat keine Zeit für eine Frau oder eine eigene Familie. David ist ein Lebemann, der zwar offiziell im Familienunternehmen angestellt ist, sich aber nicht viel aus der Arbeit macht. Er war bereits dreimal verheiratet und lässt keine gesellschaftliche Veranstaltung aus. Sabrina Fairchild, die junge, schüchterne und unbeholfene Tochter des Chauffeurs der Familie, ist schon von klein auf in David verliebt, der sie aber kaum beachtet hat. Sie geht nach Paris, absolviert dort eine Ausbildung zur Köchin und lernt durch die Freundschaft mit einem betagten französischen Baron die Umgangsformen der besseren Gesellschaft kennen. Als elegante, kultivierte und schöne Frau kehrt sie nach zwei Jahren zurück, wo sie prompt David auffällt, der ihr umgehend den Hof macht. ...auch Linus hat inzwischen Gefühle für die junge Frau entwickelt. David kann seinen Bruder Linus überreden, ihr nachzureisen, so dass Sabrina und Linus schließlich doch gemeinsam nach Paris reisen. Ein süßer Fratz (1957, Musik von George Gershwin) Ein süßer Fratz, auch unter dem Verweistitel Das rosarote Mannequin bekannt, ist ein US-amerikanischer Kinofilm aus dem Jahr 1957. In den Hauptrollen sind Audrey Hepburn als Jo Stockton und Fred Astaire als charmanter Modefotograf Dick Avery zu sehen. Der Film basiert auf dem Musical Funny Face von George und Ira Gershwin aus dem Jahr 1927. Die erfolgreiche Maggie Prescott, Herausgeberin des US-Mode-Magazins Quality, ist nicht oft mit den Ideen ihrer eigenen Mitarbeiter zufrieden. So kommt ihr zuerst der Gedanke, Pink zur neuen Modefarbe auszurufen (dazu der Song Think Pink) und dann die Idee ein neues Supermodel, die "Quality-Frau" aufzubauen, das vom berühmtesten Pariser Couturier exklusiv für ihre Zeitschrift ausgestattet werden soll. Diese Frau soll alle Ideale der modernen Frau Amerikas besitzen und somit die Zeitung und Maggie Prescott verkörpern. Mit ihrem Fotografen Dick Avery, gestaltet nach dem Modell von Richard Avedon, der an dem Film auch mitwirkte, und dem Model Marion, gespielt von Supermodel Dovima, begibt sie sich nach Greenwich Village, in der Hoffnung, dort in einem intellektuellen, existentialistischen Buchladen vor ungewohnter Kulisse die idealen Bilder machen zu können. Bei diesem Fotoshooting entdeckt Fotograf Avery die unscheinbare Buchhändlerin Jo Stockton, die seiner Meinung nach die neue "Quality-Frau" werden soll. Allerdings muss er erst Miss Prescott und anschließend Jo Stockton davon überzeugen. Mit einem Trick gelingt es ihm: Obwohl Jo Stockton das Modewesen prinzipiell ablehnt, kann er sie überzeugen, da die Aufnahmen in Paris gemacht werden sollen, wo ihr großes Vorbild, der Begründer des "Empathikalismus", Professor Emile Flostre, lebt und lehrt. Der Empathikalismus ist eine Parodie auf den Existenzialismus. Jo Stockton, eine überzeugte Empathikalistin, sieht in dieser Paris-Reise die Chance, ihr Idol persönlich kennenzulernen. In Paris verliebt sie sich allerdings in den Fotografen Dick und ist hin- und hergezogen zwischen ihrer Welt der "Empathie" und der Welt der Mode. Frühstück bei Tiffany (Truman Capote,1961) Das bezaubernde New Yorker Partygirl Holly Golightly (Audrey Hepburn) führt ein exzessives Leben voller Extreme: Gefrühstückt wird in Abendrobe vor dem Schaufenster des Nobel-Juweliers Tiffany, geschlafen bis zum frühen Nachmittag. Die Nächte sind lang, die Partys schrill, die Begleiter zahlreich und von den Herren nimmt man schon mal fünfzig Dollar "für die Toilette". Für den neuen Mieter in Hollys Mietshaus, den jungen ambitionierten Schriftsteller Paul Varjak (George Peppard) ist die schillernde Holly, die ihn hartnäckig wegen seiner Ähnlichkeit mit ihrem Bruder "Fred" nennt, zunächst ein faszinierendes Studienobjekt; als er sie jedoch näher kennenlernt, fühlt er sich mehr und mehr zu ihr hingezogen... ... Capotes Romanvorlage endet, im Gegensatz zum Film, ohne Happy End. Holly sucht die Katze im Regen vergeblich und fährt schließlich fort. Als Paul später entdeckt, dass die Katze ein richtiges Zuhause gefunden hat, hofft er dies auch für Holly, deren weiteres Schicksal er nicht kennt. Der komplette Soundtrackwurde von Henry Mancini komponiert. Der bekannteste Titel daraus ist der 1962 oscarprämierte Song Moon River, der in einer Szene von Audrey Hepburn selbst gesungen wurde. |
341 |
|
Richard Lester (1965) |
Im Mittelpunkt der Spielhandlung stehen die vier Mitglieder der Beatles. Der Soundtrack wurde als Album Help! veröffentlicht. Es war nach Yeah Yeah Yeah der zweite Spielfilm mit der Musikgruppe in der Hauptrolle unter der Regie von Richard Lester. Komponiert wurden alle Lieder des Films von John Lennon und Paul McCartney mit Ausnahme des Titels I Need You, den George Harrison beisteuerte. |
