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Jeden Mi,Do,Fr, ab 20.00 / 22.00
Beginn: Do. 10 Juli, 20.00, AZ3
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Eine Veranstaltung für Wohnbau am Institut für Städtebau, des AZ3 und des Fond
Konzeption: Reini Urban
Katalog und Detailprogramm im AZ3, 873-5173

 

Für den erfolgreichen Abschluß muß jeder Teilnehmer ein Referat von max.30 Sekunden Länge vorbereiten oder genug Filmquiz und Werbequiz Bons sammeln.



Langatmige französiche Filme

Manchmal bis zur Unerträglichkeit stilisierte, langweilige Filme, mit schönen Frauen, leerem Blick, das ist der typisch französische Film. Sie können's auch anders.
Die französischen Tarkowskijs werden vorgestellt bis auf Eustache und Godard, die man niemanden ungestraft zumuten kann:

Durchaus großartige Filme.

Jaques Rivette

Die Nonne

 FRA, 1966, 200 min
Regie: Jacques Rivette
Drehbuch: Jean Gruault, Jacques Rivette, Buch: Denis Diderot "La Religieuse"
Darsteller: Anna Karina (Suzanne), Liselotte Pulver (Mme de Chelles)

Eine wunderbare Rolle für Anna Karina, dem Star der Nouvelle Vague. Ganz hervorragender Film. War in Frankreich lange verboten.

"In eighteenth-century France a girl (Suzanne Simonin) is forced against her will to take vows as a nun. Three mothers superior (Madame de Moni, Sister Sainte-Christine, and Madame de Chelles) treat her in radically different ways, ranging from maternal concern, to sadistic persecution, to lesbian desire. Suzanne's virtue brings disaster to everyone in this faithful adaptation of a bitter attack on religious abuses by the Enlightenment philosopher Denis Diderot."

"Denis Diderot's novel La Religeuse (Memoirs of a Nun) was intended as a satire when first published in 1760. The story was a roller coaster affair, beginning with a young girl forced into convent life by her family, and ending with her suicide after an unfortunate romantic tryst with a monk. Jacques Rivette's film version, titled The Nun, includes most of the novel's sacrilegious highlights, and throws in a little trendy lesbianism for good measure. The film was banned outright in France, then released to the US in a radically recut version. Chances are The Nun hadn't made any sense even before it was hacked to pieces." (AMG)

Anna Karina

"Born Hanne Karin Bayer, she began her career as a model and appeared in several Danish advertising films. She starred in a Danish short that won a Cannes Film Festival Prize, bringing her to Paris; there she met filmmaker Jean-Luc Godard, who launched her film career and to whom she was married from 1961-67" (AMG)

Die schöne Querulantin

FRA, 1991, 240 min
Regie: Jacques Rivette
Drehbuch: Pascal Bonitzer ua., Buch: Honore de Balzac
Darsteller: Michel Piccoli, Jane Birkin, Emmanuelle Beart

"Die schöne Querulantin, in dem ein berühmter Maler eines jungen Kollegen der ihn bewundert, schöne Frau porträtiert, um sein Meisterwerk zu schaffen. Die in der ursprünglichen Fassung in mehrere Erzählebenen aufgefächerte Auseinandersetzung mit Lebensentwürfen und Schöpfungsprozessen wird zugunsten der zentralen Auseinandersetzung zwischen Maler und Modell verkürzt und verliert in der gekürzten Fassung ihren philosophisch wie filmkünstlerisch reichen Unterbau." (Lexikon des Internationalen Films)

Deshalb natürlich in der langen Kinofassung.

L'Amour par terre

aka Love on the ground, Theater der Liebe
FRA, 1984,
Regie: Jacques Rivette
Drehbuch: Pascal Bonitzer, J. Rivette
Darsteller: Jane Birkin, Geraldine Chaplin, André Dussollier

Kammerspiel um die Liebe. In der üblichen Länge und Dramatik.

Eric Rohmer

Eigentlich könnte die Auswahl nach dem Zufallsprinzip erfolgen. Aus der 4 Jahreszeiten Serie, von denen es bekanntlich 6 gibt oder den Sprichwörtern Serie.

Vorhanden wären:

Frühlingserzählung, Wintermärchen, Der Freund meiner Freundin, Das grüne Leuchten, Die Frau des Fliegers


Liebe in der freien Natur

Ein bunter Abend, unter anderem mit Ausschnitten von:

Hawaiianische Nächte

mit Kasha, einer tollen Schwarzen, Sex am Strand mit blauem Himmel, Palmen, den bekannten Kasha-Supertitten und am Ende einem Mord.

Schwarzlzentrum Unlimited

Privatexzesse hinter den Büschen

Zabriskie Point

wie man sich den Sand herumwälzt, wenn man im Schwarzl keinen Eintritt zahlen will.


Was mach ich nach dem Studium?

Auch: Skuril, Erfrischend, Unmoralisch

Frankreich produziert nicht nur langatmige Filme, auch die erfrischendsten.

Zwei unbekannte Filme von Michel Deville, der beste Franzose neben Bertrand Blier. Gefahr in Verzug und die Vorleserin werden die meisten kennen. Es gibt daneben aber auch viele normale Auftragsarbeiten, in denen nur manchmal die genialen Überblendungen und das obligate Streichquartett auffallen.

Michel Deville

Das Wilde Schaf

aka Love at the top, Le Mouton Enrage
FRA/ITA, 1974, 105 min
Regie: Michel Deville
Drehbuch: Christopher Frank, Buch: Roger Blondel
Kamera: Claude Lecomte, Music: Camille Saint-Saëns
Darsteller: Jean-Louis Trintignant, Jane Birkin, Jean-Pierre Cassel, Romy Schneider, Florinda Bolkan

Ein kleine Lektion, wie man etwas wird, wenn man seine oder andere Talente richtig einsetzt. Jane Birkin ist wunderbar. Michel Deville, der Symbolist unter den formalistischen Franzosen, war auch schon vor Gefahr in Verzug so frech wie Blier.
Unsere Romy Schneider Freunde werden leider nicht ganz auf ihre Kosten kommen.

"In this French comedy, a meek little bank clerk finds fame and fortune when he begins getting lessons from an impoverished novelist. Soon the clerk is wowing the Parisians with his ability to make the women swoon, and for his talent at attracting money. The film was also titled "The French Way Is"." (www.allmovie.com)

Auch Betrügen will gelernt sein

FRA, 1977, 97 min
Regie: Michel Deville
Kamera: Claude Lecomte

Noch eine kleine Lektion, wie man etwas wird, wenn einem der erlernte Beruf nicht mehr so richtig ausfüllt. Und wie man eine Beziehung zu jungen Mädchen pflegt. (aus aktuellem Anlass).

Bankbeamte entwickeln anscheinend eine sehr ausgeprägte Datendrang. (siehe: Das Wilde Schaf)

Der rote Ibis

FRA
Regie: Jean-Pierre Mocky
Darsteller: Michel Simon, Michel Serrault

Serrault's Spleen ist es vollbusige Frauen zu erwürgen und ihnen eine Fliege in den Ausschnitt zu stecken.

Gefahr in Verzug

aka Péril en la demeure, Death in a French Garden
FRA, 1985
Regie: Michel Deville
Buch: René Belleto, Music: J.Brahms, E. Granados, F. Schubert
Darsteller: Michel Piccoli, Christophe Malavoy, Anémone, Richard Bohringer, Nicole Garcia, Anaïs Jeanneret

Eine Vorstellung wird sich erübrigen, ein Pflichtfilm. Zur Erinnerung: der Film mit der Nachbarin.

