Missing from Suchsland’s work is any nod to non-German influences, and his complete disregard for Wilhelmine cinema (i.e., before Weimar) ignores significant research of the past 20 years. Any consideration of this film that fails to take into account this central, poignant, and, in the face of its subject, legitimately profound question is missing a most vital point. The film … In 1947, Siegfried Kracauer, in his book entitled From Caligari to Hitler: A Psychological History of the German Film, proposed some polarizing ideas regarding these early films. He also co-hosted the long-running comedy podcast, The Wonder Show. That’s his voice we hear in the wall-to-wall narration, and, he has what appears to be a follow up film on the way. This is all a good thing, as such an analysis of this country-gone-wrong (as he puts it, a postwar war that no one knew to also be a prewar era) is most ideal, powerful and poignant when it comes from within. However, like his predecessor, Suchsland ignores non-German influences: He makes no mention of Louis Feuillade’s fundamental impact, fails to discuss how Italian epics influenced German counterparts, and doesn’t touch on the role of Soviet editing and subject matter with regard to leftist films and “People on Sunday.” Also, detective movies and musicals are added almost as an afterthought, despite their enormous popularity. Within a confined gallery, you can examine the exhibits, absorb the febrile atmosphere of Weimar, and surrender to the timeless magic of the movies. Though Germany has never been known for its collective self-introspection regarding its own severe past misdeeds, here we have a German filmmaker spring-boarding from a renowned German critic’s book, sharing a title and asking the hardest questions of their homeland. Tech credits are praiseworthy on every level: Clips were sourced from the best restored prints and look glorious. We seek to create and foster this type of community directly and through various socially based technologies. Exceptionally beautiful restored film clips are the main reason to see Ruediger Suchsland’s “From Caligari to Hitler: German Cinema in the Age of the Masses.” More an illustration of a prolix thesis than a groundbreaking docu, the film takes Siegfried Kracauer’s seminal 1947 study on Weimar cinema and reiterates numerous points found in the book, with little acknowledgment that scholarship, still indebted to Kracauer, has moved on. Each point flows into the next in a continuous stream of many of contemporary history’s greatest film artists (lots of. Constructed entirely from choice clips of key films of the era, documentarian Rüdiger Suchsland takes and runs with the premise of its source publication, already generalized above, by critic Siegfried Kracauer, a 1947 volume long considered one of the essentials for any film book library. Call it providential, mystical, impossible, non-quantifiable, unverifiable; but always mysterious. An attractively edited montage of filmed faces, inevitably calling to mind the photos of August Sander, allow Suchsland to ask, “What is the face of the Weimar Republic?” Is it a face, he asks, or is it more the black-gloved hand of Gustaf Grundgrens in Fritz Lang’s “M”? Here, he joins his subjects, becoming an important player in the film of his own book. In the end, though, as a long list of the names of one legendary German creative after another goes on and on, each one later driven to flee their country longterm as the Nazi’s took hold, the deflating impact of what was lost to Germany itself on a cultural level alone is staggering. Our festival is inspired by Rüediger Suchsland's documentary From Caligari to Hitler: German Cinema in the Age of the Masses (2014), shown in its TCM premiere. Murnau’s, Now then… For those who like their film history dense with a strong dose of such openly speculative philosophy, behold the documentary. For Germany in the deceptively blissful Weimar era (1919 – 1933), this was never more true. This was the most important period of German Cinema, a time full of wonders and invention. Any deep dive into cinephilia will, sooner or later, take one down the rabbit hole of film history. Justin Thomas Loses Ralph Lauren Sponsorship Over Homophobic Slur, SPY Guide: How to Clean, Disinfect and Sanitize Every Type of Face Mask. Variety and the Flying V logos are trademarks of Variety Media, LLC. As hip youths mingle freely (as in Robert Siodmak and Edgar G. Ulmer’s Billy Wilder-scripted proto neo-realist People on Sunday, here called “the film of the decade”), an ominous, upside down black-gloved hand overtakes a map (Fritz Lang’s M). This film is based in turn on From Caligari to Hitler: A Psychological History of the German Film , a landmark book by prominent German film critic Siegfried Kracauer published in 1947. Each point flows into the next in a continuous stream of many of contemporary history’s greatest film artists (lots of Fritz Lang and F.W. Early German Cinema Points to the Rise of Hitler. A landmark, now classic, study of the rich cinematic history of the Weimar Republic, From Caligari to Hitler was first published by Princeton University Press in 1947. (Faith Akin, Elisabeth Bronfen, Thomas Elsaesser, Volker Schlöndorff, Eric D. Weitz, all of whom appear on camera throughout). Documentary, History, Biography. As for the director Suchsland, he, most welcomely, seems to be making a career of this sort of thing. Jim Tudor February 11, 2018 Current Reviews. Trailer. 