342 |
|
Luc Besson (1994) gift from Joanna and Nick Vergoth |
Leone "Léon" Montana (Jean Reno) is a hitman (or "cleaner", as he refers to himself) living a solitary life in New York City's Little Italy. His work comes from a mafioso named Tony (Danny Aiello), who operates from the "Supreme Macaroni Company" restaurant. Léon spends his idle time engaging in calisthenics, nurturing a houseplant that early on he describes as his "best friend",[3] and (in one scene) watching old Gene Kelly musicals. One day, Léon sees Mathilda Lando (Natalie Portman), a twelve-year-old girl who is smoking a cigarette and sporting a black eye. Mathilda lives with her dysfunctional family in an apartment down the hall. Her abusive father and self-absorbed stepmother have not noticed that Mathilda stopped attending class at her school for troubled girls. Mathilda's father (Michael Badalucco) attracts the ire of corrupt DEA agents, who have been paying him to stash cocaine in his apartment. After they discover some of the drugs missing, DEA agents storm the building, led by sharply dressed drug addict Norman Stansfield (Gary Oldman). During the raid, Stansfield quickly becomes unhinged and murders Mathilda's entire family one by one, except for Mathilda, who was missing only because she was out shopping. Mathilda returns from her shopping trip as the group cleans up the carnage, and realizes what happened just in time to continue down the hall, where she desperately knocks on her neighbour's door. A reluctant Léon gives her shelter. Mathilda quickly discovers that Léon is a "cleaner", or hitman. She begs him to take care of her and to teach her his skills as a cleaner. She wants to avenge the murder of her four-year-old brother, telling Léon that he was the only one of her family she loved. Léon shows her how to use guns, including a scoped rifle. In return, she runs his errands, cleans his apartment, and teaches him how to read. Several times Mathilda tells Léon "I love you", but he offers no response. Then one day after Mathilda has learned how to shoot, she fills a bag with guns from Léon's collection and sets out to kill Stansfield. She bluffs her way into the DEA office by posing as a delivery girl, only to be ambushed by Stansfield in a bathroom. Mathilda learns from Stansfield and one of his men that Léon has killed one of the corrupt DEA agents in Chinatown that morning. Léon, after discovering her plan in a note left for him, rescues Mathilda, shooting two more of Stansfield's men in the process .... |
343 |
|
Aram Avakian, Bert Stern (1960) |
a documentary film set at the 1958 Newport Jazz Festival in Rhode Island, co-filmed and co-directed by commercial and fashion photographer Bert Stern and director Aram Avakian, who also edited the movie. It was written by Albert D'Annibale and Arnold Perl. The Columbia Records jazz producer, George Avakian, was the musical director of the film. The film mixes images of water and the city with the performers and audience at the festival. It also features scenes of the 1958 America's Cup yacht races. The film is largely without dialog or narration (except for periodic announcements by emcee Willis Conover). The film features performances by Jimmy Giuffre, Thelonious Monk, Sonny Stitt, Anita O'Day, Dinah Washington, Gerry Mulligan, Chuck Berry, Louis Armstrong, and Jack Teagarden. Also appearing are Buck Clayton, Jo Jones, Armando Peraza, and Eli's Chosen Six, the Yale College student ensemble that included trombonist Roswell Rudd, shown driving around Newport in a convertible jalopy, playing Dixieland.[1] Many performances ran so long that the last act, Mahalia Jackson, did not appear on stage until after midnight, performing The Lord's Prayer. In 1999, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". |
344 |
|
David Garrigus (2003) |
Kitty Hawk: The Wright Brothers' Journey of Invention (TV Movie) KITTY HAWK definitively documents the gripping tale of hardship, perseverance and the true genius of Orville and Wilbur Wright. Follow the brothers through their epic and historic journey of discovery that culminated in the first successful manned flight. Neil Armstrong and John Glenn provide the voices of Orville and Wilbur. A national PBS broadcast. |
345 |
Filmliste #2 (Star Trek - The Next Generation) - Filme #3 - DVD ("P#")
Version 21 February 2018
Address of this page
Home
Jochen Gruber