Tumgik
#john h. auer
gatutor · 29 days
Text
Tumblr media
John Wayne-Frances Dee "La rueda de la fortuna" (A man betrayed) 1941, de John H. Auer.
11 notes · View notes
rwpohl · 7 months
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
2 notes · View notes
spryfilm · 3 months
Text
Blu-ray review: “Angel on the Amazon” (1948)
Tumblr media
View On WordPress
0 notes
glowworm6 · 1 year
Text
Tumblr media Tumblr media
Erected as the nation’s first WWI memorial and dedicated in 1918 to the servicemen of Klickitat County, Washington, who died in the service of their country during the Great War, Hill’s Stonehenge Memorial is a monument to heroism and peace.
Hill erroneously believed that the original Stonehenge was constructed as a place of human sacrifice. Concluding there was a parallel between the loss of life in WWI and the sacrifices at ancient Stonehenge, he set out to build a replica on the cliffs of the Columbia as a reminder of those sacrifices and the “incredible folly” of the war.
Guided by leading authorities on archaeology, astronomy, and engineering, Hill combined their knowledge to duplicate, as nearly as possible, the original size and design of the ancient Neolithic ruin in England.
The original idea was to use local stone, however, when the rock proved unsatisfactory, Hill decided to use reinforced concrete. (The rough, hand-hewn looking texture was created by lining the wooden forms with crumpled tin.)
Every year on the anniversary of each soldier death, knitted poppies are placed on the stones in front of the memorial signifying the senseless death.
February 5 (John W. Cheshier)
March 15 (Carl A. Lester) 
April 13 (Dewey V. Bromley) 
June 6 (Charles Auer) 
June 16 (James D. Duncan) 
July 25 (James H. Allyn)
July 30 (Harry Gotfredson and Henry Piendl)
September 15 (Edward Lindblad)
September 30 (Evan Childs)
October 14 (Louis Leidl)
January 4 (William O. Clary)
6 notes · View notes
hollywoodcomet · 4 months
Text
Musical Monday: Johnny Doughboy (1942)
It’s no secret that the Hollywood Comet loves musicals. In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 600. To celebrate and share this musical love, here is my weekly feature about musicals. This week’s musical: Johnny Doughboy (1942) – Musical #757 Studio: Republic Pictures Director: John H. Auer Starring: Jane Withers, William…
Tumblr media
View On WordPress
0 notes
Text
Tumblr media
''MEDIO ACRE DEL INFIERNO''
(Hell's Half Acre)
Año: 1954
Dirección: John H. Auer
Para ver el tráiler ingresa al enlace:
https://www.youtube.com/watch?v=_Hw-yI0ZTd4
0 notes
sesiondemadrugada · 2 years
Photo
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
City That Never Sleeps (John H. Auer, 1953).
153 notes · View notes
vidioten · 2 years
Photo
Tumblr media
The Crime Of Doctor Crespi (1935), John H. Auer.
2 notes · View notes
letterboxd-loggd · 3 years
Photo
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
The Crime of Doctor Crespi (1935) John H. Auer
August 28th 2021
3 notes · View notes
gatutor · 6 months
Text
Tumblr media
Ethel Barrymore-Stuart Whitman "Johnny Trouble" 1957, de John H. Auer.
3 notes · View notes
oldfilmsflicker · 6 years
Video
youtube
Wherein I talk about John H. Auer's City That Never Sleeps
5 notes · View notes
spryfilm · 10 months
Text
Blu-ray review: “City That Never Sleeps” (1953)
“City That Never Sleeps” (1953) Drama Running Time: 90 minutes Written by: Steve Fisher Directed by: John H. Auer Featuring: Gig Young, Mala Powers, William Talman, Edward Arnold, Chill Wills, Marie Windsor and Paula Raymond Sally ‘Angel Face’ Connors: “When I first came to this town I was gonna be – oh, there were a lot of things I was gonna do. Become famous. But Chicago’s the big melting…
Tumblr media
View On WordPress
0 notes
rachelmygod · 3 years
Photo
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
City That Never Sleeps (John H. Auer, 1953)
12 notes · View notes
hollywoodcomet · 7 months
Text
Musical Monday: Pan-Americana (1945)
It’s no secret that the Hollywood Comet loves musicals. In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 600. To celebrate and share this musical love, here is my weekly feature about musicals. This week’s musical: Pan-Americana (1945) – Musical #435 Studio: RKO Radio Pictures Director: John H. Auer Starring: Phillip Terry, Eve Arden,…
Tumblr media
View On WordPress
0 notes
mischa-auer · 2 years
Text
Tumblr media
Modern Screen, February 1940: Woeful and Wacky by John Franchey
Transcript of article:
Sad-eyed but full of tricks- that’s Mayor Mischa Auer
Those doleful eyes of Mischa Auer, so conspicuous by their contrast to the hilarious shenanigans he’s always pulling off, are no actor’s triumph. He deserves no credit. Life gave them to him. They mirror his personal history. They reflect war, work and woe.
