26 enero 2018

Tadeusz Chmielewski - Ewa chce spac (1958)

1:34:42 Min | Xvid 1.518 kbps | 640x464 | 25 fps | Ac3 448 Kbps.| 1.31 GB
Polaco/Polish | Subtitles: Castellano, English, French, German and Polish .srt
FOP 26/2/11

Ewa Bonecka, estudiante, llega la víspera del comienzo del año escolar por la tarde a una pequeña ciudad. Trata de hallar alojamiento, pero no hay habitaciones libres. Se ve, por tanto, obligada a pasar toda la noche en la calle, una calle plagada de criminales, prostitutas donde también aparecen policias bondadosos… Hay peligro por todos los sitios, pero ella, una chica formal e ingenua, ni se entera…
A film made in a style of street ballad is a directing debut by Tadeusz Chmielewski. It is also the first film for Barbara Kwiatkowska, then a seventeen year old winner of the contest which attracted thousands of girls from Poland. The film depicts the adventures of an innocent farm girl who comes to the city a day before the new school year starts. A janitor does not let her in the dormitory and Eve is left without overnight accommodation. She meets a friendly policeman and then becomes involved in surreal events, involving unusual figures such as: policemen, thieves and prostitutes.

An essay by Mariola Dopartowa
Eva Wants to Sleep - A socialist gingerbread house

On 9 March 1958, after the premiere of this debut movie of Tadeusz Chmielewski, the critic Aleksander Jackiewwicz announced in "Trybuna Ludo" that true Polish comedy had been born. The movie marked the beginning of a distinct movement of surrealistic comedies in post-October cinematography, and gained the status of the movement's best film. Eve Wants to Sleep was considered a metaphor for a world awakening after the Stalinist night and advancing under the bright prospect of Gomulka's thaw. It may even be that it was the phrase "Stalinist night" that convinced cinematography authorities to finance this strange and unusual idea for a movie - as strange as the city (the city in the movie is called "strange") in which the equally strange plot is set.

Eva Wants to Sleep was in fact the result of a significant transformation in cinematography that took place in the socialist bloc under the influence of the cultural politics of the USSR. The first distinctive signs of reversing this influence in Polish culture, called Gomulka's thaw, had appeared at the beginning of 1957, closely related to the fate of the suppressed Hungarian uprising. Wladyslaw Gomulka had tried to intervene, at first as an ambiguous mediator between the Hungarians and the Soviet command, but finally withdrew in terror not only from the Hungarian issue but even from the watered-down promises he had given Polish society based on the developments. By the beginning of 1958, the political thaw was over. Thus, the movies and other artistic works created during that period cannot be interpreted as taking into account only Gomulka's thaw; the interaction of events was very complex.

The dialogues of Eva Wants to Sleep were written by Jeremi Przybora. It was a completely new phenomenon, paralleling the expansion of cabarets at the time. The classic Old Gentlemen Cabaret or the comedy Heat (Upal) directed by Kazimierz Kutz with the participation of Cabaret members constituted a separate and unique event in Polish culture, which luckily cannot be classified into any scheme. The enormously talented Przybora (and his Cabaret partner, Jerzy Wasowski) exploited the best 20th century traditions of slightly surrealistic humour. Przybora, with grace, lightness and sophistication used language that did not have to "demask", "stigmatise", or be "for" or "against". The normality, correctness and elegance of his language were values in themselves and gave it its surrealistic features. In comparison, the degraded language forms used in Polish People's Republic were exposed; it was very easy to spot what kindled a good mood, optimism, and hope for the better future, while at the same time not conforming to any propaganda or ideology.

The screenplay of the movie (the dialogues in particular) was living evidence of the authentic possibilities of a cinematography absorbed in the culture of its time. It created new artistic values, and did not construct them from different, randomly connected ideological elements. It was to some extent influence by the black series documentaries, a series of Polish films regarded as one of the main determinants of Gomulka's thaw. Its first portent appeared in 1955 as Look Out, Hooligans! by Edward Skorzewski and Jerzy Hoffman. These kinds of movies, which also included those of Kazimierz Karabasz, showed a new picture of Polish reality. It remains disputable whether that picture was true, or merely contrary to socrealism; undoubtedly, it was different than images of youths in uniform, zealously building a whole new political system, united with the Party and their brothers from the East Bloc and the whole world in communistic faith. The fact that movies treated social pathologies in the mid-1950s was simple consequence on the Stalinist uniformisation of life, which forbade different of socialistic views. These films warned that by destroying all remains of Stalinism, the chances of self-realisation of young people could not be liquidated; thus it postulated the need to establish a new organisation that could wrench young people away from mindless pleasures and drinking. It is hard not to notice the ideological ambiguity.

