George Orwell’s Nineteen Eighty-Four

The following is a copy of one of my blogs from October 2014. You can find the blog with the above title here:

https://auntyuta.com/2014/10/11/george-orwells-nineteen-eighty-four/

I still did not finish reading the whole novel on ‘kindle’. Today I thought about it that we once watched a film version of the book. I wanted to see, whether wikipedia said something about the movie. I did find quite a bit about different movie versions. I also found the following entry about the book in wikipedia.

http://en.wikipedia.org/wiki/Nations_of_Nineteen_Eighty-Four#Airstrip_One

Here is a bit of what it says on the above page of wikipedia:

Ambiguity
Almost all of the information about the world beyond London is given to the reader through government or Party sources, which by the very premise of the novel are unreliable. Specifically, in one episode Julia brings up the idea that the war is fictional and that the rocket bombs falling from time to time on London are fired by the government of Oceania itself, in order to maintain the war atmosphere among the population (better known as a false flag operation). The protagonists have no means of proving or disproving this theory. However, during preparations for Hate Week, rocket bombs fell at an increasing rate, hitting places such as playgrounds and crowded theatres, causing mass casualties and increased hysteria and hatred for the party’s enemies. War is also a convenient pretext for maintaining a huge military–industrial complex in which the state is committed to developing and acquiring large and expensive weapons systems which almost immediately become obsolete and require replacement.
Because of this ambiguity, it is entirely possible that the geopolitical situation described in Goldstein’s book is entirely fictitious; perhaps The Party controls the whole world, or perhaps its power is limited to just Great Britain as a lone and desperate rogue nation using fanaticism and hatred of the outside world to compensate for political impotence. It’s also possible that a genuine resistance movement exists, or that Oceania is indeed under attack by outside forces.”

I say all this sounds pretty ambiguous. But what I remember about the novel and the film and what I’ve re-read this far this is the sort of picture I do get from this novel. All in all some pretty scary ideas about an imagined world. Sometimes these things do sound a little bit too true for comfort!

With the following link you can find a piece about what our Orwellian destiny might b e written in the AIM Network by By Ad astra:

https://theaimn.com/twenty-twenty-four-orwellian-destiny/

Twenty Twenty-Four – our Orwellian destiny?

 

The End Is My Beginning

http://cineuropa.org/nw.aspx?t=newsdetail&l=en&did=200173

Terzani recounts his life in

The End Is My Beginning

by Vittoria Scarpa

25/03/2011

A man on his deathbed recounts his life and experiences to his son in what should be a film teeming with flashbacks, seeing as how the man is Tiziano Terzani and the theatre of his adventures are Vietnam and its devastating war, Mao’s China, Ghandi’s India and the Himalayas.

Instead, The End Is My Beginning [+], an adaptation of the bestseller by the great Italian writer and journalist, directed by Jo Baier, is a long dialogue between father and son, noteworthy performances from the leads (Bruno Ganz and Elio Germano), a theatrical film shot in one setting: Terzani’s real house in Tuscany, where he spent his last days among the pristine countryside and mountains, talking to his son Folco about life, disease and death.

Adapted for the big screen by Folco Terzani and the film’s German producer, Ulrich Limmer, the memories of the unforgettable Asian correspondent for Der Spiegel and Corriere della Sera, who passed away in 2004, are presented directly and simply: “We wondered whether or not to use flashbacks,” said Limmer, “but then decided to show something increasingly more rare: one man speaking, and another listening”.

The choice was a decidedly courageous one, and it paid off thanks to the intensity of the cast, the quality of the dialogue, and viewers’ awareness that they are watching an authentic and in some way illuminating adventure. “More than a film, it’s a unique experience,” said Germano, who to portray Folco spent two months at the Terzani’s house “in contact with the stars, mountains and wind, and collecting chestnuts”.

The challenge pays off also thanks to the total lack of melodrama. Everything is measured, restrained, like Germano’s emotions. Though his gazes and silences, the actor expresses the undeniable conflict of a son towards a larger-than-life father, as well as his curiosity and the desire to understand his parent.