    In his last picture, “Destry Rides Again”, he set even the hard-bitten critics in the aisles with his buffooneries as a transplanted Cossack who had migrated without rhyme or reason to a western town where he undertook a spot of hoss-wrangling. A Russian cowboy he was, as fantastic as a séance of rug-cutting in a cathedral or Tony Galento in the role of a ballerina.
    Funny? Of course. But ironic, too.
    It so happens that Mischa Auer is a Russian expatriate, a scion of what he likes to call, with typical modesty, “the petty nobility.” And his real name is Mischa Simonowich Ounskowski. His father, a commander of a destroyer in the Imperial Russian fleet, went down with his ship in a skirmish with one of the Mikado’s men-of-war during the Russo-Japanese campaign.
    He was four when his renowned grandfather, Leopold Auer, the outstanding violin virtuoso of this century and the teacher of Zimbalist, Elman and Heifetz, to name a few, took him under his wing. When a fiddle was thrust in his hands, he stared at it ruefully. He made a clean break of it. There just wasn’t the immortal urge within him, he told his great kinsman. Grandpa Auer took it very hard.
    What he did have was a passion for the theatre. As a little shaver he used to haunt the back stages of the theatres at St. Petersburg, entranced with it all.
    The Revolution broke with all its sudden fury and it became high time to think of self-preservation. Caught in the maelstrom, he was shipped with several hundred other boys of his age and social status to a forlorn town in Siberia, presumably to learn how to become a true Communist.
    It was a miserable journey, four thousand miles across the steppes in coaches that offered only wooden benches on which to sleep. Once arrived at land’s end, they were dumped out and forgotten.
    Here he discovered how relentless life can really be. Faced with starvation, he learned to ignore the proprieties. Together with his friends he formed a roving band equipped with knapsacks. They trudged from farmhouse to farmhouse begging, in the name of God’s mercy even a hard crust. It wasn’t easy. Poverty reigned over the whole countryside. When they couldn’t beg food, they stole it- just enough to keep themselves alive.
    After two years, they were shuttled back to St. Petersburg. Some had perished. Mischa Auer had become a starveling gnome, and the mournful look had made its first appearance.
    Worse misfortune was yet to dog him. Now the dread OGPU, the political secret service arm, outlawed all those suspected of having sympathetic leanings toward the old regime. The Auers were on the list scheduled for immediate liquidation. One jump ahead of arrest and oblivion, Auer and his mother fled. It was a heart-rending trek they made, mother and son, forging their way South to the Black Sea, fighting plague and hunger, and eventually reaching Constantinople then under the protection of the Union Jack.
    Here his mother was attacked by typhus and died. And here she was buried in a Greek Orthodox cemetery overlooking the harbor. A boy of fifteen, he was now left to shift for himself. In time he beat his way into Italy where he hunted out a family friend who provided him with the address of grandfather Leopold, now in the United States. Soon help was on its way. The wanderer set sail for America, a wistful shadow of a boy who had compressed an eternity into his fifteen years.
    Under his grandfather’s protection, he picked up the life thread. He was sent to the famous Ethical Culture School. His record here is less than average. He had no inclination for studies. His mind was alive only with dying. He could not escape the recollections of things he had seen and heard.
    All concerned worked feverishly to salvage the shattered soul in the under-nourished body. It was slow work. But by the time he was seventeen, noticeable progress was apparent. Came the day when he remembered his former passion for the theatre. He decided to see what it had to offer him here in America
    Not much, at first. But he persisted. Mere disinterest and rebuffs were nothing to him. He wouldn’t be downed. Finally Dudley Digges, just for his own amusement, presented him with a small role, that of an old man, in a mob scene.
    This slight encouragement was enough to show him he was headed right. He worked up to stage manager, also under Digges. Then he landed the juvenile lead in Sudermann’s “Magda.” In due time the company landed in Hollywood. Here the movie bug bit him. He chucked overboard the legitimate stage.