Das Buch ist übrigens auch grenzgenial.


Sonne Sand und Surfen

Last Summer

aka Petting (dt. Verleihtitel)
USA,
Regie: Frank Perry
Darsteller: Barbara Hershey, Richard Thomas

Sommerliebe Drama unter Jugendlichen, das den Genre Rahmen sprengt. Sehr netter Jugendfilm in den Ferien am Strand, mit einem harten Ende.

Paßt auch zur Reihe: Liebe in der freien Natur.

Supervixens


USA, 1975, 106 min.
Regie, Buch, Kamera: Russ Meyer
Darsteller: Shari Eubank (Angel Turner/Supervixen), Charles Napier (Harry Sledge), Uschi Digard (Supersoul), Charles Pitts I (Clint Ramsey), Henry Rowland (Martin Bormann), Christy Hartburg (Superlorna), Sharon Kelly, John Lazar (Cal McKinney), Stuart Lancaster (Lute), Deborah McGuire (Supereula), Glenn Dixon, Haji (Superhaji)

Viel Hitze und Riesentitten.

"Clint Ramsey has to leave his job working at Martin Bormann's gas station and flee after his wife is murdered by psycho cop Harry Sledge, who tries to pin the murder on Clint. Crossing America, Clint gets sexually harassed on all sides by various voluptuous nymphomaniacs, and it all ends in a literally explosive climax." Michael Brooke michael@everyman.demon.co.uk

"Russ Meyer's SUPERVIXENS is the epitome of twenty years of gut-tearing film making, a rural "Fellini," geared for the young and old alike, the sophisticate and the blue collar...and in each blazing scene, the ring of truth. Never before has Meyer revealed so much of himself, or taken such umbrage with his personal life...scenes bulging with love, violence and unrelenting hate...each scene bearing his own indelible stamp.

Geared for the times, Russ Meyer's SUPERVIXENS wields the double-bladed axe of satire...cutting and hacking its way to the very bone of society...laying bare and exposing, with great candor, the frailties, weaknesses and strengths of its citizens. A picture born to entertainment, shocking in its frankness, yet so hilariously funny in its delivery. A cinematic smorgasbord of erotic fantasy...SIX of the world's most BOUNTIFUL women...served up from the lusty table of Russ Meyer."

http://www.rmfilms.com/sv.shtml

Gefährliche Brandung

USA, 1991, 122 min
Regie: Kathryn Bigelow
Kamera: Donald Peterman, Musik: Mark Isham
Drehbuch: Peter Iliff, Buch: Rick King
Darsteller: Patrick Swayze, Keanu Reeves, Gary Busey, Lori Petty

Keanu Reeves ist wunderbar! Die Welle ist wunderbar! Sogar ein bißchen Bankraub ist dabei. Vor Pulp Fiction (1994) der mein bester Film der frühen 90er (zeitlich natürlich).


Der Chilli Peppers Sänger spielt übrigens auch mit.

Starke Männer

Charles Bronson

Der aus dem Regen kam

aka Le Passager de la pluie, Rider on the Rain
FRA, 1969, 30 min.
Regie: René Clément
Buch: Sébastien Japrisot, Lorenzo Ventavoli Musik: Francis Lai
Darsteller: Marlène Jobert, Charles Bronson, Jill Ireland

Bronson ultracool.

Bronson als Armeedetektiv glaubt, daß Marlene Jobert am Mord am Strand schuld ist und sucht das geraubte Geld des Opfers. Sehr schöner stiller Film, mit zwei überzeugenden Helden, der auch immer wieder im ORF wiederholt wird.

Für ein paar Dollar mehr

I, 1965, 105 min
Regie: Sergio Leone
Kamera: Massimo Dallamano, Musik: Ennio Morricone
Drehbuch: Sergio Leone u.a.
Darsteller: Clint Eastwood, Lee van Cleef, Gian Maria Volonté, Klaus Kinski

Cleef ultracool.

"Ehemaliger Colonel (Lee van Cleef) überrumpelt mit Hilfe eines zweiten Kopfgeldjägers (Clint Eastwood) eine Verbrecherbande in Texas. Sorgfältig und spannend im gewalttätigen Sergio-Leone-Stil inszenierter Western." (Lexikon des internationalen Films)

Macho Callahan

USA, 1970,
Regie: Bernard L. Kowalski
Darsteller: David Janssen, Jean Seberg, David Carradine

Ultrarealistischer Italo Western. Neben Sam Peckinpah's der einzige gute amerikanische übrigens. Besonders berüchtigte Anfangsszenen

Point Blank

USA, 1967, 92 min.
Regie: John Boorman
Darsteller: Lee Marvin, Angie Dickinson

"Trying to help his gangster friend Reese, Walker is shot and left for dead by him and his own wife turning out to be Reese's lover. In order to get the revenge, Walker will penetrate the very center of all-powerful criminal Organization." Dragan Antulov dragan.antulov@altbbs.fido.hr


Psychopathen

Zwei thematisch sehr ähnliche Filme. Als Kontrast zu Shine ein guter Film von Rolf de Heer, der auch vor kurzem im Fernsehen lief, nachdem Heimo Sver ihn as erste mal im Rechbauer gezeigt hat. Beide Filme aus Australien und beide sehr moralisch. Der eine allerdings auf Hollywood ausgerichtet, der andere zum Glück radikaler und ehrlicher. Der Rachmaninov an dem der Künstler in Shine zerbricht, ist unbedingt hörenswert.

Shine


AUS, 1996, 105 min.
Regie: Scott Hicks
Darsteller: Geoffery Rush (David Helfgott), Armin Mueller-Stah (Peter Helfgott), Noah Taylor (Adolescent David), Gillian (Lynn Redgrave), John Gielgud (Cecil Parks)

Bad Boy Bubby


AUS/I, 1993, 112 min
Regie, Buch: Rolf de Heer
Darsteller: Nicholas Hope

"The theme of a person locked away for their entire life, and then by chance released into the wide world, has been explored fairly often in the past (BEING THERE and THE ENIGMA OF KASPAR HAUSER spring to mind), and they generally fall into two categories: either the person will succeed in the experience, or the world will destroy them.

But in the low-budget Australian film BAD BOY BUBBY, this is not really the main issue. The person who is imprisoned is Bubby, kept locked up for 35 years by his abusive mother in a filthy basement flat. He is, to all intents and purposes, an infant. Then one day he seizes his freedom, and escapes into the black night of the industrial suburbs of Adelaide. The rest is part adventure, part tragedy, and part comedy. It's also very intense, confronting and discomforting. Bubby is the target of hatred, charity, loathing and love, and this emotional roller coaster closely parallels the experience of the audience, who are subjected to black, ironic humour mixed with images that openly defy the conventions of commercial cinema.

And despite the well-worn theme, the film manages to keep you in your seat. It doesn't have the usual monotonic form of a mainstream film (an opening exposition, followed by a steady, direct run to a clear resolution); instead, it vacillates between joy and despair. Bubby has good days and bad days; the audience gets to ride up and down with him.

And despite his naivete and inability to cope, at no point does Bubby become pathetic. In the end, he is resilient, and the audience sees him grow up very quickly without losing his identity. This, in spite of all the cruelty that he experiences and inflicts

And the visual imagery in the film is amazing. It is almost wholy bleak, dark, and at times positively Hogarthian, with a lot of attention paid to the texture of dirty skin, the sagging of folds of fat, the dull fall of artificial light, and the patina of used, worn surfaces. It's a visual experience that you can also feel and smell, and it's both repellent and oddly appealing. The dark visuals add directly to the film's black humour; both Bubby and his new-found world are, in places, very, very funny in their cruelty and stupidity.