Produced by Collina Film Production and B.A. Production in collaboration with Beta Film and RAI Cinema, The End Is My Beginning is released in Italy on April I by Fandango on 60 screens, after having garnered 230,000 admissions in Germany.

(Translated from Italian)

See also

 

“Good vs Evil”

Reducing Foreign Policy to Good vs Evil

Last year in March Dr. Stuart Bramhall published a Film Review by Adam Curtis (BBC).

At the moment I was mostly interest in what it said about Good vs Evil. I copy it here:

“Reducing Foreign Policy to Good vs Evil

Like Ronald Reagan, George W Bush attempted to reduce the US role in Afghanistan to a simple battle of good vs evil. The political reality was far more complex. US and Saudi intervention during the Soviet occupation brought corrupt warlords to power who supported their fiefdoms through Afghanistan’s heroin trade.

The Taliban, consisting mainly of Afghan orphans raised in Pakistani Madrassa, were primarily driven by a desire to end the heroin trade and this endemic corruption, which they (rightly) blamed on the interference of western imperialists in their country’s domestic affairs.”

A simple battle of good vs evil? Certainly not. I think it still has not become clear to us what is at spiel. It still is not simple, on the contrary, it seems to become more and more complicated. See here:

Brexit,Trump, Syria and the Fabricated War on Terror

I reblogged the avove!

Qantas Flight Singapore to Sydney

There were Touch Screens on the last leg of our flight back home to Sydney.  For instance I very much enjoyed the Louis Armstrong music.

DSCN1730

I listened to the whole tape twice in a row, even though there was plenty of other music available that I could have listened to.

DSCN1733

Also,  bottles of water were frequently passed around for whoever wanted them. We did fly right through the night till we arrived in Sydney at 6 am. Some people slept most of the time, but others had their screens turned on in front of them. I very much liked these easy to handle touch screens. I ended up getting very interested  into an American TV series called ‘The 100’ and copy here some information about it from Wikipedia.

“From Wikipedia, the free encyclopedia:

The 100 (pronounced The Hundred is an American post-apocalyptic science fiction drama television series that premiered on March 19, 2014. The series, developed by Jason Rothenberg, is loosely based on a book of the same name, the first in a trilogy by Kass Morgan.”

I do find the plot very interesting. Here I copy again from encyclopedia something about the plot:

“The series is set 97 years after a devastating nuclear apocalypse wiped out almost all life on Earth. The only known survivors lived on 12 space stations in Earth’s orbit prior to the apocalyptic event. The space stations banded together to form a single massive station named “The Ark”, where about 2,400 people live under the leadership of Chancellor Jaha.[1] Resources are scarce, so all crimes – regardless of their nature or severity – are punishable by ejection into space (“floating”) unless the perpetrator is under 18 years of age. After the Ark’s life-support systems are found to be critically failing, 100 juvenile prisoners are declared “expendable” and sent to the surface – near former Washington, D.C.[7] – in a last ditch attempt to determine whether Earth is habitable again, in a program called “The 100”. The teens arrive on a seemingly pristine planet they have only seen from space. They attempt to find refuge and supplies at an old military installation, Mount Weather Emergency Operations Center, located in the foothills of the Blue Ridge Mountains. However, they land some distance from the intended target and soon face other problems. Confronting both the wonders and the dangers of this rugged new world, they struggle to form a tentative community. They soon discover that not all humanity was wiped out – some survived the war: the grounders who live in clans locked in a permanent power struggle, another group of grounders who have become cannibals are known as Reapers, and Mountain Men, who live in Mount Weather, who locked themselves away before the apocalypse and are killed by the residual radiation outside.
In the second season, the remaining 48 of the 100 are taken to Mount Weather, where they discover a community of survivors. It is eventually revealed that the medical staff are extracting bone marrow from the 100 and the grounders so they will finally be able to survive on the outside. Meanwhile, the inhabitants of the Ark have successfully crash-landed various stations on Earth and begun an alliance with the grounders to save groups of people, naming the main settlement at Alpha Station “Camp Jaha”.”