    If the stage was tough to crack, the movies were doubly tough. The studios wouldn’t even let him play an extra. Once, he will tell you, a director tossed him out of a Russian sequence because he didn’t look like a real Russian.
    He did everything while waiting for the magnificoes to see the light. He even rounded up a bunch of musicians and leaded a jazz band, available for a modest fee for dances.
It was Director Frank Tuttle who discovered him. He thought the sad-eyed Russian was wonderful. In fact, he managed to find a spot for him  in every one of his productions. Before long the melancholy one became a figure in the film colony. He got bids right and left but only when they needed despicable-looking villains who’d blackjack one-armed widows and swipe their pitiful savings.
    In vain did he protest that his dish was comedy. No one seemed to care. Not until Gregory La Cava, assigned to direct “My Man Godfrey,” happened to recall some of Mischa’s high jinks at a party years before, in which he had hung from the chandeliers in the character of a gorilla. La Cava felt that maybe this identical insanity would bolster the Godfrey saga. He took a chance, gave Auer a try. The waif pulled out all the stops. The fans howled, and at long last he who got slapped was definitely in.
    At thirty-four, wacky and woeful, Mischa Auer sits atop his own peculiar Olympus contemplating the world beneath. An inimitable harlequin, nevertheless he has a curiously humble philosophy about success. He simply figures he was lucky.
    Regarding his acting talent, a gift which some critic has been bold enough to hail in print as “an incomparable genius for mirth and merriment in a minor key” he is more curious still. He regards Mischa Auer as a “ham.” His explanation is child-like, very brief and simple.
    “I got some parts in shows and finally came to be a pretty good ham. There was nothing to it. In time I got out to Hollywood and eventually they went for my stuff. What I can do is just damned foolishness, but I’m crazy about pictures.”
    Outside of adding a few pounds to his frame and shooting some over fourteen inches skyward (he is now six feet two) the years have brought little noticeable change to the boy who fled from Russia. Today he’s as mournful-looking as ever, a streamlined, rapid-talking, mad Hamlet who hides his thoughts deep inside of him.
    For all this inferior gloom, the Auer is a geyser of gags, antics and mummery. On the set he’s a volcano whose humor literally stops the show. Cameramen, directors, script girls- one touch of Auer’s laughter makes the whole set kin. When he played with Baby Sandy in “Unexpected Father,” he had the little shaver gurgling all day, so much so that at night there was a strange wailing in B.S.’s nursery. She missed this wonderful buffoon.
    No single individual is more liked in Hollywood than Auer. He’s the life of every gathering he attends, his baleful eyes providing such amazing counterpoint to the high jinks he’s always perpetrating. Photographers covering the swanky premieres at Grauman’s Chinese Theatre in Hollywood never tire of exploding their flash bulbs at him. Just to be a pal he’ll push a peanut down the block with his nose, or walk a tight rope dressed in a hooped skirt.
    “All you have to do is ask the guy,” a picture-taking admirer of Mischa’s explains.
    Hostesses implore him to come to their parties and fall on his neck out of gratitude when he departs. He never makes an entrance. Actually, it’s an invasion.
    This general popularity is attested to by his political triumph of summer last. All of a sudden he up and ran for mayor of Universal City against Hugh Herbert and Joy Hodges. He pranced home the winner. Out of sportsmanship he made la Hodges the Chief of Police and then began worrying about funds to build a jail large enough to house the crime wave that was sure to result from this selection.
Being Alcalde of Universal City is his pride and joy. He loves talk of the Utopia he’s “going to make” of the little community. He bustles around sporting the most outlandish badge of office you ever saw. He’ll unbutton his coat at the drop of a hint so as to show it to people.
    He’s the interviewers’ delight. He makes it his business to astonish them by hook or crook. He’ll put on a show, if he has to.
    “Auer may never inspire the press, but he’ll never bore them,” he told a paragrapher.
    Once when he was being interviewed he decided on the spur of the moment to ring up his grandmother, Mrs. Leopold Auer. She kept him on the phone for almost an hour, while he groaned in his helplessness. When another writer, a lady this time, burst in she almost jumped out of her girdle. There was Mischa lying under the desk, tie akimbo and feet sprawled over the radiator, and spouting Russian at his relative lickety-split. The reporters looked at each other in amazement and wondered when the man with the straight jacket was coming for his charge.