The film is a seriocomedy about a naive farm girl who arrives late at night in a medium-sized city to find she is too early to take up residence in the school dormitory. For the whole night she is homeless, a tramp wandering the city. Like a child, Eva assumes that the world is good and people are simple-hearted. The assembly of people she meets presents a panorama of the social problems discreetly hidden in surrealistic tissue. At night thieves and prostitutes take over the streets, unrecognized by the innocent teenager. She interacts with owners of suspicious bars, watches lovers wander in the park, observes night watchmen and policemen going about their routines. The idealisation of the militia (here called the police) is particularly intriguing as it is close to Stalinist images, although here achieved by application of new means: lyrical and full of subtle humour. The picture of reality is completely de-realised, functioning outside time and history.

Even if viewers do not identify with the childish Eva, they may recognise in her disorientation their own sense of loss. In this world people and things are not what they seem. The movies of the Polish Film School treated this problem seriously. But in Chmielewski's movie the sad trait of the totalitarian world is shown not as an existential second meaning, but as an element skillfully turning the action into a comedy of errors. Eva, confronted with such a world, is funny; so is the plot. But the problems that are experienced by the characters in the movie cannot be classified as such. So we can see that the character of a girl playing a Forrest Gump kind of role, through which the absurdities and eccentricity of our world, which usually escape our attention, can be better illustrated.

The way the police officers are portrayed is absurd; they are as childish and awkward as the bereft Eva, yet dead serious. Against this background, the criminal word is shown in the movie seems to be full of fantasies, alive and true. The scenes of a master thief educating young students on his art are among the funniest in the movie. Yet the lyrical policeman marks the beginning of a rich gallery of such characters in the works of the Wasowski-Przybora duo, and the viewer's amusement may be due only to the stark and terrible realisation of the contrast between his world and the fiction of the film. Playing hopscotch of blowing on a flute while arresting criminals can amuse the average viewer only when he conciously rejects the status of the naive (and sleepy) Eva. Viewers watched this movie at a time when the Stalinist prisons had not yet been completely emptied, but Chmielewski's goal was to introduce the healing balm of keeping distance by laughing, not by demasking obvious matters. In fact, it seems that Eva Wants to Sleep was one of the very few movies which totally befundled the censors. In this comedy the border between infantile police and conventional criminal had disappeared.

In the second half of the 1950's, Poland was still a devastated country where the poverty and lack of opportunity were drastically worsened by a stagnant economy and the aggressive politics of the Soviet Union. Moscow was focused on subverting national identity and retaining a cheap labour force toiling away in the workshops. In such an environment the criminal world flourished. As in every totalitarian system, the authorities used the criminal world they blackmailed for various purposes: from denouncing and intimidating, to controlled aggression towards citizens and groups, either chosen or random. For this work, the state needed to develop a monstrous security apparatus. The more endangered people felt, the more willingly they let themselves hide under the protective wings of the militia as a necessary evil - and perhaps very necessary. Party officials at all levels interacted with the criminal word under conditions similar to those in the camps, where officials and guards exploited the inmates. In the socialist camp of the East bloc countries, the truly rebellious, independent and "wild" criminals living in ruins, forests or other "romantic" places, belonged only in literary and cinema fantasies, like the candy and gingerbread hut concocted in Chmielewski's movie. But the viewer should bear in mind the significance of the gingerbread house in the tale of Hansel and Gretel.

The constant disguising of police as criminals and vice versa, a classic motif of film comedies, is a clear reference to the fading borders between the two elements in the Polish People's Republic as well. The laughing vanishes when we remember who, and for what purpose, were wearing the militia uniforms, what clothes state officers wore, and why. Years later, the same ambiguity would be exploited by Andrzej Rosiewicz in his funny song about militants in disguise after the so-called Bydgoszcz events.