It must be said, though, that not everybody will enjoy this film. It's probably unconventional enough to discomfort most viewers, and the first forty minutes are set in a tiny, claustrophobic space, and are quite difficult to watch at times; plus the film directly addresses the matter of what is beautiful, and the way that women are used in movies. (Not in any overt way, mind you; it's just there if you want to look for it.) And on the subject of sex, this film has a lot of it, and it's quite explicit, but the way it operates on the viewer is subtle and strange. It isn't simple eroticism.

There is also the matter of the final resolution, which I found somewhat disappointing; on the other hand, I think that it was unavoidable, given where the film was going. Some of the acting is also a tad uninspired, possibly because those actors weren't experienced.

In summary, this low-budget film is an amazing experience; its good points overwhelm its flaws, and I can only say that it's thoroughly watchable, and probably headed for a cult following."

(c) 1994 Rev. Dr. Phil Herring ph@cs.uow.edu.au

ftp://ftp.uu.net/usenet/rec.arts.movies.reviews/long.dir/B/BAD_BOY_BUBBY.2889


John Cassavetes

Auf allgemeinen Wunsch auch auf der TU ein paar Cassavetes Filme, zufällig die besten, die leider nicht im Augarten Kino gespielt werden.

"Shadows" hat das Autorenkino revolutioniert und einige Europäer (Nouvelle Vague, ...) stark beeinflußt. Cassavetes war allerdings hauptsächlich Schauspieler und im "Sturm" bringt der den Architekten und nicht wie sonst den Kriminellen. Der Sturm ist sowieso die beste Shakespeare Dramatisierung des abgenudelten Sturm Themas, auch weil sie sich am wenigstens ans Original hält. Und wenn Sturm auch 97/98 nicht Meister wird wird's wohl so bleiben.

Shadows


USA, 1959, 87 min.
Buch, Regie: John Cassavetes
Darsteller: Lelia Goldoni, Hugh Hurd, Ben Carruthers

Schwarz semi-dokumentarisch. So wollte Spike Lee seine Filme immer machen.

"Cassavetes first film and one of the seminal works of the American independent cinema. Two African-American brothers try to make it as jazz musicians while their light-skinned sister struggles with issues of "passing." An experiment in improvisational filmmaking."

"Cassavetes' jazz-scored improvisational film explores interracial friendships and relationships in Beat-Era (1950's) New York City." Tad Dibbern {DIBBERN_D@a1.mscf.upenn.edu}

"Lelia, a pale-skinned black woman, is unconcerned about race and passes easily for white without intending to. At a social gathering, she meets and has an affair with Tony, a white man. When Tony meets Lelia's brothers and becomes aware (as do they) of the interracial aspect of relationship, a painful and shameful eruption takes place." Jim Beaver {bajw32a@prodigy.com}

"I can not believe this film was made before A Bout de Souffle. An incredible revelation and an amazing influence." - dt.jones

Spezielle Fan Page:

http://astro.ocis.temple.edu/~pth/cassavetes/films/shadows.htm

Der Sturm

aka Tempest
USA, 1982,
Regie: Paul Mazursky
Drehbuch: Leon Capetanos, Paul Mazursky, frei nach Shakespeare
Kamera: Donald McAlpine
Darsteller: John Cassavetes, Susan Sarandon, Molly Ringwald, Gena Rowlands, Vittorio Gassman, Sam Robards, Raul Julia

Mein Lieblings-Mazursky und auch mein Lieblings-Cassavetes. Ein Architekt (Cassavetes) steigt aus und zieht mit zwei Frauen auf eine griechische Insel. Dort wären wir alle sicher lieber als hier in Graz. Paul Mazursky ist übrigens der erste Gast der vom Architekten auf der Neujahrsparty begrüßt wird. Und der Drehbuchautor spielt den Griechen in der Höhle.


Science Fiction

La Jetee

FRA, 1962, 29 min.
Regie: Chris Marker

Der Vorläufer zu "12 Monkeys". Lief voriges Jahr schon im Forum Stadtpark. Dieser Film braucht keine Worte, keine Bewegung, nur eine Geschichte. Wir haben auch ein passendes Ort für die Vorführung gefunden.

Named by Pauline Kael as "the greatest science fiction film ever made.", Chris Marker's haunting and provocative 1962 film was the inspiration for Terry Gilliam's Twelve Monkeys. Although this film is no more than 29 minutes long and contains but a single moving image, perhaps no other film has matched its combination of devastating emotional power, formal brilliance and philosophical complexity. The story Marker tells - a stunning parable of our modern fate - is about the death of the world, about loss, memory, hope, and the indominatable power of love. J.G. Ballard says "This strange and poetic film, a fusion of science fiction, psychological fable, and photo montage...creates its own conventions from scratch. It triumphantly succeeds where science fiction invariably fails."

Solaris

SU, 1972, mind 150 min.
Regie: Andrej Tarkowskij
Kamera: Wadim Jussow Musik: Eduard Artemjew u.a.
Drehbuch: F. Gorenstein u.a. Buch: Stanislaw Lem
Darsteller: Natalia Bondartchuk, Donatas Banionis, Nikolai Grinko, Juri Jarwet

Der klassische Science-Fiction Film. Wunderschöne Stadtfahrt durch Moskau, das sehr an Amerika erinnert.

"Ein Psychologe wird zum Planeten Solaris geschickt, um unerklärlichen Vorkommnissen auf der dortigen Forschungsstation nachzuspüren. Die Konfrontation mit einer absolut fremden Lebensform (der gesamte Planet spiegelt als kollektives Bewußtsein die Erinnerungen, Ängste und Wünsche der Raumfahrer zurück) wird für die Besatzung des Raumschiffs zur metaphysischen Reise in die Innenwelt ihrer eigenen Kultur. Nach dem Science-Fiction-Roman von Stanislav Lem erzählt Tarkowskij eine philosophische Fabel, die um die abendländischen Ideen von Tod, Liebe und Auferstehung kreist." (Lexikon des internationalen Films)

Liquid Sky

USA, 1982, 112 min
Regie: Slava Tsukerman
Kamera: Yuri Neyman Musik: Slava Tsukerman
Drehbuch: Slava Tsukerman u.a
Darsteller: Anne Carlisle, Paula Sheppard E., Susan Doukas, Otto von Wernherr

Der alte New Yorker Punkkultfilm, den wir alle schon mindestens fünfmal gesehen haben, damals. Wunderbare Musik.

"Tellergroßes Ufo landet auf dem Balkon einer jungen Frau und verspeist die ihr aufgezwungenen Liebhaber. Am Ende entschwindet sie mit dem Ufo im All. Krude Mischung aus Science fiction-Parodie, Märchen und Beschreibung des New Yorker New-Wave-Milieus." (Lexikon des internationalen Films)

Dune

A world beyond your experience, beyond your imagination. A Place Beyond Your Dreams. A Movie Beyond Your Imagination.

