Réalisation:
Karl GruneScénario:
Karl GrunePhotographie:
Karl HasselmannActeurs·trices:
Anton Edthofer, Eugen Klöpfer, Max Schreck, Leonhard Haskel, Lucie Höflich, Aud Egede-NissenRésumés(1)
The influence of German cinematography on the formation of the noir film was enormous, although occasionally, in scholarly discussions, it overshadows other key factors. Most notably, inspiration from German Expressionism is often exaggerated. Conversely, the effect of other cycles and tendencies is diminished. One of the overlooked directions is the so-called street film (Strassenfilm), which, during the Weimar Republic (1918–1933), became a concise expression of modernism and urbanization. Karl Grune´s film addresses the dangerous seductiveness of the big city, and in the film, we can identify a number of visual and narrative motifs that were absorbed by film noir twenty years later: the hero who hastily gives in to temptation; the femme fatale; high-contrast lighting; and mise-en-scène reflecting the subjective states of the characters. (Noir Film Festival)
(plus)Acteurs·trices
Anton Edthofer
Autriche-Hongrie
Meilleurs films :
Fantôme (1922)
Die Straße (1923)
Eugen Klöpfer
Empire allemand
Meilleurs films :
La Terre qui flambe (1922)
Unheimliche Geschichten (1932)
Die Straße (1923)
Max Schreck
Empire allemand
Meilleurs films :
Nosferatu le vampire (1922)
Knockout - Ein junges Mädchen, ein junger Mann (1935)
Das verliebte Hotel (1933)
Leonhard Haskel
Empire allemand
Meilleurs films :
Dr. Mabuse, der Spieler (1922)
La Terre qui flambe (1922)
Die Straße (1923)
Lucie Höflich
Empire allemand
Meilleurs films :
Der Berg ruft! (1938)
Tartuffe (1925)
Die Straße (1923)
Aud Egede-Nissen
Union entre la Suède et la Norvège
Meilleurs films :
Dr. Mabuse, der Spieler (1922)
Fantôme (1922)
Hilde Warren et la mort (1917)