    These same journalists get little information out of Mayor Auer. He’s too busy entertaining them. If he does do any serious talking, he steers the conversation into the channel of the camera art, his favorite hobby. Then, what has started out as an inspection of the Auer life and personality degenerates into a volcanic monologue on the respective merits of the different kinds of film, a new filter that’s just hit the market or, maybe, a nifty developing solution dreamed up by one of his cronies who has the same hobby.
    The thought of an elf as a husband is inclined to take your breath away, but married he is. To a lovely non-actress, nee Norma Tillman. He has a son and heir named Anthony, of whom he never tires of talking. They’re pals, father and son. Every now and then he and Anthony take a long walk, climb atop a little green hill and there Auer pere chants wild Slavic songs to the accompaniment of a Russian balalaika.
At home he’s a housewife’s delight- ready to tackle anything from dish-washing to beating the rug, if need be. He’s designed the wall-paper for his present home and equipped it with knick-knacks of his own creation.
    In matters of dress he’s as careful as a debutante dreaming of her coming-out party. Which is why he’s one of the slickest figures in any formal gathering. He loves evening dress. No one in Hollywood looks jauntier in a white tie.
    His hobby may be cameras and picture-taking but his passion is restrained roistering with fellow members of the old regime- and Hollywood has many of them. He and his playmates assemble at regular intervals dressed to the hilt. They dine sumptuously and then begin to tell sad stories of the deaths of kings and princes. They toast the glory that was old Ray-shya far into the night. Tears flow like rain upon the town when these sentimentalists start to relive the olden days.
    When it gets threeish, the man with the baleful eyes straightens himself to his stiffest, clicks his heels, and salutes and departs. Tomorrow is another day and somewhere on Universal lot Baby Sandy may be waiting for a camera rendezvous with her goofy parent.
3 notes · View notes
miguelmarias · 4 years
Text
World Poll 2019
Great recent movies (made since 2014) seen for the first time in 2019
Mademoiselle de Joncquières (Emmanuel Mouret, 2018)
Dau Huduni Methai (Song of the Horned Owl, Manju Borah, 2015)
El Crack cero (José Luis Garci, 2019)
Jiang hu er nv (Ash is Purest White, Jia Zhang-ke, 2018)
Carré 35 (Plot 35, Éric Caravaca, 2017)
Sic transit Gloria Mundi (Gloria Mundi, Robert Guédiguian, 2019)
If Beale Street Could Talk (Barry Jenkins, 2018)
Ad Astra (James Gray, 2019)
Le Chant du loup (The Wolf’s Call, Antonin Braudy, 2019)
Shooting the Mafia (Kim Longinotto, 2019)
Village Rockstars (Rima Das, 2017)
Tantas Almas (Valley of Souls, Nicolás Rincón Gille, 2019)
Un peuple et son roi (Pierre Schoeller, 2018)
Aamis (Ravening, Bhaskar Hazarika, 2018/9)
Fishbone (Adán Aliaga, 2018)
O que arde (Fire Will Come, Oliver Laxe, 2019)
La Fin de la nuit (Lucas Belvaux, 2015)
Ramen Teh (Ramen Shop, Eric Khoo, 2018)
Light of My Life (Casey Affleck, 2019)
Great movies (made before 2014) seen for the first time in 2019
’49-’17 (Ruth Ann Baldwin, 1917)
Ba shan ye yu (Evening Rain / Night Rain of Mount Ba, Wu Yigong and Wu Yonggang, 1980)
The Spirit of the Flag (Allan Dwan, 1913)
Versailles (Pierre Schoeller, 2008)
