Word: sternberg
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...been observed that Furie's films are more interesting visually than dramatically, but The Lateyer is disbarred on both counts, except for some early von Sternberg-like playing around with shadow. More concerned with the bedroom than the courtroom, the director and his co-scenarist. Harold Buchman, fill the frames with repeated and lingering flashbacks to the blood-splattered walls and victim, and force-feed the characters into continually exchanging one-liners as if they were Frisbees. Occasionally, Furie shows the Silent Majority homestead in its most ludicrous light (the inquest is held outdoors in a livestock exposition arena...
Died. Josef von Sternberg, 75, Austrian-born director of notable films in the '20s and '30s; of a heart attack; in Hollywood. Flamboyant and volatile, Sternberg wanted no part of the then-standard Hollywood formula of saccharine pap; his works were starkly realistic, and as early as 1925, in The Salvation Hunters, he was experimenting with eroticism and the juxtaposition of light and shadow to create haunting shifts of mood. Perhaps his greatest coup was the discovery of a young unknown named Marlene Dietrich, whom he cast in 1930 in The Blue Angel and in six other well...
Marland Billings, Rupert Emerson, Government George Kistiakowsky, Chemistry Richard Neustadt. Government Shlomo Sternberg, Mathematics
...vision becomes stronger and clearer as his life changes. Finally he is forced to play a clown in his home town while Dietrich backstage messes with a young actor. The ringmaster steps on stage, but Jannings refuses to come from behind the gauze curtain which partly obscures him. Sternberg cuts to high-angle shots of the rowdy audience, instead of stage-level shots which would show Jannings on the same moral plane, and then as Jannings on the same moral plane, and then as Jannings comes on stage to a terrifying long shot of the stage, rectangle of light, surrounded...
...time in close-up. As she sees his humiliation her cynicism takes on a new depth echoed in the final images of her singing. Jannings charges offstage to kill her; her flight is shot in high-angle, expressing the degree of freedom in even Jannings' most desperate action. Indeed, Sternberg cuts away to a doorway rather than showing Jannings being strait-jacketed. Later released, he returns to his old school desk to die the death of all Expressionist heroes. But Sternberg ends the film with shots of Dietrich, the burning Romantic figure and object, so that even in the person...