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Hallo, du altes Spreeathen!

Berlin’s last barrel‐organ player, Otto Steppke, is to receive the “Golden Cylinder” atop the shining “Berlin Moon” teleballoon above Alexanderplatz. Piloted old‐style by balloon, the gala flight, hosted by the operetta’s Frau Luna, promises Lincke waltzes and Kollos tunes. But Otto’s daughter, his ex Mrs. Pusebach, and intrepid reporter Telemann conspire (along with fickle love and capricious winds) to upend the hour‐long ascent in wild, music-filled chaos.

Hallo, du altes Spreeathen!

NR 1967
Le chacal traque les filles

François Merlin, nicknamed "The Jackal", returns to France after many years in America. He meets up with his sister Mishka, who makes her living from an antiques business. François has a highly developed seduction technique, and his victims unsuspectingly carry out the foreign missions he sends them on, from which they never return. Ranko, the Parisian kingpin of this kind of business, can't bear to see himself competing, and a fight to the death begins between the two crooks.

Le chacal traque les filles

9.0 1967
The Dance of Death

An egocentric artillery captain and his venomous wife engage in savage unremitting battles in their isolated island fortress of the coast of Sweden at the turn of the century. Alice, a former actress who sacrificed her career for secluded military life with Edgar, reveals on the occasion of their 25th wedding anniversary, the veritable hell their marriage has been. Edgar, an aging schizoid who refuses to acknowledge his severe illness, struggles to sustain his ferocity and arrogance with an animal disregard for other people.

The Dance of Death

6.7 1969
Callas Walking Lucia

In the first part of this short film, Schroeter tries to visualize the artist as Lucia in the mad scene of the third act of the Donizetti opera. Schroeter uses four scene photos of Callas, isolated on a dark background, in gestures and facial expressions, highlights of the mad scene and cuts them one after the other in such a way that the impression of movement - of walking - arises. This anticipated movement becomes an ornament as the photos are dragged from right to left. The unnatural effect could be an accurate expression of madness. In the second part of the film, Schroeter uses three more shots of the singer: a private photo of Callas as Norma and a picture in a magazine that probably shows her in an exuberant pose as Medea (Cherubini) and nicknamed her “the tigress” in the press. The film has such a musical rhythm in its editing technique that the sound could be dispensed with.

Callas Walking Lucia

8.0 1968
Face to Face: Tony Hancock

Tony Hancock engages in self-reflection, looking back at his childhood, his need to work, his health issues, and whether he could ever truly be happy. The program is believed to have played a role in his eventual downfall by amplifying his proclivity for self-criticism. During the interview, John Freeman posed probing questions about Hancock's life and career. Despite his admiration for the interviewer, Hancock seemed uneasy but responded candidly. Known for his inherent self-critical nature, it is frequently posited that this interview intensified that trait, ultimately contributing to his subsequent challenges. According to Roger, Hancock's brother, "It was the most significant misstep he ever took. I believe it all stemmed from that moment. Self-analysis - that became his undoing.

Face to Face: Tony Hancock

7.5 1960
The Protagonists

An enterprising reporter takes along four willing adventurers to interview and photograph a young Sardinian criminal in hiding. Under intermittent gunfire, they make their way to the mountain hideout of the bandit. After a leisurely conversation and photo session, the encampment comes under fire from a group of armed citizens acting as police. Bullets fly and violence overtakes the criminal's two henchman, as the thrill-seeking group and the wanted criminal find themselves under attack.

The Protagonists

6.6 1968