During this time, the authorities were trying to educate the large group of militia officers, to rid them of coarseness and boorishness - that is, to enhance the public image of the wearers of the militia uniform. Few educational materials of the militia school from Gomulka's that period have been preserved, but they are true gems - and among the most expensive souvenirs of the times, as evidenced by auctions in the Internet. With surprise, we find training sessions using satirical drawings from foreign newspapers, absurd lectures on correct Polish language and good behaviour, and even pictures of a police station and an examination room - so recruits wouldn't somehow be misled. These materials differ little from the surrealisitic visions in the Chmielewski film. They showed the two faces of Janus in the People's Republic: in materials marked "confidential" we can find instructions on how to disperse crowds, how to invigilate and how to set traps for citizens. They are not funny at all.

The critics, while acclaiming the absurd humour of the movie, treated it according to the Gomulka that standards: they created the impression that the movie is allowing society to recover from the "Stalinist night" trauma. Yet the presence of the film team on the screen in Eva Wants to Sleep suggests the film may be a hidden satire of Gomulka's thaw itself. To this day, descriptions of this period, repeated practically verbatim from one study to another, praise the newly (but temporarily) converted and reformed Gomulka and describe an extremely naive and innocent society that has regained its student theatres, cabarets, jazz music, fashionable clothes and coloured socks.

The film convincingly displays the ubiquitous naivety and innocence symbolised by Barbara Kwiatkowska (Roman Polanski's first wife) playing a woman-child patronizing reality. Writers, thinkers, historians and cultural critics often stress that a basic element of totalitarian utopia is infantilisation - often seen as "pretending to be grown-up" - in which the attributes of maturity are seriousness, gloom, solemnity and sorrow. Eva is one of those comedies in which the characters are dead serious, and that seriousness is an additional catalyst. Later, Przybora and Wasowski would make this subtle somberness a trademark of their works. This should be kept in mind while watching the movie - just to make sure you remain on the right side of the screen and haven't gotten involved in the fiction of the film.

Dvdrip by Urszula

Subtítulos en castellano cortesía de Parangutín.


15 enero 2018

Jacques Becker - Édouard et Caroline (1951)

Francés | Subs: Castellano/English/Portugués/Français
91 min | x-264 960x720 | 6100 kb/s | 192 kb/s AC3 | 24 fps
4,08 GB
Un matrimonio joven comparte un modesto apartamento. Él, Édouard, es un pianista bohemio con talento pero pobre, y Caroline, su mujer, procede de una familia burguesa que no aprueba su matrimonio. Precisamente un tío de ésta los invita a una ostentosa fiesta social donde pretende que el músico salga humillado.
No sabemos cómo habría sido el cine de Jacques Becker si hubiera vivido más tiempo y conocido la nueva liberalidad de los años 60 y 70; un director que, como Murnau (Casque d’or recrea la escena de la boda por personas interpuestas de Amanecer) o Nicholas Ray, situó la intimidad de la pareja en el centro de su cine. Esta voluntad queda clara desde el principio en Édouard et Caroline, una película en la que la cámara se sitúa, siempre que los personajes se miran en él, en el lugar del espejo del salón.

En el espejo de la cámara se dibujan con nitidez, la misma que en Casque d’or aunque en este caso bajo la forma de la sátira, las fuerzas sociales que perturban el camino de los amantes. La película se abre con la imagen de una calle llena de transeúntes vista a través de una ventana mientras suena una música romántica de piano; un llamativo movimiento de panorámica nos conduce con decisión al interior de una modesta vivienda, donde descubrimos que la música proviene del piano de Édouard (Daniel Gélin), que ensaya para un concierto que puede significar su consagración social, organizado para esa noche por la familia de su mujer (Anne Vernon).
En la última escena, el movimiento de cámara se invierte simétricamente para preservar la intimidad de los amantes, cuya reconciliación viene justo después de una llamada de teléfono que anuncia el triunfo social de Édouard –contra todo pronóstico y gracias a la presencia de un “amigo americano” harto del esnobismo de la alta burguesía francesa; volvemos a escuchar la música de piano, pero ahora, para que él pueda dedicarse a otros menesteres, aparece como música no diegética –no forma parte de la acción, sino de la banda sonora, de la mente de los personajes y los espectadores.

