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Sep 30, 2003 · "The Man who Laughs" ist ein amerikanischer Stummfilm aus dem Jahr 1928 des deutschen Regisseurs Paul Leni (1885-1929), der in Hollywood unter dem Produzenten Carl Laemmle entstand. Es handelt sich um eine Verfilmung des Victor Hugo-Romans "L`Homme qui rie", ein Melodram mit Anleihen aus dem Grusel- bzw Horrorgenre, mit dem die Filmfirma Universal Pictures damals große Erfolge feierte.
- Brandon Hurst Paul Leni; Mary Philbin, Conrad Veidt, Julius Molnar, Olga Baclanova
Paul Leni, the director of Waxworks (1924), was an Expressionist painter who had worked with Max Reinhardt as a set designer and poster designer for th e cinema. The essence of Waxworks is said to be taken from the German title of The Cabinet of Dr. Caligari (1919), "Das Kabinett Des Dr. Caligari”: the German title of Waxworks was “Das Wachsfigurenkabinett”.
Dec 1, 2020 · Waxworks. on Flicker Alley Blu-ray. Leni’s German Expressionist classic from 1924 effortlessly crosses genres and time periods. Paul Leni’s Waxworks is often considered the swan song of German Expressionist cinema. Its German title, Das Wachsfigurenkabinett, which translates to The Cabinet of Wax Figures, calls to mind Robert Wiene’s 1919 ...
The Man Who Laughs: Directed by Paul Leni. With Mary Philbin, Conrad Veidt, Julius Molnar, Olga Baclanova. When a proud noble refuses to kiss the hand of the despotic King James in 1690, he is cruelly executed and his son surgically disfigured.
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The Man Who Laughs is a 1928 American synchronized sound romantic drama film directed by the German Expressionist filmmaker Paul Leni. While the film has no audible dialog, it was released with a synchronized musical score with sound effects using both sound-on-disc and sound-on-film processes. The film is an adaptation of Victor Hugo 's 1869 ...
But Leni’s techniques—especially composition, lighting, and new narrative tempos—gave greater weight to the gloomy atmosphere than had been typical in previous iterations of the genre and, as William K. Everson put it, added “gusto” to the film’s comic moments, such as Paul hiding under Cecily’s bed. 19 Later films, copying Leni’s visual techniques, pacing, and affective rhythms, quickly turned The Cat and the Canary into a repository of stylistic and narrative maneuvers that ...
Leni designs some of the shows’ sets, working with such creative collaborators as Kurt Tucholsky, Hans Brennert, and Walter Trier. The cabaret, located on Bellevuestrasse near Potsdamer Platz in Berlin, remains active until 1926. He reunites with Joe May and designs the sets for two of May’s films in the fall.
