It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
I have a big, funny nostalgic thing for Legend from my childhood. Especially that haunting Tangerine Dream score. It really was interesting for me hearing Jerry Goldsmith's original score restored after all those years. The movie certainly didn't feel right with TD's music missing, but I'm sure that in time, when I revisit the JG version again (Legend isn't a movie I watch very often), I will appreciate it much more.
I read about Metropolis for the very first time on those beautiful Dorling Kindersley books about cinema, but my first actual contact with the movie and Fritz Lang was the Moroder version, back in music class on high school.
The other day, I was asked by my students what constitutes a typical German Expressionist film. I had been enthusiastically discussing Dr. Mabuse the Gambler and so the topic was swiftly raised. But since I'm a chemistry teacher and certainly not an expert on movie art, merely a fervent watcher, I credit myself with very little legitimate knowledge on the subject besides what I have thus far read in books.
This thread seems like a pretty good occasion to learn more. Could you summarize a few things about German Expressionism for me, please? :)
I have an entire collection of books on the subject of horror films, but they mostly start with the Universal talkies of the early 1930s, e.g. Dracula and Frankenstein. Only on a rare occasion do I find any clear mentioning of the great German films of the 20s and 30s. I regret this, since I count films like Dr. Caligari, Metropolis and especially M among my favourites. I know a couple of things about the downfall of the German movie tradition of those times, naturally attributable to the rise of the Nazi terror and its peculiar censorship. But actual in-depth analyses of the genre seem to come in limited supply. I think I know a lot more about 80s slashers than I do about German Expressionism. So I want to thank you in advance for your effort, @Birdleson.