Quizá lo más característico del trabajo de Becker, del que la dirección de actores y actrices forma parte esencial, es la precisión del gesto: aprendió de Renoir que un director debe, ante todo, evitar el tópico, y no solo en las reacciones verbales de los personajes sino también, y especialmente, en sus ademanes y movimientos físicos; Becker supo captar el detalle ridículo en medio de la tragedia y el dramático en medio de la farsa, y sus encuadres, movimientos de cámara o estrategias de montaje también se convierten a veces en gestos, como los trazos con que el dibujante resalta las líneas esenciales para dar la sensación de volumen; para hacer que los personajes se conviertan en personas.
 - Tomado de Navegando hacia Moonfleet

 Edward and Caroline
French filmmaker Jacques Becker's Edouard et Caroline has been described as a film without a story. This isn't quite true, though the most memorable aspect of the film is the byplay between the two title characters. Edouard (Daniel Gelin) is a young, headstrong musician. Caroline (Anne Vernon) is his flibbertigibbet spouse. The two quarrel over an evening dress, they separate and then reunite. These farcical proceedings are counterpointed by Becker's naturalistic choice of settings, including Eduoard and Caroline's less-than-fashionable apartment and the prison-like confines of Caroline's uncle's mansion.
As the lead characters, Daniel Gélin and Anne Vernon perfectly incarnate the thoroughly modern couple, a romantic pairing that Becker would re-employ (somewhat less successfully) on a later comedy, Rue de l'estrapade (1953). Gélin and Vernon were both very much stars of the moment, symbols of a liberated youth that bristled with optimism, unaffected by the privations their parents had known in previous decades. Both actors bring a dangerous edge of modernity to their performances that is striking for a French film of this time. Throughout most of the first third of the film, Gélin walks around in an unbuttoned shirt and underpants as if totally oblivious to the fact. Later, Vernon sends out some pretty unmistakable signals that she is ready to be seduced. Such overt sexuality would have been unthinkable just a few years previously and would only became widespread a decade later. Édouard et Caroline is too easily dismissed as one of Becker's lesser works, but it is one of the director's most forward-looking and authentic films, lifting the lid on conjugal life and revealing it to be anything but a bed of roses. (©James Travers)

BR rip del grupo geckos, remuxeado

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gif de rubystevens (KG)
Jacques Becker en Arsenevich
Goupi Mains Rouges (1943)
Édouard et Caroline (1951)

16 diciembre 2017

Carlos Saura - Peppermint Frappé (1967)

Castellano  | Subs: English (muxed)
  89 min | x-264 700x456 ~~> 767x482 | 2500 kb/s | AC3 192 kb/s | 25 fps
1,77 GB
El protagonista de la historia es Rodrigo (López Vázquez), un radiólogo de Cuenca que va a visitar a un viejo amigo (Alfredo Mayo) y lo encuentra prometido a una mujer moderna (Geraldine Chaplin) que, al verla, identifica con una mujer que tocaba los tambores en Semana Santa en Calanda. Al momento se obsesiona, comienza una vida casi conjunta con ella y su amigo, llevándola arriba y abajo por la ciudad en su descapotable y por lugares que fueron importantes para él, y finalmente se la intenta llevar al huerto sin mucho éxito. Como no puede, va directo a por su ayudante en la consulta, a sus ojos practicamente idéntica (en la película también interpreta Geraldine Chaplin), y a quien finalmente decide hacer igual a la mujer de su amigo. Mientras tanto podemos ver flashbacks que muestran la psique del protagonista, y retazos de sus obsesiones con los recortes en revistas femeninas. (cineprogre)

