One Hour with You (1932)
“But how can you figure that out?!” you shout at whatever device you’re reading this on. “Film is too subjective an art form for you to make overarching statements like that!”
That’s a very good point, but you’re overlooking two things: 1) the Oscar best picture nominations, and 2) film ratings on the Internet Movie Database. Both obviously have degrees of subjectivity, but that’s levelled off somewhat with each institution’s sheer number of voters or raters.
So, to work out what year was the best ever for cinema, we’ve taken all the films nominated for each year’s Best Picture Oscar, and then worked out their average IMDb rating. I’ll just point out that these were the ratings as of the week of the 88th Academy Awards on 22nd February
Directed by Ernst Lubitsch
Written by Samson Raphaelson
Angel is a 1937 feature directed by Ernst Lubitsch and starring Marlene Dietrich. It’s not the greatest film of either one of their careers, however, it is a film deserving of attention, at the very least because it’s a film directed by Ernst Lubitsch and starring Marlene Dietrich. And now, it’s also available for the first time on an American-issued DVD, by way of Universal’s Vault Series collection.
Dietrich is Maria Barker, but we first see her as “Mrs. Brown,” the false name she registers under when arriving in France. She’s “in Paris but not in Paris,” there to meet an old acquaintance, the Russian émigré, Grand Duchess Anna Dmitrievna (Laura Hope Crews). At the same time, Anthony Halton (Melvyn Douglas) drops by the duchess’ “salon,” at the suggestion of a friend who sent him there for an “amusing time.
Now, even though I ran out of time to complete the series in June as I originally intended, the concluding installment, The Model Couple from Eclipse Series 9: The Delirious Fictions of William Klein, is unleashed one year after Mr. Freedom was the object of my attention over the Independence Day holiday weekend. I don’t know that these coincidences portend any particularly deep meaning, but they provide a lead into this review, so as far as I’m concerned, they serve a purpose.
Better yet, The Model Couple also makes a great follow-up to last week’s film, Allan King’s A Married Couple.
What’s interesting about the pairs of posters for these films is that they are markedly similar. Aside from the casting, you can’t tell much about what differentiates the original and the remake,
The idea of a "national" cinema, expressive of a particular and coherent cultural esprit, is a standard of most cinematic intercourse . until you confront the real map, in which Kosovar cinema is now primed to forge an identity of its own (as the Serbs and Slovenians have done), the ex-Soviet nations of the Silk Road are struggling to differentiate themselves from Russian film and the nationless movies of the Basque, the Romany and the Palestinians still hunt for footing and voice. Add to this gray zone the films of Kurdistan, a non-country standing nevertheless with its own army, government and debatable borders, and a nascent cinema rising with the ascent of the Iranian new wave and from the crater of the American occupation. Even within this context, Hiner Saleem is filmmaker on the roam . an Iraqi Kurd long expatriated to France, Saleem has made seven features, two in France,
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