Ein Grosser Aufbruch (German TV Movie)

http://www.imdb.com/title/tt5082268/plotsummary?ref_=tt_ov_pl

Peter and I have just been watching the above movie. It was available online.
I found the dialogue in this movie excellent. It reminded very much of a play.
It deals with the issue of whether someone, who has a terminal illness, may be in a position
to decide whether to take his own life, and what is involved when he comes to this decision.

The following is written by anonymous:

After a full life whose end he wants to determine himself, patriarch Holm Hardenberg invites his family and close associates to his picturesque country house on the Chiemsee lake in Bavaria in order to take his leave. Here, Hardenberg’s daughters Marie and Charlotte, his ex-wife Ella and his best friends Adrian and Katharina meet. But the original idea of a harmonious concourse turns into a ruthless settling of scores.
– Written by anonymous

Ein großer Aufbruch (2015 TV Movie)
Full Cast & Crew
Directed by
Matti Geschonneck Writing Credits (in alphabetical order)
Magnus Vattrodt Cast (in credits order)
Matthias Habich Matthias Habich …
Holm Hardenberg
Ina Weisse Ina Weisse …
Marie
Hannelore Elsner Hannelore Elsner …
Ella
Katharina Lorenz Katharina Lorenz …
Charlotte
Edgar Selge Edgar Selge …
Adrian
Ulrike Kriener Ulrike Kriener …
Katharina
Matthias Brandt Matthias Brandt
Create a character page for: Create » ?
Produced by
Wolfgang Cimera … producer
Silke Schulze-Erdel … producer Music by
Marco Meister
Robert Meister Cinematography by
Martin Langer Film Editing by
Eva Schnare Production Design by
Thomas Freudenthal Sound Department
Richard Borowski … sound re-recording mixer
Felix Roggel … sound designer
See also

http://www.faz.net/aktuell/feuilleton/medien/tv-kritik/tv-kritik-zum-film-im-zdf-ein-grosser-aufbruch-13914073.html

Mädchen für alles – Gofer

We’ve just been watching this movie from 1937. The actress, Grethe Weiser, reminded me a lot of Australian actress  – Jacki Weaver. Peter and I, we both thought this old movie was a very well made, pleasant comedy. It was very interesting for us to see fashions from that area, as well as the way middle class people lived during this time. A lot of what I saw in this movie looked very familiar to me since I grew up in Berlin during this time.

Published on May 18, 2012 by youtube (for URL look in comments, please)

Fröhliche Filmkomödie mit zahlreichen Verwicklungen, in der es die “Kodderschnauze” darauf anlegt, sich einen attraktiven Flieger anzulachen, obschon sie nur ein armes Zimmermädchen ist.

https://translate.google.com.au/translate?hl=en&sl=de&tl=en&u=https%3A%2F%2Fde.wikipedia.org%2Fwiki%2FGrethe_Weiser

Grethe Weiser, born Mathilde Ella Dorothea Margarethe Nowka (* 27. February 1903 inHannover;2. October 1970 in Bad Tolz), was a German stage and film actress.

Life [Edit]

Grethe Weiser, appearance in the Berlin Conservatory (1932)

Grethe Weiser as waxwork inPanopticon Mannheim.

The grave of Grethe Weiser and her husband Dr. Hermann Schwerin in the cemetery Heerstraße in Berlin (2006)

Youth [Edit]

The daughter of a construction entrepreneur grew in Klotzsche and Dresden on. She attended the girls’ secondary school and the Friedel private school in Blasewitz.

At age 17, she married the confectionery wholesalers and -Fabrikanten Josef Weiser. The couple first lived in Dresden; In 1922 their son was born. After her husband the cabaret -Theater “Charlott” on Kurfürstendamm in Berlin had leased, Grethe Weiser graduated there first appearances as Diseuse.