 La pelicula está dedicada a Luis Buñuel, y es que hay mucho del cine de Buñuel en Peppermint Frappé. Saura logra construir una película que une diversos trazos de realidad (sueños, mundos oníricos, fantasías y simbolismos) para finalmente concluir una pieza que no se puede clasificar en ningún mundo fílmico posible. El surrealismo se adhiere como una pátina a la película, que sin embargo podría pasar como una historia real. Pero Peppermint Frappé no es un thriller convencional ni una película al uso. Más que una historia o el desarrollo de un argumento, la película se dedica a realizar una radiografía en la evolución de un sentimiento obsesivo que nuestro protagonista siente por el personaje de Geraldine Chaplin, y que le acabará llevando a fantasear con sentimientos que se encontraban aletargados dentro de su corazón, así como a añadir otras sensaciones nuevas que perfectamente se pueden clasificar como obsesivas. (neokunst)
Peppermint Frappé opens to the image of a pair of hands meticulously cropping images from a fashion magazine for a personal scrapbook. The hands belong to an unassuming and conservative physician named Julian (José Luis López Vázquez) who runs a radiology clinic from his personal residence, assisted by a shy, mild mannered nurse named Ana (Geraldine Chaplin). One afternoon, Julian pays a visit to his childhood friend, Pablo (Alfredo Mayo), a charismatic and sophisticated adventurer who has recently returned from Africa with the unexpected news that he has married a beautiful and carefree young woman named Elena (Geraldine Chaplin). The sight of the captivating Elena visibly stuns Julian, as he recalls an incident that would pervade his thoughts and invariably define his image of the feminine ideal - the sight of a pious young woman who had continuously beaten a ceremonial drum despite physical discomfort during a Good Friday ceremony. Julian confronts Elena with his vivid memory of the episode, but she proves to be oblivious to the past encounter. Nevertheless, despite Elena's cosmopolitan demeanor and obvious dissimilarity with the elusive penitent drummer, Julian falls hopelessly in love with her. Frustrated by his inability to win Elena's affection, Julian turns his attention to Ana, as he attempts to recreate his haunted image through his trusting, devoted nurse.

Carlos Saura presents a taut and compelling examination of obsession in Peppermint Frappé. As in Victor Erice's The Spirit of the Beehive (and Saura's subsequent film, Cría Cuervos), Saura uses surreal and haunted memories in order to create an allegorical chronicle of the pervasive repression of Franco-era Spain. By juxtaposing Julian's seemingly innocent youthful recollections with his increasing obsession towards the unattainable Elena, Saura creates a harrowing portrait on aberrant behavior and perversion of reality: Julian's observation of the Good Friday ceremony that led to his obsession with Elena; his glimpse of a children's mock marriage ceremony between Pablo and a girl in the village; his voyeuristic glance through a keyhole as a posed Elena kneels in an abandoned bedroom. Similar to Luis Buñuel's The Criminal Life of Archibaldo de la Cruz and Alfred Hitchcock's Vertigo, the desire to attain an elusive ideal woman results in a literal recreation of her image. Note the Vertigo-inspired, carnivalesque, circular camera tracking as Julian oversees Ana's rowing machine exercises, Elena's uninhibited dance in an open field as a mesmerized Julian takes photographs, Ana's transformation at Julian's weekend retreat. Dedicated to legendary filmmaker and compatriot, Luis Buñuel, Peppermint Frappé serves an irreverent, fascinating, and subversive document on the nature of uncertainty, repression, and desire.

DVD rip de krakatoa (PB)

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Carlos Saura en Arsenevich

08 diciembre 2017

Esteban Sapir - La antena (2007)

Castellano | Subs: FR/EN/IT/PT (muxed)
99 min | x-264 692x512 ~> 1002x514 | 2200 kb/s | 192 kb/s AC3 | 25 fps
1,7 GB
'La antena' es un drama fantástico en el que una ciudad entera se ha quedado sin voz. El Sr. TV (Alejandro Urdapilleta), dueño del monopolio de la televisión, lleva a cabo un malévolo plan para dominar a todos los ciudadanos, por lo que secuestra a La Voz (Florencia Raggi), la única persona que ha conservado el don del habla. Así, una familia entera se enfrasca en la complicada misión de frenar los malvados planes del villano. (El Mundo)

La Antena presenta la típica trama de la lucha heroica del bien contra el mal, siguiendo una estructura narrativa clásica con un montaje lineal causativo que en su introducción presenta a los personajes, después desarrolla el conflicto y culmina en la resolución del mismo. Nos encontramos en la Ciudad sin Voz, una metrópoli de los que aparenta estar situada entre las décadas de los treinta y cuarenta, que bien pudo haber salido en una historieta de Batman o del Espíritu, y claramente inspirada en Metrópolis (Fritz Lang, 1927): El Sr. TV, un hombre malvado, es dueño absoluto de las imágenes y de los productos que la gente consume. El poder de su monopolio se basa en una peligrosa máquina inventada por el Dr. Y., con la cual busca robar las palabras de la gente para someterla eternamente. Para llevar a cabo su siniestro plan necesita el cantar de La Voz, una mujer cautivante y la única persona (además de su hijo Tomás) que misteriosamente ha conservado el don del habla. El Sr. TV decide secuestrarla, obtener su poder completo y así someter a todas las almas que habitan la ciudad...[] (Cátedra de Cine Ciudad Abierta)