USA, 1984, 141 min.
Regie: David Lynch
Buch: Frank Herbert, Drehbuch: David Lynch
Kamera: Freddie Francis, Musik: Brian Eno, Toto, ...
Darsteller: Kyle MacLachlan (Paul Atreides), Kenneth McMillan (Baron Vladimir Harkonnen), Jürgen Prochnow (Duke Leto Atreides), Francesca Annis (Lady Jessica), Sean Young (Chani), Brad Dourif (Piter De Vries), José Ferrer (Padishah Emperor Shaddam IV), Sting (Feyd-Rautha), Max von Sydow (Doctor Kynes)

"In the far future, a duke and his family are sent by the Emperor to a sand world from which comes a spice that is essential for interstellar travel. The move is designed to destroy the duke and his family, but his son escapes and seeks revenge as he uses the world's ecology as one of his weapons." John Vogel jvogel@dgs.dgsys.com

"The desert planet Arrakis - we enter the year 10191 and the whole universe depends on the spice Melange which exists only on this dry and desolate planet. The natives of this planet await the arrival of their Messiah who will lead them into a holy war against the evil Harkonnen empire. This is the film adaptation based on Frank Herbert`s cult novel." Harald Mayr marvin@bike.augusta.de

"Set in a distant future where life in the universe and space travel is dependent upon a spice found only on the planet Dune, this film tracks the rise of young Paul Atreides, son of good Duke Lito, from the time of his father's betrayal and murder by a rival lord, Baron Harkonnen, to his discovery of the great secret behind the planet Dune and his own destiny, which is to free the planet and its denizens of the cruel rule of the Emperor." Sunil Iyer siyer@foobar.co.uk

"After reading the novel, it should have been immediately apparent to writer/director David Lynch that Frank Herbert's epic "Dune" could not make a successful move from page to screen in anything less than four or five hours. At the least.

Instead, Lynch tried to condense the novel, keeping the main plot intact, but leaving out certain characters and squeezing events together. For those who have read the book, "Dune" the movie will be more or less comprehensible. For those who have not read it, "Dune" will be an exasperating experience because it rarely if ever feels cohesive and intelligible. I have seen the movie in its entirety three times, and I still do not understand all of it, and those parts that I do understand feel woefully under-developed.

The story is ancient in origin, revolving around two rival houses (each occupying its own planet): the Atreides(good) and the Harkonnens (bad). Each is vying for power over the universe, which can only be gained by controlling production of the Spice, a special substance found only on the desert plant Arrakis, also known as Dune (not a drop of rain has ever fallen there). Spice allows the folding of space -- traveling light years without ever moving.

Ruling over the two feuding houses is Padishah Emperor Shaddam IV(José Ferrer). Shaddam decides to end the feud by allowing the Atreides to take over Spice production on Arrakis, while also secretly helping the Harkonnens in a sneak attack to destroy them.

The Atreides are led by Duke Leto (Jürgen Prochnow), his concubine Jessica (Francesca Annis), and their son Paul (Kyle MacLachlan). Against them is the utterly vile Baron Vladimir Harkonnen (Kenneth McMillian) and his two nephews, Raban (Paul Smith) and Feyd (Sting). Watching the Harkonnens in action is one of the more unpleasant aspects of the movie, especially the Baron, whose diseased face is covered with purplish cysts and oozing sores. We first meet him in a particularly repulsive scene where a perverted doctor is using a needle-like device to suck blood and pus from his face.

There are several other aspects of the movie, including the Fremen, a reclusive and mysterious tribe of people with "blue-in-blue" eyes who live in the deep desert of Arrakis, and their prophecy of a powerful messiah to come. The movie also makes much of the huge sandworms that live under the desert floor and are constantly threaten Spice mining because they are attracted to rythmic vibrations.

All of this seems like a lot, and it is. "Dune" yearns to be a stunning epic, yet it falls short in too many areas. It has heavy handed religious and political overtones, and Lynch twists the visuals with his trademark eccentricities, as if he's trying to combine "Star Wars" with his "Eraserhead." It is also a deeply serious film, so there is no escapism or popcorn mentality. Lynch is very serious about the subject matter, and he pushes this point home most dourly when using the characters' heavily-whispered thoughts as a kind of voice-over narration. A typical passage is like this: "The worms . . .the spice . . . is there a connection?"

He also punctuates the action with a multitude of graphic dream sequences, only some of which make sense and seem to be relevant to the plot.

The movie's cast is an incredibly diverse group, including such distinguished actors as Max von Sydow (one of Ingmar Bergman's favorites), as well as eclectic and odd performers like Brad Dourif ("One Flew Over the Cuckoo's Nest) and Lynch-regular Jack Nance ("Eraserhead"). Despite the grand cast, most of the performance seem crimped by the movie's grim tone. No one is ever allowed to smile, even in victory. The only ones who have any fun are McMillian as the Baron, and rock star Sting, who has the most wicked eyes and sinister smirk in recent film history.

The special effects in "Dune" are perhaps its worst inconsistency, varying widely from stunning to pathetic. Some of the scenes depicting the Emperor's mansion, or the industrial steel framework structures of the Harkonnen house are reminiscent of the striking visuals in "Blade Runner." And Carlo Rambaldi's ("E.T.") creature effects are mostly solid, and his make-up effects are so well-done they're disgusting.

But any of the scenes involving ships in outer space are among the worst I have ever seen. Roger Corman did a better job with his schlock sci-fi junk of the 50's and 60's. The spaceships in "Dune" have no depth or dimension -- they literally look like drawings pasted onto a black sheet of paper. Although the sandworms look good at first, certain scenes betray their puppet origins. I think Lynch realized his special effects were going to be compromised, so he chose to film much of the desert scenes underlit with hazy filters, obscuring the action and making everything look muddy.

"Dune" is a movie that has the right components, but none of them ever come together. Lynch was reaching for something great, but somewhere along the way he got set off course. There are many rumors about what the real version of the movie would be if Lynch had his way. I've heard that he had to cut it drastically in order to bring it in under two-and-a-half hours, but when network TV showed a 190-minute re-edited version, Lynch disowned it and inserted "Alan Smithee" as the director. Some rumors have said that Lynch intends to release a five or six hour version, but I'll believe it when I see it.

And even then, I wonder if that will be enough to make sense of it all." James Kendrick

Weitere Quellen:

news:alt.fan.dune http://www.dune.org/museum/docs/script.html http://www.eerie.fr/~tassin/Dune/dune.html http://www.flg21.com/dune/

http://www.ozemail.com.au/~hindet/dune.html

Enak

Of. m. dt. Untertitel (englisch, polnisch)
POL, 1992, 80 min.
Regie, Buch: Slawomir Idziak
Darsteller: Irene Jacobs

Intelligenter, engagierter Science Fiction Film über die Dummheit der Menschen und die Hoffnung auf die Jugend. Charles Enak, ein Austronaut, hat so seine eigene Pläne in der Umlaufbahn und wird zur Kultfigur.

Friendship's Death

ENG, 1987, 87 min.
Regie, Buch: Peter Woollen
Darsteller: Tilda Swinton, Bill Patterson (aus Killing Fields)

Mein Lieblings Science-Fiction Film. Tilda Swinton ist ein Botschafter einer höheren Zivilisation, die mitten im Palästina Krieg 1970 landet, und sich über sonderbare Bräuche der Humanoiden wundern kann. Warum hämmert der Journalist so in seine Schreibmaschine?


Hong Kong

Peking Opera Blues (Of m. dt.U)

HK, 1986, 104. min

Cantonese: Do Ma Daan
Mandarin: Dao1 Ma3 Dan4
Literally: Knife, Horse, Dawn [The name of a type of Peking opera character]
Produzent: Tsui Hark
Regie: Tsui Hark
Action Director: Ching Siu-Tung
Drehbuch: Raymond To Kwok-Wai
Darsteller: Brigitte Lin Ching-Hsia, Cherie Chung Cho-Hung, Sally Yeh (Yip Sin-Man), Mark Cheng Ho-Nam, Cheung Kwok-Keung, Wu Ma, Leung Po-Chi, Kenneth Tsang Kong, Guk Fung, Paul Chun Pui, Sandra Ng Kwun-Yu, Lee Hoi-Sang, Tin Ching

Definitiv der beste Actionfilm aller Zeiten und DER klassische Hongkong Film.