A short time later broke the marriage, but it was only divorced 1934th Grethe Weiser was now placed as a single mother to be, she took singing – and acting lessons and graduated from appearances as a soubrette and comedienne in numerous cabarets, revues and operettas. From 1928 to 1930 she was at the Volksbühne active in Berlin, then stepped in several Berlin cabarets,as well as chanson singer on. Self she had, for example, at the Thalia Theater in Hamburg or at Komödienhaus in Dresden.

The actress [edit]

Grethe Weiser made ​​her film debut in 1927 nor the silent era as unnamed Supporting Actress.As a film actress she appeared regularly from 1932. She was very much in demand in important supporting roles as “quick-witted maid on duty”, for example in Escapade (1936). At the same time she had a successful singer hits with songs like “The Vamp” or “Emil’s hands”.

The final breakthrough came in 1937 with Erich Waschnecks film Divine Jette. Weiser shines therein as a young singer, who viewed with a healthy self-confidence and Berlin Kodderschnauzeclaims and ascends to the celebrated star.

After that, they played almost only supporting roles in films of all genres, in which they, however, was able to show the entire repertoire of her comic talent, so among other things, Rolf Hansenthe love (1942), in Helmut Käutner We make music (1942), in Carl Froelich Familie Buchholz(1944) or in Georg Jacoby The woman of my dreams (1944).

Pressures, the board of the Ministry of Arts and thus the NSDAP join, they successfully resisted.

Postwar [edit]

In post-war film Grethe Weiser was soon joined and played in numerous entertainment films with, often as a prevailing widow resolute aunt or mother dreaded. Her trademark was to continue: Heart with snout. She was seen in Hans Deppe’s holiday from I (1952) – as recreation vulnerable stage star Käthe Greiser -. My children and I (1955), Lemke sel Widow (1957) or How to Marry a husband (1959) and appeared in a total of more than 100 films. Among her few appearances atradio comedy part you can tell me a lot with Heinz Rühmann and Elfriede Kuzmany of 1949 by director Ulrich Erfurth.

Since 1934, she was with the Ufa -Produktionschef Hermann Schwerin romantically involved, but whom she married after 24 years on March 21, 1958th

In 1949 she played under the direction of her friend Ida Ehre in Hamburg for the first time on stage, the role of Mary Miller in the comedy The odd one of Irma and Walter Firner which became her signature role. She played this role every ten years and called it therefore jokingly “my Oberammergau Passion Play”. Also on stage they had in 1953 success as Mother Wolff inGerhart Hauptmann’s classic caper comedy The Beaver Coat. In 1966 she ventured into the German premiere of Friedrich Dürrenmatt’s play The Meteor at the Thalia Theater Hamburg as a dying woman toilet Nomsen the excursion to the serious character roles. In this role she beat unusually quiet, to serious and angry tones. This excursion into serious specialist remained the exception in her long career as a popular actress.

Heitere plays found in the later 1960s and the way to television. The ZDF transferred numerous pieces with Grethe Weiser. One of the most successful pieces, which is repeated until today occasionally on the cultural theme channels ZDF, was no corpse without Lily, the German adaptation of the criminal grotesque Busybody the British playwright Jack Popplewell.

1969 began preparations for a new edition of The Cuckoo’s Egg, which was also broadcast on ZDF time. The trade to the six-car filming TV series Theatre dressing room after screenplays byHorst Pillau preceded. Weiser played in a resolute dresser, which acts as a good spirit, the actor behind the scenes and for every situation a suitable Council on the lips.

Grethe Weiser died as a result of a traffic accident in which died and her husband. It was under the name of Grethe Weiser-Schwerin next to her husband at the cemetery Heerstraße in Berlin-Westend in an honorary grave buried the city of Berlin in the box 18-L-228 / 229th

Awards [edit]

http://www.imdb.com/title/tt0029290/fullcredits?ref_=tt_ov_st_sm

Full Cast & Crew

Directed by

Carl Boese

Writing Credits (in alphabetical order)

Hans Adler (play “Maedchen fuer alles”)
Bobby E. Lüthge (as B.E. Lüthge)

