The Museum of Modern Art will present the US debut of a sparkling new Library of Congress restoration of the original release version of this fascinating film — funded by Martin Scorsese’s Film Foundation — at 7 p.m. on Friday and Saturday. Please. Sitemap

Tuesday Feb. 16, 2016, CinemaxX 8.

For all other inquiries, contact the editorial team. A missed chance: as a mortally wounded comrade watches his buddies troop off homewards, the film fades to black on a wide shot, instead of on his POV, which would have been devastating.

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70 min. If you would like to reproduce text from a MoMA publication or moma.org, please email [email protected].

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“This isn’t a Nazi country, and there’s no reason to adopt Nazi standards,’’ the New York World-Telegram wrote in one of many angry editorials, and the US State Department fired off a stern protest to Berlin over Gyssling’s strongarm tactics. The Road Back ... 1937 World premiere of the restored version in 35mm . 1937. A writer was brought in to craft additional comedy scenes for Slim Summerville — the only performer returning from “All Quiet’’ as one of the veterans — to lighten the grim tone of a film that in some ways plays like a predecessor to the post-World War II Oscar winner “The Best Years of Our Lives.’’ When Whale balked, another director, Frank Tuttle, was brought in to shoot these scenes, and a disgusted Whale renounced what had been a passion project for him. “The Road Back,’’ which originally ran 100 minutes, was greeted with respectful reviews that compared it unfavorably with “All Quiet’’ when it arrived in theaters at the end of 1937. And we salute this triumph of enthusiasm over plotting. USA.

“The German ambassador has instructed the German counsel at Los Angeles to refrain from issuing further warnings to American citizens,’’ the State Department wrote to one of the groups protesting Gyssling’s heavy-handed tactics.

If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). The film’s top-billed actor, John King — a singer best known for starring in the adventure serial “Ace Drummond” — has some powerful scenes, but lacks the screen presence of his predecessor in “All Quiet,’’ Lew Ayres, whose character famously dies at the end of that movie.

But in Whale's film, while the servants are able to fool one another simply by putting on different clothes, the superior class instantly see through these impostures. The Forgotten: James Whale's "By Candlelight" (1933) and "The Road Back" (1937) ... the sparking "By Candlelight" and the epic "The Road Back". If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to [email protected]. Restored by the Library of Congress in association with UCLA Film & Television Archive, Universal Studios, and The Film Foundation. “It’s the Holy Grail if you’re an admirer of director James Whale,’’ says film historian and film preservationist David Stenn, who discovered a 35mm print of the uncut version at the UCLA Film and Television Archives and brought it to Scorsese’s attention.

The music is a fascinating mess: in this year of, The film is very elegant and sumptuous, photographed by John J. Mescall who also lit.

A seized chance: all these WWI movies feature spectral superimposed images of fallen warriors, a motif popular even before, The Forgotten is a fortnightly column by David Cairns, author of. The British Whale — Universal’s top director, responsible for “Frankenstein,” “The Bride of Frankenstein” and the definitive 1936 version of “Show Boat,” and who was a German prisoner of war during World War I — refused to show up for a meeting with Gyssling, who demanded 21 cuts to the script.

Stenn, who attended the world premiere of the restoration earlier this year at the Berlin Film Festival — the first time the film was ever shown in Germany — says he hopes the film will become widely available thanks to the restoration. Sorry, your blog cannot share posts by email. And when you have a nasty prosecutor played by Lionel Atwill... you really don't need to give him a monocle, James.

All right, so George Orwell argued persuasively that Wodehouse was in no sense subversive: the central joke about Jeeves & Wooster, that the manservant is the intellectual superior of the man, depends on us recognizing this situation as absurd. Saturday Feb. 13, 2016, CinemaxX 8.

“He said, ‘My God, we have to do something about this right away!’ ”, Given the acclaim for “All Quiet,’’ Universal Pictures was interested in filming Remarque’s less popular follow-up novel as early as 1931, says film historian Thomas Doherty of Brandeis University, the author of “Hollywood and Hitler, 1933-1939.’’.

Lewis Milestone’s “All Quiet on the Western Front’’ (1930) is one of the most beloved films of the early talkie period, a much-revived anti-war classic that won the third Oscar for Best Picture. More information is also available about the film collection and the Circulating Film and Video Library.

In the handling of the actors, Whale, surprisingly, proves less skilled, hampered by John 'Dusty' King as a handsome but stilted lead. Overview of The Road Back, 1937, directed by James Whale, with John King, Richard Cromwell, Slim Summerville, at Turner Classic Movies

The Road Back / Johnny Got His Gun. 82,571, This story has been shared 63,105 times.

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She's furiously telegraphing her inferior status from the off, eager to scoop up all the possible laughs, oblivious to any narrative advantages in holding the information back as a surprise for later. Directed by James Whale. Whale’s original cut has now been restored by The Library of Congress and is presented here in its U.S. premiere.

By James Whale, USA, 1937.

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63,105, This story has been shared 37,453 times. the road back (1937, d. James Whale) will have its world restoration premiere at this year's Berlin International Film Festival. Two rediscovered classics from James Whale: the sparking "By Candlelight" and the epic "The Road Back".

Paul Lukas, a fine actor, is somehow too heavy and ponderous for light comedy (the more practice he got with English, the lighter he became), though the sultry Nils Asther fares better as his princely employer and Elissa Landi is very lovely and it's nice to see her get to be funny for once.

But in this movie, when a butler impersonates his master in order to seduce a wealthy lady who turns out to be a maid impersonating her mistress, all the irony of Wodehouse's inversion of traditional ideas about class has gone. This new restoration returns the film to the form of its original release: in 1939, a bowdlerized cut, caricaturing German militarism and excising the film's overt pacifist message, was released, and became the only version that could be seen (and even it was pretty hard to find). The target of an extraordinary suppression campaign by Adolf Hitler’s representative in Hollywood, it was rarely seen after 1942 in the United States, and then only in a severely edited 1939 reissue version.

“The futility of war was a very important theme to Whale,’’ Stenn said of the disillusioned director, who retired in 1942, died in 1957, and was played by Ian McKellen in “Gods and Monsters’’ (1998). Motion picture film stills or motion picture footage from films in MoMA’s Film Collection cannot be licensed by MoMA/Scala.

World premiere of the restored version in 35mm Die Russen kommen (The Russians are Coming) By Heiner Carow, East Germany, 1968/1987.

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The Road Back (short version). Universal Pictures: Restorations and Rediscoveries. All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at [email protected].

The Road Back (short version). World premiere of the digitally restored version in 2K DCP Rebuffed by the PCA and Universal, Gyssling tried to bully all 60 actors who were cast in “The Road Back.’’ He sent them each letters threatening that none of their films would ever be shown in Germany if they appeared in a movie deemed “detrimental to German prestige.’’, ‘This isn’t a Nazi country, and there’s no reason to adopt Nazi standards.’.

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