"After the Chinese Revolution of 1911, three women -- a general's daughter (Brigitte Lin), a petty thief (Cherie Chung), and an actress wannabe (Sally Yip) -- find themselves aswirl in intrigue that drags them back and forth between the (ex-) Royal Palace and the Peking Opera theatre run by Yip's father. The Citizen Kane of Hong Kong, blending action, farce, and political satire into a work of almost vertiginous excitement; the rooftop finale is one of the all-time great jaw-droppers."

http://egret0.stanford.edu/cgi-bin/hkquery?Peking_Opera_Blues

Peking Opera Blues" is a visual treat: a rambunctious, fast-paced, tightly-edited spree! - Jami Bernard, New York Post

One of the most celebrated Hong Kong action comedies of the past decade, Tsui Hark's 1986 "Peking Opera Blues" is credited with a large part of the current rage for Hong Kong cinema. It's a giddy period comedy set in 1911, with ravishing costumes and jaw-dropping action sequences. While the reviews may go on about feminism and such, we love it just because it's sheer entertainment and eye candy.

http://www.atlhomes.com/~metro/films/Peking.html

Chunking Express (Of m. eng.U)

aka Chongqing Senlin
HK, 1994, 97 min.
Regie: Kar-Wai Wong
Darsteller: Takeshi Kaneshiro (First cop), Brigitte Lin (Woman in wig), Tony Leung (Second cop), Faye Wang (Faye), Valerie Chow (Flight attendant)

"This movie would probably never have made it to video in America without the help of Quentin Tarantino. He is using his new production label, Rolling Thunder, to bring obscure and foreign films to the local video stores that otherwise wouldn't have ever seen the light of day. "Chunking Express" was the first to come out under this new label, and due to the exciting sound of the title, and the fact that Tarantino admitted he cried when he saw the movie because he "loves it so much," one would come to the conclusion that this is another "Pulp Fiction" or "Reservoir Dogs."

Wrong.

Tarantino, who has always defied easy labeling, has delivered a romance written and directed by Hong Kong auteur Kar-Wai Wong. Granted, there is some elaborate drug smuggling and two action scenes, but they're filmed in an artsy blurred fashion that few American filmmakers would dare use.

"Chunking Express" is actually made up of two, completely unrelated stories. The only link seems to be policemen who have recently lost their girlfriends. The first cop is so sure of getting back his love within a month, that every day he buys a can of pineapples that have the expiration date he thinks his girlfriend will come back before. When she doesn't, he ends up eating all thirty cans in one night, and then meets a mysterious blond-haired woman at a bar. She's not up to talking because her huge drug scheme just went bad, but no matter. Romance is in the air, but not in the way you would assume. This is only one of the small joys of "Chunking Express" -- nothing ever happens as it should.

The second story involves Faye, a worker at the title foodstand. Through a slightly contrived series of events, she winds up with the keys to a cop's apartment. She then sets about making it her business to spend time in his apartment every day, cleaning and rearranging things, even going so far as to change the labels on the cans of food in his cupboard. This charade obviously can't go on forever, but when her afternoon trysts in his abode are discovered, the film still refuses to follow through with a conventional conclusion.

"Chunking Express" is definitely atypical. The plot and characters are almost indispensable to the feel of the movie. In its portrayal of Hong Kong after dark, it's effectively moody, making good use of lighting and music. While not the best film I've ever seen, it was a welcome relief from the kind of formula junk Hollywood has been churning out in recent years. Sometimes it refreshing to see a film that reflects life so well, and the fact that it never fits snugly into a formula. Although it's a bit frustrating during its first viewing because it refuses to cooperate and fill an preconceived notion, "Chunking Express" ultimately rewards with subsequent viewings."

© 1997 James Kendrick

Weiters:

http://www.miramax.com/movies/chungkin.html

http://www.film.com/filma/reviews/flat/rev235.htm

Millionenraub auf Indisch

IND, 1995, 115 min
Buch, Regie: Mani Ratnam
Darsteller: Prashand Anand, Anu Agrawal Heera, S.Ghose
Als Überraschungsfilm die indische Antwort auf Peking Opera Blues. Wilde Verfolgungskomödie zwischen Indiana Jones und Tsui Hark. Jetzt stellt sich nur noch die Frage, wer schöner ist: Inderinnen oder Chinesinnen?

Tokyo Dekadence

Tokyo Dekadence

aka Topaazu, Topaz
JAP, 1992, 92 min.
Buch, Regie: Ryu Murakami, Music: Ryuichi Sakamoto
Darsteller: Miho Nikaido, Sayoko Amano

Besonders gefürchtete Anfangsszene, bei der viele Mädchen den Saal verlassen.

Recht bekannter S/M Softcore Erotikfilm, mit recht ansprechender Handlung

"Ai (Miho Nikaido) is a Japanese callgirl who specializes in domination and bondage. When we first meet her, she's naked and spreadeagled with restraints holding down her arms and legs. Meanwhile, her client, after whispering to her that she should trust him, blindfolds and gags her before forcibly injecting her with heroin. Welcome to the world of Tokyo Decadence, where prostitution is a dangerous and ugly profession, not the thing of romance it has been portrayed as in Hollywood's sanitized Pretty Woman." James Berardinelli http://www.cybernex.net/~berardin/movies/t/tokyo.html

"A drug-addicted Japanese call girl who specializes in sado-masochistic sex plies her trade in Tokyo. This film features explicit and occasionally violent sex scenes." All Movie Guide

Tokyo Dekadence II

aka Nightlife in Tokyo

Netter Fernsehfilm in der gleichen Reihe wie Tokyo Dekadence. Nicht ganz so gut, mit weniger Sex, mehr Handlung, mehr Jugendkultur und weniger gestylt, also durchaus sympathisch.

Danke an RTL

Im Spätprogramm eventuell noch japanische Pink Films, sogenannte Roman Pornos, oder junges japanische Nouvelle Vague.

The Bedroom

JAP, , 63 min
Regie: Sato Hisayasu

Spiele mit der wehrlosen Schlafenden eskalieren.


Gonzo

Was ist Gonzo?

Auch Pro-Am, Porn Cinema Verité, nasty, real, no stupid plots.

Zum Beispiel die bekannten Serien: More Dirty Debutantes, Up'n Cummers, Buttman

High Gloss: These films have exceptionally high production values, and attention to lovely people in lovely sets with lovely lighting having a lovely time fucking.

In the opposite end of the spectrum from High Gloss, we have films featuring (often) a single intrepid reporter, his Betacam, and babes galore, Gonzo.

Die folgenden Filme sind in Graz nicht zu bekommen. Sie werden vorgestellt um einen Eindruck zu vermitteln. Aber die relativ besten werden gezeigt. Vor allem unsynchronisierte Versionen, ohne Musik!

Adventures of Buttman

John Stagliano
Evil Angel

"It may be shallow of her, but Greta adores the Buttman movies. They have a friendly, good-natured, uncomplicated charm that is conspicuously absent in a lot of mainstream porn. Writer/director/producer John Stagliano is refreshingly direct about what he likes -- beautiful butts -- and has made quite a name for himself making movies that focus on his fetish. They're better made than most amateur stuff, more raw and enthusiastic than most pro tapes.