Cast (in credits order) complete, awaiting verification

Grethe Weiser Grethe Weiser
Hanni
Ralph Arthur Roberts Ralph Arthur Roberts
Dr. Fürgartner
Heinz Salfner Heinz Salfner
Ellen Frank Ellen Frank
Lissy Fürgartner
Frank Zimmermann Frank Zimmermann
Herbert Gaspari
Rudolf Platte Rudolf Platte
Monteur
Lotte Rausch Lotte Rausch
Marie, Köchin
Irmgard Novac Irmgard Novac
Käte (as Irmgard Novak)
Gerti Ober Gerti Ober
Sekretärin
Franz von Bokay Franz von Bokay
Michael von Newlinsky Michael von Newlinsky
Hotel-Geschäftsführer (as Michael von Newlinski)
Hansjakob Gröblinghoff Hansjakob Gröblinghoff
Pressefotograf
Claire Glib Claire Glib
Dame an der Bar
Livia Stolp Livia Stolp
Brunnenmädchen
Charly Berger Charly Berger
Hotelgast
Karl Jüstel Karl Jüstel
Tänzer
Jutta Jol Jutta Jol
Zofe
Hans Schneider Hans Schneider
Anton, Diener
Create a character page for:
Hanni
Dr. Fürgartner
Lissy Fürgartner
Herbert Gaspari
Monteur
Marie, Köchin
Sekretärin
Hotel-Geschäftsführer
Pressefotograf
Dame an der Bar
Brunnenmädchen
Hotelgast
Tänzer
Zofe
Anton, Diener
Create »?

Music by

Michael Jary

Cinematography by

Carl Drews

Film Editing by

Martha Dübber

Art Direction by

Karlheinz Böhm
Erich Czerwonski

Production Management

Conrad Flockner unit manager
Paul Goergens unit manager
Bruno Lopinski production manager

Sound Department

Carl Erich Kroschke sound (as Carl-Erich Kroschke)

Camera and Electrical Department

Erich Tannigel still photographer

See also

Release Dates | Official Sites | Box Office/Business | Company Credits | Filming Locations |Technical Specs | Literature

http://www.imdb.com/title/tt0029290/reviews?ref_=tt_ov_rt

1 out of 1 people found the following review useful:

The chambermaid did it

Author: Chip_douglas from Rijswijk, ZH, Netherlands
7 August 2004

Why do we love comedies starring scrupulous liars out to gain a lover (or a fortune) by taking advantage of others? Presumably because deep down we all would like to be that inventively naughty and still come out on top. Or maybe it’s just that everybody wants to be loved (or rich). Chambermaid Hanni works for Dr. Fuergartner and his wife Lissy, and is taking full advantage of residing in their big fancy house (twice a week she has her piano lesions there). She also knows the Fuergartners are friends with Herbert Gaspari, a famous flyboy she fancies, and has been corresponding with him under the assumed name of Isabella. Unbeknown to her, Lissy Fuergartner is planning to marry off the pilot to her sister.

When ‘Isabella’ (wearing one of Lissy’s dresses) finally meets her Herbert at a bar, Herr Doktor accidentally arrives on the scene and blows her cover. The pilot does not seem to mind, but Frau Fuergartner, mistakingly believing her husband and the maid are having an affair, has Hanni fired immediately. Still, her husband needs the girl to stay close to Mr. King, a man he has to impress at any cost (most comedies have a character like this, too). Dirty old King is about to divorce his forth wife and fancies Hanni as the next one. So everyone reunites at a big dinner party (one of the few signs that this was based on a play). Hanni, now engaged to King (which does not seem to matter to the pilot either), is now trying to hook the old man up with her not so refined best friend. Since both of them are dressed up in Mrs Fuergartner’s fine clothes, the Mrs. winds up playing the maid.

Last Cab to Darwin

https://www.eventcinemas.com.au/movie/Last-Cab-To-Darwin

 

This is a trailer to a movie we saw last Monday in Melbourne. Last Cab to Darwin is a very well made Australian movie. The cast was excellent and the road pictures were wonderful.

We saw the movie in this cinema:

IMG_0281

We had time for coffee and cake before the movie started at 10am or thereabouts.

