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The Love Goddesses

This insightful documentary features some of the major and most beautiful actresses to grace the silver screen. It shows how the movie industry changed its depiction of sex and actresses' portrayal of sex from the silent movie era to the present. Classic scenes are shown from the silent movie 'True Heart Susie,' starring Lillian Gish, to 'Love Me Tonight' (1932), blending sex and sophistication, starring Jeanette MacDonald (pre-Nelson Eddy), and to Elizabeth Taylor in 'A Place in the Sun' (1951), plus much , much more.

The Love Goddesses

6.2 1965
Anniversary

Here you will see Marie Dressler, Mary Pickford, Norma Shearer, Walter Huston and a host of other Canadians who achieved world renown on the silver screen. Slapstick, romance, tragedy, comedy--it's all here in an entertaining sampling of what audiences have applauded down the years. You see the audiences too, and the theatres where early movies first drew in the fans. As guide you could hardly find a more knowledgeable or familiar figure than Walter Pidgeon, a Canadian with eighty or more films to his credit. He recalls the personalities of the great stars he has known and explains how the technology developed that shows the stars on the screen.

Anniversary

9.0 1963
Ski-Faszination

With his first film "Skifascination", Willy Bogner junior composed something unprecedented: a ski symphony of ski races, sketches and ski ballet. The world had never seen such an aesthetic combination of choreographed ski turns, brightly colored ski suits and emotional music in 1966! Shot in Ultrascope in the mountains around St. Moritz, the idea, script, production and camera shots were all the work of Willy Bogner. The spectacular images opened up completely new perspectives on skiing, which at the time was primarily seen as a high-speed sport. Willy added a romantic touch to skiing by combining it with beauty, harmony and fun. He didn't even need a continuous plot - snow, mountains and dancing on two boards were all he needed as the main characters!

Ski-Faszination

7.0 1966
Sunday

Dimanche was supposed to be a didactic film, ordered by the film department of the National Education, intended to evoke the problem of leisure. Bernhard diverts the order and outwits the trap of the ‘thematic’ film. Without resorting to any form of commentary, making use of extraordinary images sublimating common spaces (the boredom of Sundays, the changing of the guard, children playing, a runner in the woods, a football match, …), he constructs with a nifty montage an exceptional work dealing with the sense of void and the fossilisation of the world. (Boris Lehman)

Sunday

6.7 1963
Design

This film was made by Bass' company as a presentation to AT&T executives. It would have extended to be shown to the public, but a number of his ideas in the film were not ultimately adopted, like his phone booth designs, and men's and women's uniforms. But a great many of the design were adopted—including, most memorably, the telephone vans and hardhat designs of the 1970s. Bass designed down to the details, showcasing in this film a myriad of ideas, like Yellow Pages book designs, cufflinks for executives, and flags. (AT&T Archives)

Design

NR 1969
Wages of Sin

Documentary that analyzes sexuality during it's so-called "revolution", the late sixties. The film shows some sexual "oddities" brought on by the fall of sexual taboos: a German woman who founded an billion dollar industry by selling erotic material; young and beautiful girls who are rented by large complexes to entertain and "persuade" customers; women young and old going to school to learn the art of awakening the interest of their husbands; couples in unscrupulous act as models to abstract painters; single women looking for a mate for the weekend, taking advantage of the "pink train" set up by the German Federal Railways.

Wages of Sin

6.0 1969
Homeo

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.

Homeo

4.7 1967
La Rabbia

Documentary footage (from the 1950s) and accompanying commentary to attempt to answer the existential question, Why are our lives characterized by discontent, anguish, and fear? The film is in two completely separate parts, and the directors of these respective sections, left-wing Pier Paolo Pasolini and conservative Giovanni Guareschi, offer the viewer contrasting analyses of and prescriptions for modern society. Part I, by Pasolini, is a denunciation of the offenses of Western culture, particularly those against colonized Africa. It is at the same time a chronicle of the liberation and independence of the former African colonies, portraying these peoples as the new protagonists of the world stage, holding up Marxism as their "salvation", and suggesting that their "innocent ferocity" will be the new religion of the era. Guareschi's part, by contrast, constitutes a defense of Western civilization and a word of hope, couched in traditional Christian terms, for man's future.

La Rabbia

7.0 1963
Judy and Liza at the Palladium

This classic show was one of Judy's last appearances at the historic Palladium Theatre in London. This unforgettable night also marked a young Liza Minelli's first public stage performance with her legendary mother. Witness Garland's exquisite talent as she performs the most-loved songs of her career while a budding Liza Minnelli more than holds her own offering a glimpse of the performative talent that would eventually launch a stunning career of her own.

Judy and Liza at the Palladium

7.0 1964