The Adventures of Buttman is the movie that started it all. John Stagliano is Buttman, a video cameraman for hire whose obsession for videotaping women's butts gets him into some extremely sticky situations. Very nasty and very graphic, with a friendly and adoring quality. If you like butts and butt-sex, you should enjoy this movie thoroughly. (120 min.) www.blowfish.com

Dirty Debutantes (#1)

Ed Powers


"This is a great price on the first, and perhaps the best, of the Dirty Debutante series. After the modest success of Bus Stop Tales, Powers started this line of tapes, dedicated to women previously unexposed to the adult movie audience. He was responsible for the creation of pro-am, one of the most successful new categories in porn, not to mention the hugely successfully Dirty Debutantes franchise. (90 min.)" www.blowfish.com


Glaubwürdige Orgasmen

On Orgasm

"When originally posted, these reviews generated a certain amount of discussion of orgasms. "Did she or didn't she" is a tricky question, and my Playbooks--originally intended for my own consumption--sometimes make unsupported claims on the subject. It's probably best when discussions of this topic are backed with evidence from specific cases. Several posters to this group made suggestions of what to look for--adequate time and comfort for concentration and arousal, far-away dreamy looks, flushed upper torsos, etc.--and these are helpful even if they are neither necessary nor sufficient as proof. On the other hand, a few posters proposed principles like: 'If it's with Ed Powers, it can't be an orgasm because he's so yucky.' And that I consider unhelpful, given that tastes and circumstances really do vary.

Aside from physical signs, women in pro-am tapes sometimes simply say 'I came.' That too can be good evidence if evaluated critically. For instance in Deep Inside DD #8, Marylin Blake (first segment) is pretty dazed and confused; she jills off at Ed's request and shows physical signs of coming; then Ed asks her if she came, and she say 'Well, yeah' (like are you an idiot, couldn't you see?); then she sort of does a double take and says Oh, wasn't I supposed to? Ed then says well of course, that's great, not believing she could be so unaware of adult-industry evaluative norms. When watching this little exchange, the reality of the come seems to be the one thing Marylin has got straight. I call that convincing evidence, especially in connection with her physical signs.

http://home.eznet.net/~rwilhelm/asm/jaguar-night/index.html

Faces of Ecstasy

Joani Blank


If you love watching your lover's face when she or he's coming (and goodness knows we do), you will adore this movie. Faces of Ecstasy is an entire tape of close-ups of the faces of people having orgasms. It's beautiful and moving and arousing; it conveys the actual feeling and experience of getting hot and getting off better than almost any fuck-shot movie we've seen. The first 11 minutes consists of intercut shots of ten women and three men of various ages, sizes and races, edited together from build-up to cool-down; the rest shows the unedited, straight-through footage of four of the women (including 22 minutes of rising sex celebrity Midori). The Blowfishies love this video; all four of us, which doesn't happen too often. Created by Joani Blank, founder of Good Vibrations and Down There Press. (55 min.)

http://www.blowfish.com/catalog/videos/documentary.html

How to Female Ejaculate

Fatale Videos

Fanny Fatale teaches you how to awaken your ability to ejaculate. She and three other women demonstrate astonishing ejaculations. Explicit education! (60 min.) www.blowfish.com


Marilyn Chambers

Behind the Green Door

USA, ,
Regie: Mitchell Brothers
Darsteller: Marilyn Chambers

Der Film, der sie auf einen Schlag berühmt machte. Zuerst strahlte ihr Mund von Amerikas Reklametafeln als Model für Seife, dann lutschte sie Schwänze. Die Handlung und die Kamera ist wunderbar psychadelisch, ein Meisterwerk der Mitchell Bros aus den frühen goldenen 70ern. Auch für viele der beste Porno aller Zeiten.

"Marilyn Chambers, of course. A woman is abducted to star in a bizarre sexual performance. The famous trapeze scene is one of the best sex scenes ever filmed. Shortly before the release of this movie, Chambers' innocent, fresh features were featured in an ad for Ivory Soap and he rest was history." (www.blowfish.com)

Insatiable

USA, ,
Regie: Mitchell Brothers
Darsteller: Marilyn Chambers

Der große Erotikklassiker, für viele der beste Porno aller Zeiten, ist ein nettes biografisch gefärbtes Portrait des großen Stars Marilyn Chambers, die davor nur ein paar Filme mit den Mitchell Brüdern gemacht hat, dann ein paar Jahre Pause, dann ein großes Comeback mit diesem Film und dann nur mehr eine Hauptrolle in David Cronenbergs Rabid.

Dieser Film war der am meisten gehypteste Pornofilm aller Zeiten, mit einem relativ riesigen Werbeaufwand, und wunderbarerweise wurde er diesem auch gerecht.

John Holmes darf ihn in der Anfangstraumszene zeigen, ebenso wie Arni Goldstein, der Produzent vieler guter 70er Jahre Streifen, der "Golden Aera of Porn". Arni's Blasszene ist sicherlich unvergeßlich. Manche schwärmen auch von der Billardtischszene, manche wieder von der Traumszene. Jedenfalls ein richtiger Film, für den Nicht-Pornoliebhaber wahrscheinlich zu fad, aber für den Kenner ein Goldstück.

Marilyn ist bis jetzt in ihrer Glaubwürdigkeit und Persönlichkeit unerreicht.

Up'n Cumming

USA, ,85 min,
Darsteller: Marilyn Chambers, Cody Nicole, Loni Sanders, Lisa DeLeeuw, Hershel Savage, John Holmes

Ein Film mit richtiger Handlung. Leider ist die Tonqualität sehr schlecht.

Chambers is a rising country-and-western singer who gets a chance to open for a top-flight singer (DeLeeuw). While traveling around the country, Chambers starts to out-perform the veteran, creating some strong jealousies. The recording studio bosses are impressed and finally decide to let the old-timer highlight the new girl. Enjoy the C&W tunes sung by Chambers and the incredible lip-sync done by DeLeeuw. Another blockbuster from Ms. Chambers, bless her heart.

Rabid

CAN
Regie: David Cronenberg
Darsteller: Marilyn Chambers

Früher Cronenberg Horror-Trash mit Marilyn als Ursache einer tollwutartigen Seuche.


Joe Dallesandro

Andy Warhol's Dracula

ITA
Regie: Paul Morrissey
Darsteller: Joe Dallesandro, Udo Kier

Legendäre Dracula Parodie. Joe tut sein bestes, um alle Jungfrauen vor Udo Kier zu retten.

Je'taime moi non plus

FRA, 1975,
Regie, Buch, Musik: Serge Gainsbourg
Darsteller: Joe Dallesandro, Jane Birkin, Michel Blanc, Gérard Depardieu

The petite waitress Johnny works and lives in a truck-stop, where she's lonely and longs for love. She develops a crush on the garbage truck driver Krassky, although her sleazy boss Boris warns her that he's gay. Maybe because of her boyish looks, Krassky likes her too. Both don't notice the growing jealousy of Krassky's boyfriend Padovan - until an escalation.
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>


Sex

Nahaufnahme

aka Inserts
ENG, 1975, 112 min.,
Regie: John Byrum
Darsteller: Richard Dreyfuss (Boy Wonder), Jessica Harper (Cayhy Cake), Veronica Cartwright (Harlene), Stephen Davies (Rex), Bob Hoskins (Big Mac)

Eine dramatische Geschichte um einen heruntergekommenen ehemaligen Meister-Regisseur in Hollywood 1920, der nur mehr Pornos macht, weil er den Sprung zu den Tonfilmen nicht geschafft hat. Impotenz ist auch ein wichtiges Thema.