Ùn pienghjite mica (Les Anonymes, Pierre Schoeller, 2012/3)
Foxfire (Joseph Pevney, 1954/5)
Johnny Come Lately (William K. Howard, 1943)
I girovaghi (Hugo Fregonese, 1956)
Nunal sa Tubig (Speck in the Water, Ishmael Bernal, 1976)
Ikaw ay Kin (You Are Mine, Ishmael Bernal, 1978)
Pervyí eshielon (The First Convoy, Mikhail Kalatozov, 1955/6)
The Sea Wolf (Alfred Santell, 1930)
Surrender (William K. Howard, 1931)
The Restless Years (Helmut Käutner, 1958)
Darling, How Could You! (Mitchell Leisen, 1951)
Ko:Yad (A Silent Way, Manju Borah, 2012)
The Flame (John H. Auer, 1947)
Ernst Thälmann-Sohn seiner Klasse (Kurt Maetzig, 1954)
Ernst Thälmann-Führer seiner Klasse (Kurt Maetzig, 1955)
Bólshaia Sémia (A Big Family, Iosif Kheífits, 1954)
Circuit Carole (Emmanuelle Cuau, 1995)
Harvey (Henry Koster, 1950)
As It Is in Life (D.W. Griffith, 1910)
Abroad with Two Yanks (Allan Dwan, 1944)
Behind Office Doors (Melville W. Brown, 1931)
Lovin’ The Ladies (Melville W. Brown, 1930)
La Tarea o cómo la pornografía salvó del tedio y mejoró la economía de la familia Partida (Homework, Jaime Humberto Hermosillo, 1990/1)
A Modern Hero (G.W. Pabst, 1934)
Surrender (William K. Howard, 1931)
Jubilee Trail (Joseph Inman Kane, 1954)
Matinée (Jaime Humberto Hermosillo, 1976/7)
Linda (Mrs. Wallace Reid = Dorothy Davenport, 1928/9)
Die missbrauchten Lebesbriefe (Leopold Lindtberg, 1940)
Very good movies (made since 2014) seen for the first time in 2019
Photograph (Ritesh Batra, 2019)
The Mule (Clint Eastwood, 2018)
The Man Who Killed Hitler and Then The Bigfoot (Robert D. Krzykowski, 2018)
Frères ennemis (Close Enemies, David Oelhoffen, 2018)
L’Homme fidèle (A Faithful Man, Louis Garrel, 2018)
Pris de court (Not on My Watch, Emmanuelle Cuau, 2016)
Dolor y Gloria (Pain and Glory, Pedro Almodóvar, 2019)
Frost (Šerkšnas, Sharunas Bartas, 2017)
Vitalina Varela (Pedro Costa, 2019)
Da xiang xi di er zuo (An Elephant Sitting Still, Hu Bo, 2018)
Di qiu zui hou de ye wan (Long Day’s Journey Into Night, Bi Gan, 2018)
La Tenerezza (Tenderness, Gianni Amelio, 2017)
Fourteen (Dan Sallitt, 2019)
Bulbul Can Sing (Rima Das, 2018)
A Rainy Day in New York (Woody Allen, 2019)
Legado en los huesos (Fernando González Molina, 2019)
Ma vie dans l’Allemagne d’Hitler (My Life in Hitler’s Germany, Jérôme Prieur, 2018)
La Vie balagan de Marceline Loridan-Ivens (Yves Jeuland, 2018)
Gangbyeon Hotel (Hotel by the River, Hong Sang-soo, 2018)
The Wind (Emma Tammi, 2018)
Kothanodi (The River of Fables, Bhaskar Hazarika, 2015)
Dar Jostojoy-e Farideh (Finding Farideh, Azadeh Moussavi & Kourosh Ataee, 2018)
Sir (Rohena Gera, 2018)
El Proyeccionista (The Projectionist, José María Cabral, 2019)
Intemperie (Benito Zambrano, 2019)
Madre (Mother, Rodrigo Sorogoyen, 2017, short)
Three Identical Strangers (Tim Wardle, 2018)
Madre (Rodrigo Sorogoyen, 2019)
Very good movies (made before 2014) seen for the first time in 2019
A Life for a Kiss (Allan Dwan, 1912)
Futari de aruita iku haru aki (The Days We Spent Together, Kinoshita Keisukē, 1962)
The Necklace (D.W. Griffith, 1909)
Das Schiff der verlorenen Menschen (Ship of Lost Men, Maurice Tourneur, 1929)
The Broken Locket (D.W. Griffith, 1909)
Primrose Hill (Mikhaël Hers, 2007)
The Rejected Woman (Albert Parker, 1924)
El último malón (Alcides Greca, 1917)
Bullets for O’Hara (William K. Howard, 1941)
Le Récit de Rebecca (Paul Vecchiali, 1964)
La noche avanza (Night Falls, Roberto Gavaldón, 1952)