2014 (0) Mamaros Producer . A landmark, now classic, study of the rich cinematic history of the Weimar Republic, From Caligari to Hitler was first published by Princeton University Press in 1947. The Weimar Republic is looked at from the span of 1919-1933 and we hear about countless careers including Fritz Lang, F.W. 2013 (0) Fraktus Executive Producer . Ruediger Suchsland's Weimar cinema study is more an illustration of a prolix thesis than a groundbreaking docu. From Caligari to Hitler: German Cinema in the Age of the Masses (documentary, THE SHEPHERD OF THE HILLS (1941) – Blu-ray Review, DEATH ON THE NILE (1978) – Blu-Ray Review, OUTCAST OF THE ISLANDS (1951) – Blu-ray Review, LES LIAISONS DANGEREUSES (1959) – Blu-ray Review, THE SECRET WAR OF HARRY FRIGG (1968) – Blu-Ray Review, CONTINENTAL DIVIDE (1981) – Blu-ray Review, SHARON’S HOLIDAY ROM-COM-ATHON, THE SEQUEL: PART TEN, SHARON’S HOLIDAY ROM-COM-ATHON, THE SEQUEL: PART NINE, ‘TIS THE SEASON: 6 MUST-WATCH CHRISTMAS MOVIES, SHARON’S HOLIDAY ROM-COM-ATHON, THE SEQUEL: PART EIGHT, SHARON’S HOLIDAY ROM-COM-ATHON,THE SEQUEL: PART SEVEN, GRACE OF MY HEART (1996) – Blu-ray Review, SHARON’S HOLIDAY ROM-COM-ATHON, THE SEQUEL: PART SIX, SHARON’S HOLIDAY ROM-COM-ATHON, THE SEQUEL: PART FIVE, SHARON’S HOLIDAY ROM-COM-ATHON, THE SEQUEL: PART FOUR, THE WONDERS OF ALADDIN (1961) – Blu-ray Review, BUCK ROGERS IN THE 25TH CENTURY – THE COMPLETE COLLECTION – BLU-RAY REVIEW, SHARON’S HOLIDAY ROM-COM-ATHON, THE SEQUEL: PART THREE. Rüdiger Suchsland. Overview of From Caligari to Hitler: German Cinema in the Age of the Masses , 2014, directed by Rüdiger Suchsland, with at Turner Classic Movies ZekeFilm is a non-profit organization devoted to cultivating community through cinema through critical discussion, educational activities, and by encouraging mindful viewing, ongoing curiosity of the cinematic form, dialogue, and entertainment. Murnau, actors like Marlene Dietrich and Peter Lorre, and films like The Cabinet of Dr. Caligari, Metropolis, M and Pandora's Box.Adapted from the renowned scholarly tome by film critic Siegfried Kracauer. Had people been cine-literate then, perhaps the message of Weimar cinema would’ve been heard, even heeded, and much of the horror of the Third Reich could’ve been avoided. Yes! STREET DATE: JANUARY 9, 2018/KINO LORBER On May 28, it … What’s less discussed is his need as an exile from the Third Reich to explain how his Germany devolved into such a deformed nation. Suchsland does add some post-Kracauer scholarship, discussing the shift from Expressionism to “New Sobriety,” and his welcome mention of Gerhard Lamprecht’s populist motifs, as well as an excellent examination of Paul Czinner’s “Fraulien Else,” reflects a broader field of study than just Kracauer. Murnau’s Faust). Soon enough, all would see him. The volume also reprints Propaganda and the Nazi War Film, the author's critical and psychological analysis of Nazipropaganda film. Suchsland situates the great critic/historian in his time, discussing his grounding in the philosophies of the era, specifically Marxism, Nietzsche and Freud. Directed by. "An undisputed classic of modern film historiography, Kracauer's From Caligari to Hitler had a major impact on the way we relate movies to history and society. A bit of historical context: Professor Eric D. Weitz says in the documentary, “Its as if Weimar Germany really is a hothouse of cultural production.” The state of German cinema in the 1920s was among the strongest (the studio UFA proved to be a major global player, often greater than Hollywood), most vibrant (the filmic imprint of German Expressionism), and most influential in movie history (, , here called “the film of the decade”), an ominous, upside down black-gloved hand overtakes a map (Fritz Lang’s, ). Suchsland rightly highlights Robert Reinert’s 1919 “Nerven,” yet doesn’t mention that director’s seminal serial “Homunculus” from 1916, which can also be said to prefigure Germany’s dark path. FROM CALIGARI TO HITLER (2014) – DVD Review. Synopsis. That’s his voice we hear in the wall-to-wall narration, and, he has what appears to be a follow up film on the way. Beyond the unmistakable light rendering, large scale imagination, and dramatic intensity, there lurks not far from the surface, an even greater resonance. And, insomuch as it’s been said that all of film history is, in a sense, either leading up to or reeling out from World War II, the films of the Weimar era cannot, historically speaking, (and not just film history) be overlooked. In the end, though, as a long list of the names of one legendary German creative after another goes on and on, each one later driven to flee their country longterm as the Nazi’s took hold, the deflating impact of what was lost to Germany itself on a cultural level alone is staggering. This is all a good thing, as such an analysis of this country-gone-wrong (as he puts it, a postwar war that no one knew to also be a prewar era) is most ideal, powerful and poignant when it comes from within. To give an idea of just how entrenched Kracauer was with such notions, look no further than the bold title of another of his books, Theory of Film: The Redemption of Physical Reality. From Caligari to Hitler: German Cinema in the Age of the Masses Von Caligari zu Hitler: Das Deutsche Kino im Zeitalter der Massen. The study is considered a groundbreaking treatise on German film and one of the most important books on the subject. Constructed entirely from choice clips of key films of the era, documentarian Rüdiger Suchsland takes and runs with the premise of its source publication, already generalized above, by critic Siegfried Kracauer, a 1947 volume long considered one of the essentials for any film book library. And the Devil himself towers over the the outside world (F.W. Henny Porten, the most popular actress of the time, is also missing. Now then… For those who like their film history dense with a strong dose of such openly speculative philosophy, behold the documentary From Caligari to Hitler: German Cinema in the Age of the Masses. 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