Caged Heat

aka Caged Females, Renegade Girls
USA, 1974, 83 min.
Regie: Jonathan Demme
Kamera: Tak Fujimoto, Music: John Cale
Produzent: Roger Corman

Zuviel Östrogene im Frauengefängnis.

"Women's prison U.S.A. - Rape Riot and Revenge! White hot desires melting. cold prison steel!

A girl is caught in a drug bust and sent to the hoosegow. The iron-handed superintendent takes exception to a skit performed by the girls and takes punitive steps, aided by the sadistic doctor who is doing illegal electroshock experiments and raping drugged prisoners. After a while the prisoners put away their petty differences and plan the Big Prison Escape.
Ed Sutton <
esutton@nortel.ca>


Lars von Trier

The Kingdom

aka Riget, Hospital
DAN, 1994, 279 minRegie: Morten Arnfred, Lars Von Trier
Buch: Thomas Gislason, Niels Voersel, Lars Von Trier
Kamera: Eric Kress, Music: Joachim Holbek
Darsteller: Otto Brandenburg (Hansen), Laura Christensen (Mona), Holger Juul Hansen ( (Moesgaard), Ernst-Hugo Jaeregaard ((Helmer), Udo Kier (Aage Kroger)

Adapted from a four-part television series, Lars von Trier's marathon hospital soap opera-cum-ghost story is set in a labyrinthine Copenhagen medical institution known as "The Kingdom".

It earned that name when it was founded before World War I by Denmark's best and brightest, to accommodate patients from all over the Kingdom of Denmark in the most modern and advanced conditions. But the high-science veneer of the institution is beginning to crack. Back in 1919, the infamous Dr. Krüger, one of the hospital's founders, murdered his illegitimate young daughter Mary.

Decades later it is only the sick and mentally retarded who hear the dead girl's cries.
Enter Madame Drusse, a patient who dabbles in spiritualism. She feigns her way into the neurosurgical ward and, together with a doctor who has also begun to feel Mary's presence, she seeks now to put the little girl's spirit to rest. Meanwhile... the staff of the neurosurgical ward is working hard (and often at cross-purposes) to cover up an egregious case of malpractice which has left another young girl in a vegetative state; Bondo, the zany head of pathology, is recruiting organ donors; there is a thriving black market in hospital supplies; a pregnant woman's foetus appears to be growing abnormally large; lab rats are loose in the basement; and various parties are raiding the hospital's archives for evidence to incriminate their enemies.

Soon government ministry officials will be coming to the hospital to honor the "innovative program" of the neurosurgical ward...

Breaking The Waves

DEN/NL/SWE/FR, 1996, 159 min.
Regie: Lars von Trier Buch: Peter Asmussen, David Pirie, Lars von Trier
Kamera: Robbie Müller, Musik: Joachim Holbek
Darsteller: Emily Watson (Bess McNeill), Stellan Skarsgård (Jan), Katrin Cartlidge (Dodo McNeill), Jean-Marc Barr (Terry), Adrian Rawlins (Dr. Richardson), Jonathan Hackett (Priest), Sandra Voe (Mother), Udo Kier

Großer Preis der Jury, Cannes 96, Felix 96

"Von Trier described his film as a simple love story, but it's obviously much more than that. "Breaking the Waves" wants nothing more than to turn the entire Christian sense of morality upside down, and ask what is right? What is salvation? Of course, Jesus did the same thing, so the film makes Bess into its Christ figure while branding the church elders as the misguided Pharisees. Bess's obsessive love for Jan is above their petty rules, and she understands what they cannot because she has a direct line to God.

The first half of the film makes such an effective and intimate argument for the beauty and power of sex between a husband and wife, that it undermines that second half of the film. If von Trier really believes in the spirituality of lovemaking, how can he find Jan's salvation through Bess sexually debasing herself? The idea might have been plausible if Jan asked her to find another man who she could truly love, so that he would know that she was actually "making love" and not being systematically and willfully raped, but this is not the case. As it stands, his request is perverse, cruel, and twisted.

But because von Trier is determined to make Bess into a Christ figure, he has to make her suffer for her love. What destroys the analogy is that mankind did not ask Christ to suffer for mankind. God offered His son to suffer and die for us, not for God. In "Breaking the Waves," Jan asks Bess to suffer for him, and she does, for him. Therefore, she is simply fulfilling his selfish desires, thus diminishing his ultimate redemption. If God had asked Bess to suffer in order to save Jan, the analogy would have been more complete.

Philosophical arguments sides, Von Trier's cinematic treatment of the material is fascinating. He used a process where the film is transferred to video and then back to film again in order to achieve a grainy, diluted look, like a videotape that has been watched too many times. He shot all the scenes with handheld cameras, giving a kind of strange, unsteady documentary feel that heightens the reality, almost like viewing someone's home movies." James Kendrick

Weiters:

ftp://FTP.UU.NET/usenet/rec.arts.movies.reviews/long.dir/B/


Luc Besson - Jean Reno

Eigentlich ist Luc Besson ja unerträglich französisch stilisiert. Die zwei Filme haben aber über den Grat der Peinlichkeit überschritten und sind einfach wunderbar.

Im Rausch der Tiefe

F, 1987, 154 min
Regie: Luc Besson
Kamera: Carlo Varini, Musik: Eric Serra
Drehbuch: Luc Besson u.a.
Darsteller: Rosanna Arquette, Jean-Marc Barr, Jean Reno

"Zwei Taucher, die sich als Kinder kennengelernt hatten, werden als Erwachsene Rivalen. Als der eine absichtlich verunglückt, rettet ihn der Freund, der ihn aber auf sein inständiges Drängen in den Tod gleiten läßt. Wenig später folgt aber auch er von Gewissensbissen geplagt nach." (Lexikon des Internationalen Films)

So läßts sich im Tiefenrausch sterben. Natürlich die europäische Version ohne diesem fadem Happy End. Jean-Marc Barr ist zum Verlieben und Jean Reno hat ein Traumauto.

Leon - Der Profi

F, 1994, 105 min
Regie: Luc Besson
Kamera: Thierry Arbogast, Musik: Eric Serra
Drehbuch: Luc Besson
Darsteller: Jean Reno, Gary Oldman, Natalie Portman, Danny Aiello


"Leon ist Auftragskiller. Ein Cleaner, der unglaublich präzise und perfekt arbeitet. Er gilt als unangreifbar und unzerstörbar. Sein Schatten hängt wie eine bewaffnete Drohung über den einschlägigen Quartieren der Mega-City New York. Bis er eines Tages einen Fehler macht. Er öffnet einem kleinen Mädchen mit großen Augen seine Tür: Mathilda." (Lexikon des Internationalen Films)

Speziell für Franz Raschbacher, sein Kultfilm.


Sternstunden der Sportgeschichte

Geplant ist:

Synchronschwimmen,

Ob auch Sigi Bergmann anwesend sein wird, ist allerdings fraglich, obwohl er kürzlich in die Pension entlassen wurde.

Esther Williams

Ein Tanzabend im Swimmingpool auf der Terrasse vor dem AZ5.


Horror: Sam Raimi

Die 2 Horrorabende sind vom Programm frei, vorgeschlagen werden folgende, denkbar sind aber auch mehr italienische psycho-Horror-Sex Filme, etwa von Maria Bava, Jess Franco, oa.