The Aerial
'The City without a Voice', 'La Ciudad sin Voz', is ruled by Mr. TV. He has taken the inhabitants voices and is in total control of all spoken words and images, forcing everyone to eat his own brand of TV-food. Mr TV is not just a monopolist, he is the personification of evil and totalitarianism, even the swastika appears as a symbol a number of times. He secretly works on a hypnotizing device to control all the citizens minds through his television broadcasts. For this purpose, he kidnaps the only one left with The Voice, a beautiful singer, but a TV repairman witnesses the kidnapping and flees to an old TV antenna in the mountains in order to halt Mr. TV's evil plans.

DVD rip de mafopeia

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02 octubre 2017

Antonio Mercero - La cabina (1972)

Castellano | Subs: EN/IT/FR/PT (muxed)
34 min | x-264 528x560 ~> 746x560 | 1950 kb/s | 192 kb/s AC3 | 25 fps
536 MB
Un hombre queda atrapado en una cabina telefónica. La situación se vuelve cada vez más desesperada al comprobar que ni él ni nadie es capaz de abrirla.

35 minutos. Es el tiempo que necesitó Antonio Mercero para desarrollar una de las obras maestras de la televisión española. Concretamente, una de las obras maestras del terror psicológico. Algo más de media hora que pega el culo al asiento, retuerce, enfurece y crea desasosiego...  (almasoscuras)
 The Telephone Booth
A man gets trapped inside a telephone booth. Onlookers unsuccessfully try to free him. Then the men from the phone company arrive, but relief turns into puzzlement, then something else, as it transpires what they have in store for him.

DVD rip y capturas de Weimar (KG)


14 septiembre 2017

Tod Browning - West of Zanzibar (1928)

Muda c/ intertítulos en inglés | Subs: Castellano
64 min | XviD 640x480 | 1844 kb/s | 192 kb/s AC3 | 23.97 fps
947 MB
Los pantanos de Zanzibar
Phroso es un popular mago que realiza un espectacular truco de desaparición con su esposa, a quien introduce en un ataúd para después mostrar un esqueleto en su lugar. Pero un día, después del espectáculo, descubre que su mujer se ha dado a la fuga con otro hombre, por lo que les persigue y ataca perdiendo el uso de sus piernas en la pelea. Los meses pasan y Phroso sabe que su mujer ha regresado con una niña para morir poco después, por lo que el antiguo mago jura venganza contra el hombre que se la arrebató aunque no será hasta dieciocho años después, establecido al oeste de Zanzíbar, y liderando gracias a sus poderes a una tribu de caníbales, cuando esta revancha se hará realidad. (fuente: Ci-Cl)
[...] Lon Chaney, un actor capaz de alcanzar registros interpretativos imposibles para otros artistas de su tiempo e incluso posteriores. El mismo Lionel Barrymore palidece ante su actuación, aunque para ser justo el papel de Chaney es un regalo dadas sus aptitudes. “El hombre de las piernas muertas” arrastrándose sobre el suelo de una choza en medio de la selva africana, reptando como una serpiente hasta encaramarse a una silla de ruedas es un personaje cruel, odioso y vengativo hasta extremos inhumanos. La película muestra esa transformación desde el hombre enamorado, amable y comprensivo que trabajaba como ilusionista en un circo. 
[...] Los diálogos son fuertes pero no dañan los oídos sensibles. Lo que en realidad resulta duro es la actitud, la maldad, la inquina y la sed de venganza del mago Prhoso (“Piernas muertas”) abandonado por Anna, su esposa y asistente, de quien está perdidamente enamorado. Ella lo deja para marcharse a Africa con Crane , traficante de colmillos (Barrymore). Al tiempo regresa con un bebé, falleciendo en la iglesia. A partir de entonces, ante la Virgen y el niño, Phroso promete no cejar y perseguir a Crane para vengarse... (tomado de el despotricador cinéfilo)
Lon Chaney plays Phroso, a stage magician who dearly loves his beautiful wife Anna (Jacqueline Gadsden). But she is about to run away to Africa with her lover, an ivory trader named Crane (Lionel Barrymore). Phroso discovers what is afoot, a struggle ensues and Crane shoves him off a balcony. The fall breaks Phroso’s back and renders him paraplegic...
[...] West of Zanzibar was one of the last and most successful pairings of director Tod Browning and star Lon Chaney. Sleazy doesn’t even begin to describe it. And no one could do sleazy quite as well as Chaney and Browning. The atmosphere of the film matches the sordid nature of the material: thick, sweaty and grimy. You can practically feel the heavy, humid jungle air waft out of the screen. (moviessilently)

