Ruth Beckermann’s new film “The Waldheim Waltz” investigates the Nazi past of Kurt Waldheim, former Austrian president and UN secretary general.
As is so often the case with lists of this sort, women were treated poorly. Leigh Brackett was one spot behind “Hunger Games” director Gary Ross.
Wes Anderson’s newest film turns out to be a tribute to a trio of Jewish emigre artists. A.J. Goldmann charts their influence on Anderson’s ‘Budapest Hotel.’
Now that she has her Aleph, Natalie Portman is returning to an activity that’s always been a safe bet. (Groan if you must; we couldn’t resist a little spelling pun for you Hebrew readers out there.)
“Weimar Cinema, 1919–1933: Daydreams and Nightmares,” running at MoMA until March 7, 2011, is billed as the largest-ever retrospective of German cinema from between the Wars to be shown in the United States. The era’s defining cinematic style, expressionism, is well-represented in dozens of offerings, giving a healthy dose of the atmospheric, disturbing and downright spooky in classics like “The Cabinet of Dr. Caligari,” “M,” “Nosferatu,” “Vampyr” and “Waxworks.”
Comedy, explained Aristotle, has a vague history, because at first no one took it seriously. We cannot know for certain if Aristotle was deadpanning, but his observation would amuse Saul Austerlitz. According to Austerlitz, American film comedy has not been taken seriously, either. In fact, the author quips, it is American film’s “bastard stepchild.” With his latest book “Another Fine Mess: A History of American Film Comedy,” Austerlitz gives us a broad survey of the genre, hoping to spark debate.
The CBS Home Entertainment/Paramount Release of a 28 DVD-set, “Hogan’s Heroes: The Komplete Series, Kommandant’s Kollection” reminds us of this early effort to find belated humor in Hitler’s war machine. Writer/director Billy Wilder’s much-admired 1953 film “Stalag 17,” was adapted from a play of the same name by two former POWs, and subtitled: “a comedy melodrama in three acts.” Deleting the melodrama, TV’s “Hogan’s Heroes,” which ran on CBS for 168 episodes from 1965 to 1971, went for outright laughs, successfully or not.