International

This milestone film, known for its expressionistic sets and techniques, tells the strange tale of a sleepwalker under the spell of the mysterious and evil Dr. Caligari.

A milestone of the silent film era and one of the first "art films" to gain international acclaim, this eerie German classic from 1919 remains the most prominent example of German expressionism in the emerging art of the cinema. Stylistically, the look of the film's painted sets--distorted perspectives, sharp angles, twisted architecture--was designed to reflect (or express) the splintered psychology of its title character, a sinister figure who uses a lanky somnambulist (Conrad Veidt) as a circus attraction. But when Caligari and his sleepwalker are suspected of murder, their novelty act is surrounded by more supernatural implications. With its mad-doctor scenario, striking visuals, and a haunting, zombie-like character at its center, Caligari was one of the first horror films to reach an international audience, sending shock waves through artistic circles and serving as a strong influence on the classic horror films of the 1920s, '30s, and beyond. It's a museum piece today, of interest more for its historical importance, but Caligari still casts a considerable spell. --Jeff Shannon

French director Louis Feuillade's seven-part serial blends horror, crime, comedy and fantasy in this story of a vampire gang who target the Paris elite for their games of sexual domination, psychological control, kidnapping, stealing and bloodthirsty murder. On their trail is a French journalist and his feisty female sidekick. Filmed in WWI Paris, the series was banned in France for its controversial subject matter. Silent with musical score. 4 cassettes. Slipcased. 1915/colorized/7 hrs/NR.

This legendary seven-hour silent French serial, one of the earliest and most original gangster films, combines realism and fantasy. Written and directed by Louis Feuillade, Les Vampires concerns an intrepid reporter's pursuit of a strange gang of jewel thieves terrorizing Paris. The gang ambitiously seeks political, psychological, and sexual domination of the city's social elite, with the seductive Irma Vep (an anagram of "vampire") as its brazen leader. While slow going at first, the 10-part serial becomes more and more fascinating with each episode, thanks in large part to the alluring Musidora as Irma Vep. Because of her many guises and frightful charms, she truly becomes a vampire of sorts. Feuillade achieves a subversive, nightmarish atmosphere amid the everyday goings-on of the city. Filmed on the streets and back alleys of World War I Paris, the 1915 picture was a huge commercial success, though temporarily banned by Paris's chief of police for glamorizing crime. --Bill Desowitz

• DIE NIBELUNGEN (DVD MOVIE)

One of the greatest artistic and technical achievements of the German silent cinema. Fritz Lang's monumental Die Nibelungen is a passionate retelling of Nordic legend, invested with all the resources of the colossal Ufa Studios. Scripted by Lang's wife at the time, Thea von Harbou (Metropolis), Siegfried establishes larger-than-life heroic characters who are defined by tests of valor and rigid codes of honor. In order to win the hand of Kriemhild (Margarete Schoen), Siegfried (Paul Richter) must win a bride for her brother, King Gunther (Theodor Loos). Kriemhild's Revenge begins after the death of Siegfried, and weaves the treacherous tale of his widow's ungodly vengeance upon his murderers. The noble qualities of the first film become liabilities in the second, as the blood oaths and vows of loyalty bring about a maelstrom of violence that results in the slaughter of entire armies (Lang would continue to explore the theme of bloodlust and revenge in such films as Fury, The Big Heat and Rancho Notorious, buy never with such ferocity).

• GERMAN HORROR CLASSICS DVD BOX SET (DVD MOVIE)

Box set includes The Cabinet Of Dr. Caligari, Nosferatu, Waxworks, The Golem

• CABIRIA (DVD MOVIE)

Inspired by grand opera and Italy's imperialist victory in the Libyan War (1911-12), the Italian movie industry produced dozens of historical epics in the period just before World War I. The most influential and successful of these was Cabiria, the visually spectacular film which set the standard for big-budget feature-length movies around the world and opened the way for D.W. Griffith and Cecil B. De Mille. The story concerns a girl - Cabiria - who is separated from her parents during the Punic Wars in the Third Century B.C. In her odyssey through the world of ancient Rome, she encounters the eruption of Mt. Etna, capture by pirates, the barbaric splendor of Carthage, human sacrifice and Hannibal crossing the Alps. With meticulous care given to costume and set design, Cabiria was shot in North Africa, Sicily and the Italian Alps. This Kino on Video edition was mastered from a premiere quality 35mm print at the correct projection speed. The piano soundtrack, performed by Jacques Gauthier, is adapted from the original 1914 score.