Sam Raimi, ein enger Freund der Cohen Brüder. Soll angeblich ganz gut ein. Ziemlich kultig auf jeden Fall.

Sam Raimi - Die Armee der Finsternis

aka Tanz der Teufel 3
USA, 1993, 90 min
Regie: Sam Raimi
Kamera: Bill Pope, Musik: Joseph Loduca
Drehbuch: Sam Raimi u.a.
Darsteller: Bruce Campbell, Embeth Davidtz, Marcus Gilbert, Ian Abercrombie


"Letzter Teil der Tanz der Teufel-Trilogie: durch ein Zeitloch fällt der tumbe Held ins Mittelalter, wo er abermals von den Mächten des Bösen heimgesucht wird, schließlich aber die Armee der Finsternis besiegt. Mit bemerkenswerter Tricktechnik gedreht, findet der Film zwar keine Distanz zu seinem paranoiden Helden, steigert sich aber durch die comic-artige Inszenierung fast zu einer surrealen Komödie voll von makabrem Humor." (Lexikon des Internationalen Films)

Sam Raimi - Schneller als der Tod

USA, 1995, 105 min
Regie: Sam Raimi
Kamera: Dante Spinotti, Musik: Alan Silvestri
Drehbuch: Simon Moore
Darsteller: Sharon Stone, Gene Hackman, Leonardo DiCaprio

"Ellen, an unknown female gunslinger rides into a small, dingy and ,depressing prairie town with a secret as to her reason for showing up.

Shortly after her arrival, a local preacher, Cort, is thrown through the saloon doors while townfolk are signing up for a gun competition.

The pot is a huge sum of money and the only rule that you follow the rules of the man that set up the contest, Herod. Herod is also the owner, leader, and "ruler" of the town. Seems he's arranged this little gun-show-off so that the preacher (who use to be an outlaw and rode with Herod) will have to fight again. Cort refuses to ever use a gun to kill again and Herod, acknowledging Cort as one of the best, is determined to alter this line of thinking ... even if it gets someone killed ..." McGinty McGinty@aol.com

Alienkiller

(The Borrower)USA, 1991, 40 min.

Regie: John McNaughton

Drehbuch: Richard Fire, Mason Nage (auch Buch)Darsteller: Rae Dawn Chong (Diana Pierce), Pamela Norris (Hooker)Sehr sehr netter Alien Film. McNaughton hätte den Terminator drehen sollen.

Outrageous sci-fi yarn about an alien killer exiled to Earth who must "borrow" human heads because his noggin keeps decomposing. Two cops who believe they' re investigating a human serial killer get the jolt of their lives in this creepy mix of gore and gruesome humor. Rae Dawn Chong, Don Gordon and Antonio Fargas star; John McNaughton ("Henry: Portrait of a Serial Killer") directs.http://www.moviesunlimited.com/90scifi.htm

"The Borrower" is about a cannibalistic serial killer from outer space who's just trying to get a head in this world. Sentenced to Earth, he's been genetically devolved to human form, with the caveat that damage to his new body may result in sudden, painful metamorphosis or worse. "Your ingenuity will help you survive," the alien is told. Don't you just know this advice will come in handy when the creature's first human contact is with a yokel poaching with a shotgun -- whoops, here comes that first painful metamorphosis. Indeed, the alien's head blows up (talk about migraines). http://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/theborrowerrharrington_a0ab18.htm


Psychohorror: Dario Argento

 

Dario Argento

Der Meister des italienischen Pychohorrors. Keine Splatter-Blutorgien.

http://www.astro.uu.se/~marcus/private/argento.html

Aura

USA, 1992
Regie: Dario Argento
Kamera: Raffaele Mertes, Musik: Pino Donaggio
Drehbuch: Franco Ferrini
Darsteller: Christopher Rydell, Asia Argento, Piper Laurie, Frederic Forrest

"Die Liebe zu einer verängstigten jungen Frau stürzt einen Mann in einen Alptraum. Anscheinend steht sie in Zusammenhang mit einem Serienmörder, der aus ihren Gedanken verschwinden muß, damit die beiden Liebenden zusammenkommen können. Der relativ unblutig inszenierte Horrorthriller konzentriert sich mehr auf die psychologisierende Seite des Alptraums als auf blutige Schockmomente, ist dennoch extrem spannend und überrascht mit ungewohnten emotionalen Entwicklungen." (Lexikon des Internationalen Films)

Stendhal Syndrome

ITA, , 90 min
Regie: Dario Argento
Kamera: Guiseppe Rotunno Musik: Ennio Morricone
Darsteller: Asia Argento, Thomas Kretschmann, Julien Lambroschini, Luigi Diberti

Speziell für Ge, mit seiner Traumfrau Asia. Einmal mit langen schwarzen, mit kurzen braunen und dann mit langen blonden Haaren.

The Stendhal Syndrome is the return of Dario Argento to the themes of his earlier movies. Again his daughter (Asia) stars as a policewoman after a serial killer (Thomas Kretschmann). She suffers from Stendhal syndrome, named after writer Marie Henri Bayle (his pen name was Stendhal). He was an officer in Napoleon's army before he became a writer. He toured the Santa Croce church and was overwhelmed by the architecture and art, he fainted when he saw a Giatto painting. This syndrome can cause split personalities, self inflicted injuries, hallucinations, physical strength and a wish for death.

The killer plays with her mind while she is under the influence of the syndrome. Ennio Morricone is back to compose the music.

Phenomena (1985)

Phenomena is definitely a favourite for me. It stars Jennifer Connelly (Labyrinth, Rocketeer) as a young student at a girls' boarding school in Zurich. Argentos then 14-year old daughter Fiore played a victim in this movie, which offers a weird soundtrack and occasional descents into extreme yuckiness.http://www.geocities.com/Hollywood/Lot/9262/argento.html

Opera (1987)

Ein Argento Klassiker. Opera is a masterpiece of wild cinemagic vision. It offers stunning, violent imagery with focus on a traditional italian character, the 'opera diva', in a most unusual setup of Verdi's Macbeth.

http://www.en.com/users/tmr/argento.html

Tenebrae

ITA, 1982, 110 min.
Regie, Buch: Dario Argento
Darsteller: Anthony Franciosa (Peter Neal), Daria Nicolodi (Ann), Giuliano Gemma (captain Germani), Veronica Lario (Jane)

An American writer of mystery and terror novels arrives in Italy (in Rome) on an invitation of his agent, for a series of promotional lectures. Almost immediately, however, he is involved in a sequence of long, dreadful homicides, where the victims are always and entirely young women massacred by axe or razor. Strange threatening phone calls seeming almost "ritualistic" and other strange facts wind the writer in a deadly web: the man then decides to hunt down the maniac with the help of his agent's child, his secretary and a young police commissioner, cultured and shrewd (which separates him from the investigation "officials").

The murderer sends the protagonist quotes from his books each time a new girl is murdered. However, hallucinations from the writer's past lead to the resolution of the mystery of who the true murderer is.


Robert Mitchum

Zum Glück ist er grad gestorben. Jetzt gab's jede Menge alte gute Filme mit ihm.

Out of the Past

aka Goldenes Gift
USA, 1947
Regie: Jacques Tourneur
Darsteller: Robert Mitchum, Jane Greer

Jane Greer ist ein unglaublich blondes Gift. Der kultigste Film-Noir seiner Zeit. Besser als die zwei Dashiel Hammet Filme mit Bogart.

Night of the Hunter

Mitchum als Wanderprediger ist ein rechter Schlingel und ist schlimmer tätowiert als DeNiro.


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