Over-Exposed (Lewis B. Seiler, 1956)
I rollerna tre (Christina Olofson, 1996)
Il Viale della Speranza (Dino Risi, 1953)
Because of You (Joseph Pevney, 1952)
1870/…Correva l’anno di grazia 1870 (Alfredo Giannetti, 1972)
Demi-tarif (Isild Le Besco, 2003)
L’Exercice de l’État (The Minister, Pierre Schoeller, 2011)
Cheng nan jiu shi (My Memories of Old Beijing / Old Stories of the Southern Part of the City, Wu Yigong, 1983)
Strangler of the Swamp (Frank Wisbar, 1945/6)
Sword in the Desert (George Sherman, 1949)
There’s Always Tomorrow (Too Late For Love;Edward Sloman, 1934)
East Side, West Side (Allan Dwan, 1927)
Le Départ (Damien de Pierpont, 1998)
Face aux fantômes (Jean-Louis Comolli, 2009)
The Eagle and the Hawk (Mitchell Leisen, credited to Stuart Walker, 1933)
Whirlpool (Roy William Neill, 1934)
The Animal Kingdom (Edgard H. Griffith; uc. George Cukor, 1932)
Le Passager (The Passenger, Éric Caravaca, 2005)
Razumov (Sous les yeux d’Occident) (Marc Allégret, 1936)
Banjo On My Knee (John Cromwell, 1936)
One Night of Love (Victor Schertzinger, 1934)
Enchantment (Robert G. Vignola, 1921)
Charell (Mikhaël Hers, 2006)
Men With Wings (William A. Wellman, 1938)
Delitto per amore (L’edera) (Augusto Genina, 1950)
Les Amants de Minuit/Les Amours de Minuit (Augusto Genina, 1930/1)
Human Cargo (Allan Dwan, 1936)
Up the Ladder (Edward Sloman, 1925)
Luxury Liner (Richard B. Whorf, 1948)
Surrender! (Edward Sloman, 1927)
The Judge (Elmer Clifton, 1948/9)
Turbión (Antonio Momplet, 1938)
Der Ruf (Josef von Báky, 1949)
Faubourg Montmartre (Raymond Bernard, 1931)
Träumerei (Harald Braun, 1944)
The Red Lantern (Albert Capellani, 1919)
El Paseíllo (Ana Mariscal, 1968)
La quiniela (Ana Mariscal, 1960)
Great movies growing up or just rediscovered in 2019
Letter of Introduction (John M. Stahl, 1938)
Only Yesterday (John M. Stahl, 1933)
Our Wife (John M. Stahl, 1941)
Wohin und zurück (Axel Corti, 1982-6)
Giorno per giorno, disperatamente (Alfredo Gianetti, 1961)
Die wunderbare Lüge der Nina Petrowna (Hanns Schwarz, 1929)
Alyonka (Boris Barnet, 1961)
Craig’s Wife (Dorothy Arzner, 1936)
Imitation of Life/Fannie Hurst’s “Imitation of Life” (John M. Stahl, 1934)
Captains Courageous (Victor Fleming, 1937)
Test Pilot (Victor Fleming, 1938)
The Eternal Sea (John H. Auer, 1955)
Hello, Sister! (Anonymous: Erich von Stroheim, Alfred L. Werker, Raoul Walsh, Alan Crosland, 1933)
La noche de enfrente (Night Across the Street, Raúl Ruiz, 2012)
Journey into Light (Stuart R. Heisler, 1951)
Feel My Pulse (Gregory LaCava, 1928)
La signora senza camelie (The Lady Without Camelias, Michelangelo Antonioni, 1953)
Nosotros que fuimos tan felices (Antonio Drove, 1976)
Very good movies improved
Liana (Boris Barnet, 1955)
L’Avventura (Michelangelo Antonioni, 1960)
Du haut en bas (High and Low, G.W. Pabst, 1933)
Amok (Antonio Momplet, 1944)
The Man Who Never Was (Ronald Neame, 1956)
Open Range (Kevin Costner, 2003)
Con la vida hicieron fuego (Ana Mariscal, 1959)
Timberjack (Joe Kane, 1954/5)
En la Palma de tu Mano (Roberto Gavaldón, 1951)
Gravity (Alfonso Cuarón, 2013)
Expreso de Andalucía (Francisco Rovira-Beleta, 1956)
El Camino (Ana Mariscal, 1963)
La viuda del capitán Estrada (José Luis Cuerda, 1991)
Vestida de azul (Antonio Giménez-Rico, 1983)
Segundo López aventurero urbano (Ana Mariscal, 1953)
Hell’s Outpost (Joe Kane, 1954)
Fuente: http://sensesofcinema.com/2020/world-poll/world-poll-2019-part-5/#4
3 notes · View notes