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"florence malcolm stoker" Discussed on Stuff You Missed in History Class
"Go whether you're in the car if you're at work if the kids are at school if you're doing grocery shopping if you just check out the adt go APP which has a handy SOS button you have your security I just saved a bunch so it all worked out there have been so many rumors and stories surrounding the making of the film Nosferatu since it was released in part due to some of the promotional materials that were released ahead of the movie to drum up interest the magazine Byun Infield put out an issue just before the film came out in nineteen twenty two that featured a story told by production designer Albin Grau in which Groucho blames the during the war he met Serbian man who claimed that his father had died without receiving the holy sacraments and then wandered their village in vampire form Arou- who was an occultist and also one of the people who initiated this project claimed to seem documents detailing the summation of the body which showed no signs of decline musician and then grouse Serbian friend told him that after the body of his father was exhumed steak was driven through its heart and that the vampire died so this theoretically was the inspiration for nosferatu according to Grou- it was all based on this story that he had heard while it during the war and he claims that knows virata was the Serbian word for vampire although the true etymology of that word is a lot hazier than that there's no exact known origin point NAS continues to have its own mythos as the first vampire film it's drawn a lot of interest in the century sense that it was made but it was almost lost just like several of Murnau's other film uh-huh that's because the story is a loose adaptation of Bram Stoker's Dracula and it was made without the rights to that story something that is a non issue now it so old but was an issue at that time Murnau's production company was unable to secure the rights to it but they went ahead with the production anyway changing a number of the element and Florence balcon stoker who was Bram Stoker's widow sued over it yeah they change names of characters and the location and it's it's a little bit different but there's enough there that it's pretty clearly if you had read Dracula you'd be like this sure looks like a lot like Dracula sorta like when you go to buy Halloween costume they are named something like magical school student and you know it's really Harry Potter right a recent one that I saw was mid week doc angry girl and it's supposed to be Wednesday at which to me was very funny by the time that the case that Lawrence Malcolm Stoker brought went to court the Phil Company was already bankrupt so much money had been spent on publicity for knows for ought to an on stage massive gala opening at the Berlin zoo there is literally nothing left for the widow stoker to be awarded still German court did rule in her favor and issued a verdict that all copies of the film had to be destroyed of course not to thwart the law but thankfully in my opinion that did not happen prints of the film made we to London where Florence Malcolm Stoker was able to block its screening in nineteen twenty five and then to New York where it was viewed by audiences in nineteen twenty nine and as with a lot of Murnau's work there are multiple different versions of the film and over the years film fans and historians have worked very hard in some cases referring to the original shooting script to untangle which of those versions is actually closest to Murnau's original as an aside the film shadow of the vampire which unlike plus for us I have seen stars Willem dafoe as actor Max Schreck who brought count or lack to life it's a really fun movie and it plays on the long run rumor that Shrek actually did practice vampirism during the filming of Nas for outside but to be clear that it's fiction Murnau is portrayed by John Malcolm rich in a manner that suggests that the director was just a driven autour who only cared about capturing what he saw as his vision without being concerned about anything anybody else that is totally opposite of just about every account of Murnau as a director yeah we're GonNa read something later that was was said at his funeral that will kind of very clearly point out how how differently he really really was portrayed in that film from what he was like in real life and while no Soroti was probably the film he's most famous for today at least in sort of general audience circles I think if you get into sinophile circles others come up pretty quick Gli but Murnau went on as we said at the beginning to direct plenty of other films and it was really those films that put him on the map as director of note with his contemporaries in Germany came in one thousand nine hundred twenty four let's demand was released and it was a breakthrough moment in narrative cinema while the title translates directly to the last man. Dan in its English language release it was titled The Last Laugh it tells the story of the Doorman at a fancy hotel who as he ages forced into the less Thir role of bathroom attendant this transition is significant and difficult for the main character because his identity is totally tied up in his work as a doorman and the emotional fall mirrors the fall in his status as a staff member in the hotel. There's almost no dialogue in the last laugh this there's no audible dialog at all was in still in the silent film era so the jazz singer would not debut for another three years but there is also only a single title card in all of Murnau's nineteen twenty four film runs seventy seven minutes the entire story is told through pantomime and the use of shadow light and other artists creative skill the last laugh gained Murnau a lot of attention in part because of the work of cinematographer Karl Freund in Service Timber Now's vision unlike most of the films of the I'm that were shot on sound stages from an audience