Russia's first big budget science fiction spectacular. AELITA, QUEEN OF MARS is a fantastic adventure about Los, an engineer living in Moscow who dreams of Aelita and builds a spaceship to take him to her. They fall in love, but Los soon finds himself emb

A Soviet sensation upon its heavily publicized release in 1924, Aelita, the Queen of Mars is now a curiosity of post-revolutionary Russian silent cinema, a bit laughable in its revolutionary zeal not only on Earth but on Mars as well! Despite a cool reaction from critics, the film was such a hit with the Soviet public that many Russian babies born in '24 were named Aelita, and the Cubist designs of the Martian sets--heavily influenced by the avant-garde "constructivist" style--would in turn influence science fiction films in the years to follow (most notably the Flash Gordon serials). With costume designs performances that are truly out of this world, Aelita was the 1924 equivalent of a Spielberg spectacular; now it's a museum piece, unlikely to raise anyone's pulse, but it's startling to think that this film was even possible in 1924 Russia.

The story is almost beside the point, revolving around a married Moscow engineer who dreams of Aelita, the Queen of Mars, and is obsessed with building a spaceship that will take him to her. An alleged murder, passionate jealousy, and a bumbling detective are all part of the film's portrait of hardscrabble post-revolutionary lifestyle, but they pale in comparison to the intermittent scenes on Mars, which peak with the engineer's ultimate arrival and the eruption of a Martian slave rebellion! It's pure propaganda, but agreeably light and remarkably revealing of its time and place. Anyone expecting a Soviet Metropolis will be disappointed, but if you're fascinated by imaginative films from the silent era, Aelita is must-see viewing. --Jeff Shannon

Described by director Dziga Vertov as an experiment in the language of pure cinema, "The Man With the Movie Camera" is perhaps the most dazzling and sophisticated, not only of Soviet, but of world silent cinema. Music by the Alloy Orchestra.

This beautiful gothic fantasy was inspired by a childhood dream of its writer/director, Fritz Lang, who first gained world recognition with this film's triumph. "Destiny" is the story of a young man taken by Death just as he is to be married. His lover makes a deal with the Death figure--if she can save one of three possible lives, her fiance will be returned to her. Otherworldly atmosphere is created by extraordinary, bizarre sets, gothic lighting, and eccentric characters combined with spectacle and camera trickery astonishing for its time. With its many magical and haunting images, "Destiny" still possesses real power to impress the imagination!

Soviet master filmmaker V. I. Pudovkin's "Storm Over Asia" is a revolutionary masterpiece. Described by critics as an "epic poem," "Storm Over Asia" is set in the remote region of Mongolia where a young man is mistaken as a descendant of the great warrior Genghis Khan. When he is made a puppet ruler, he must decide where his loyalties lay.

The last of the three great films that V.I. Pudovkin directed in the 1920s, Storm over Asia (1928) is an acknowledged classic of Soviet silent cinema. Filmed largely on location in Mongolia, the film has an authentic documentary feel, though the story is a stirring melodrama, about a young fur trapper who is mistreated by the occupying forces in the civil war and becomes a leader of the partisans. Pudovkin enjoys caricaturing the foreign (British) troops and the medieval rituals of a Buddhist temple, but it's out on the steppes that he really comes into his own, with panoramic shots of the vast landscapes. Together with Mother (1926) and The End of St. Petersburg (1927), Storm over Asia (also known as The Heir to Genghis Khan) entitles Pudovkin to be ranked with Sergei Eisenstein and Dziga Vertov as a master of the Soviet montage style, which he expounded in his book Film Technique (1929). --Ed Buscombe

Based on the unsuccessful 1905 Russian Revolution, Sergei Eisenstein's masterpiece "Battleship Potemkin" is often voted one of the ten greatest films ever made, this program includes a powerful musical score by N Kruikov.

Sergei Eisenstein's revolutionary sophomore feature has so long stood as a textbook example of montage editing that many have forgotten what an invigoratingly cinematic experience he created. A 20th-anniversary tribute to the 1905 revolution, Eisenstein portrays the revolt in microcosm with a dramatization of the real-life mutiny aboard the battleship Potemkin. The story tells a familiar party-line message of the oppressed working class (in this case the enlisted sailors) banding together to overthrow their oppressors (the ship's officers), led by proto-revolutionary Vakulinchuk. When he dies in the shipboard struggle the crew lays his body to rest on the pier, a moody, moving scene where the citizens of Odessa slowly emerge from the fog to pay their respects. As the crowd grows Eisenstein turns the tenor from mourning a fallen comrade to celebrating the collective achievement. The government responds by sending soldiers and ships to deal with the mutinous crew and the supportive townspeople, which climaxes in the justly famous (and often imitated and parodied) Odessa Steps massacre. Eisenstein edits carefully orchestrated motions within the frame to create broad swaths of movement, shots of varying length to build the rhythm, close-ups for perspective and shock effect, and symbolic imagery for commentary, all to create one of the most cinematically exciting sequences in film history. Eisenstein's film is Marxist propaganda to be sure, but the power of this masterpiece lies not in its preaching but its poetry. --Sean Axmaker