 DVD rip de Bribobmac (KG)

West of Zanzibar (1928).part1.rar
West of Zanzibar (1928).part2.rar

Tod Browning en Arsenevich
West of Zanzibar (1928)
Freaks (1932)
The Devil-Doll (1936)

20 agosto 2017

Roy William Neill - Black Moon (1934)

Inglés | Subs: Castellano/English (muxed)
68 min | x-264 720x480 ~> 720x540 | 1950 kb/s | 224 kb/s AC3 | 23.97 fps
1,04 GB
 Luna negra
Una mujer que vivió su infancia en la isla tropical de San Cristobal, no logra abstraerse de sus orígenes. Sabe que allí perdió a sus padres y fue hechizada antes de volver a la civilización. Ahora casada y con una hija pequeña, siente el impulso irrefrenable de regresar al lugar que la vió nacer. Acompañada de su familia volverá a la isla aclamada, convirtiéndose de inmediato en la nueva sacerdotisa de vudú. Poco a poco irá cometiendo actos impropios de su personalidad, involucrada en una vorágine de locura que podría llegar a ser catastrófica para quienes la rodean...  (blogdealimana)

Black Moon narra la historia de una mujer blanca que vuelve desde Nueva York a la plantación haitiana donde nació, y donde sus padres murieron cuando ella era una chiquilla. Juanita Pérez, ahora casada y con una hija de unos cinco años, siente que su verdadera casa está en esa isla, y se lleva a su hija con ella. Su tío, que regenta la plantación, intenta que Juanita esté el menor tiempo posible, porque teme lo que en efecto sucede: influenciada por su antigua niñera, que plantó en ella la semilla de la magia vudú, Juanita se convierte en una especie de sacerdotisa blanca en los ritos y sacrificios de los nativos. Su marido, Stephen Lane, llega a la isla para convencerla de que vuelva pero sin éxito. Juanita se ha puesto de parte de los nativos, y se identifica tanto con ellos que reprocha a su tío los latigazos, las muertes y el sufrimiento que ha provocado. Su locura (o su interiorización del vudú) es tal... que está dispuesta a sacrificar a su propia hija...  (Scielo Portugal)

A young girl who lives on a tropical island loses her parents to a voodoo sacrifice, but although she manages to escape the island, a curse is put on her. Years later, as an adult, she feels a strong compulsion to return to the island to confront her past. Her husband, her daughter and her nanny go with her, but once back on the island, the woman finds herself elevated by the locals to the stature of a voodoo goddess, and she begins her inevitable descent into madness, with disastrous results for her family.
 There’s no way to easily describe this strange, almost forgotten horror movie from the thirties, but I would rate it as the best voodoo movie made between White Zombie and I Walked with a Zombie, and there isn’t even a single zombie in the movie. I’d even place it ahead of White Zombie; for me, that movie never quite captures the sense of oppressive dread that permeates this movie. In fact, it may be the the most Lewtonesque movie I’ve seen that was made before the advent of Val Lewton; it’s dark, unsettling, and things never quite happen the way you anticipate they will. Even the performance of the comic relief character (‘Lunch’ McClaren played by Clarence Muse) is so muted that I’m not even sure that the character can be called comic relief at all; he doesn’t seem to be playing for laughs (his fear, for example, is portrayed seriously rather than comically), and his performance actually lends to the atmosphere of the proceedings. The movie is a little uneven; for example, the Fay Wray character seems to exist more for the sake of convenience than for anything else. But the brooding atmosphere has a way of sticking with you, and you won’t soon forget the ending. This one is worth seeking out. 

     -- Fantastic Movie Musings and Ramblings.

More info at the TCM site

DVD rip y capturas de ronnie (KG)

Black Moon (1934).part1.rar
Black Moon (1934).part2.rar
Black Moon (1934).part3.rar