perspective almost like you were viewing play the last man traveled through the set to mimic walking the streets of the city the main characters point of view captured and shared with the audience and that's something that movie goers of the nineteen twenties weren't really accustomed to today there are Dali as an rigs that are specifically made to make the cameras agile but freund had to really improvise to find ways to get his shots and some meat Murnau's demands because Brunell really felt like the film needed to be more dynamic a freund did everything from attaching cameras to bicycles to strapping due to his waist and for one scene he wore the camera on his waist and he crossed the set wearing a pair of roller skates with the camera rolling to create the illusion of drunkenness for the audience and for the film's opening shot he was on a bicycle as it travelled on an improvised elevator going down and then essentially he peddled out into a hotel be set so it drew the audience into the motion and the tone in the world of the character in the film instantly think living in the era of gopro footage it's easy to forget that like people had to work out how to make cameras move this way there's a really great story that one of his colleagues tells about how when Murnau is I like we need to follow this smoke up this this set and they're like okay wait we gotta walk up the stairs and how he really allies later that they had already assumed that they could figure out how to carry the camera they were just like but how will we get up the stairs like they had no problem getting over that taking it off the tripod but the next part was just like the logistics of the next thing we're so big that they didn't even think about like just having to hold the camera after the last laugh Murnau was known as the great impressionist in German film circles he took that reputation and used it to turn out a very I'm sure with an extravagant film next that was an adaptation of Moliere's Tartuffe which debuted in nineteen twenty five his next film was another literary adaptation that was Faust which debuted in nineteen twenty six throughout the mid nineteen twenty s Murnau had become quite a big name in German cinema dates one of Murnau's requests that he be allowed to take his crew with him and that was something that Fox agreed to Murnau's first project under his contract was nineteen twenty-seven picture called sunrise a song of two humans it opens with title cards that read quote this song of the man and his wife is of no place and every place you might hear it anywhere at any time for whatever the sun rises and sets in the city's turmoil under the open sky on the farm life as much the same sometimes bitter sometimes sweet the film which is considered a masterpiece by a lot of people tells the story of a married man who has an affair her and his lover suggests that he killed his wife so that he can leave behind his old life and start a new life in the city with her and the man that is all he is named as is played by George O'Brien and he's unable to follow through on this plan and instead he reconciles with his wife There are a lot of shots in this film that are key sittard like the first of their kind there's one where the two of them are on a trolley car kind of passing from a more rural suburban coming into a city setting that's considered super important The wife in this movie was played by Janet Gainer Sunrise was and still is a critical success yes it went on to win an award at the First Academy Awards that was held in one thousand nine hundred ninety nine and it was in the now defunct category of unique and artistic picture Jan Gainer also won best actress that year she was nominated in three different roles including her work on Sunrise Seventh Heaven and street Angel Sunrise one for cinematography and was also nominated for art direction and that all sounds like sunrise was a big big hit but not so much with audiences critics I love it but sunrise just did not draw viewers and the ticket sales on it we're really disappointing despite all of the accolades that the film garnered Fox decided that Myrna how was going to have less freedom on future projects for devils came out in nineteen twenty eight it told the story of four orphans were raised by a clown and became a high wire Circus Act this is one of Burnell spells which has not survived yeah that's sometimes when you talk to people it's definitely mentioned sort of holy grail film like they everybody hopes that one day we will find this hill because it does when you read treatment of it in script pieces sound very very interesting Our daily bread premiered in nineteen twenty nine this film also came out under a different title which was city girl and Murnau still being pretty highly supervised by the studio not have complete control over this project and additional scenes were added at the last minute by the studio so that there could be some audio dialogue in the film to take advantage of the audience's interest in talkies if you see today you're probably going to see an all silent version because most Most versions we would see today are re edited back to what people believe was was Murnau's initial vision naturally that kind of tampering with his work was not something that Murnau is happy about at all an effort regain his artistic freedom he formed a partnership with Robert Flaherty the two combined their efforts to start their own production company but this was kind of an odd pairing Moore now was known for his fictional work and that was where his heart really was as a filmmaker but flaherty on the other hand was a documentarian so working on films together put them at odds and we're going to talk about the project that Murnau flaherty took on as their first collaboration in just a moment but first we're going to hear from one of the sponsors that keeps stuff you missed in history class going the Great Astronomer and author Carl Sagan once said if you wish to make an apple pie.