IMG_0279

IMG_0280

This is part of the roof above the big hall where we sat and relaxed having our coffee.
This is part of the roof above the big hall where we sat and relaxed having our coffee and cake.

 

 

 

 

I got the following from here:

https://www.eventcinemas.com.au/movie/Last-Cab-To-Darwin

Last Cab To Darwin M

Coarse language and mature themes
Rex is a loner, and when he’s told he doesn’t have long to live, he embarks on an epic drive through the Australian outback from Broken Hill to Darwin to die on his own terms; but his journey reveals to him that before you can end your life, you have to live it, and to live it, you’ve got to share it.

RELEASE DATE:06/08/2015

GENRE:drama

RUNNING TIME:124 mins

DIRECTOR:Jeremy Sims

CAST:Michael Caton, Ningali Lawford, Jacki Weaver, Emma Hamilton & Mark Coles Smith

 

Apparently this movie was a stage play before it was made into a movie.  I got the following from Wikipedia:

Last Cab to Darwin is a 2003 Australian drama/comedy stage play written by Reg Cribb and based upon the true story of taxi driver Max Bell who was diagnosed with terminal stomach cancer in the early 1990s. Wikipedia

Twin Sisters (2002) “De tweeling” (original title)

http://www.imdb.com/title/tt0322674/reviews?ref_=tt_ov_rt

Twin Views of Altered Lives: A Triumphant Film

10/10
Author: gradyharp from United States
29 September 2005
*** This review may contain spoilers ***

DE TWEELING (TWIN SISTERS), based on the highly successful novel by Tessa de Loo and adapted brilliantly for the screen by Marieke van der Pol, is assuredly one of the most touching films to date about the strength of family bonds decimated by the horrors of WW II. Director Ben Sombogaart follows Dutch writer de Loo’s lead in making this story about the differing fates of twin girls separated at the death of their parents more of a parallel tale than capitalizing on the grim reality of Hitler’s influence. The result is a cinematically magnificent, gently hued verismo style of film that succeeds even more in its impact than if it were constantly doused in the dark side of its subject.

Germany 1920. Lotte Bamberg (played by three actresses though a long life – child Julia Koopmans, young woman Thekla Reuten and aged woman Ellen Vogel) and Anna Bamberg (child Sina Richardt, young woman Nadja Uhl and aged woman Gudrun Okras) are inseparable twins at age six, living life to its fullest until suddenly both parents are gone and they are split up: the consumptive Lotte goes to live with her upper class Dutch aunt in Holland and the healthy Anna remains in Germany with her poor uncle on a pig farm. Lotte lives a life of privilege, recovers form tuberculosis, studies German at University and sings Schumann (‘Frauen Lieben und Leben’ appropriately!) accompanied by her soon to be husband David (Jeroen Spitzenberger) who happens to be Jewish. As the war threatens Hitler’s invasion on Holland, David is sent to Auschwitz and brokenhearted Lotte marries David’s kind brother and has a child. Meanwhile Anna leads an abused life on the poor and filthy farm, is beaten by her heinous uncle when she begins dating a young handsome Austrian Martin (Roman Knizka) and runs away to work as a maid. Martin believes in Socialism and joins Hitler’s army, and is killed.

Throughout the years of separation each twin writes to the other but their guardians for varying reasons never mail the letters. Anna finally finds Lotte and they have a brief time together in Lotte’s elegant surroundings. But when Anna observes German dinner guests berating Jews she flees. The two sisters find it difficult to separate the losses of their husbands: Lotte blames Anna’s siding with the Nazis as a cause of David’s death. Anna defends Martin’s role as one of idealism that had nothing to do with the genocide of the Jews. They part, seemingly to never meet again. But as old women bedraggled Anna seeks out the elegant Lotte and the two come to understand their opposite opinions of what the war did to destroy their happiness.

The entire cast is so fine that it is difficult to single any one actor out for distinction: this is truly ensemble acting. Never pushing the story to the edge of saccharine or excess of war violence, director Sombogaart keeps his focus on the dialogue between the sisters central, embroidered with the opposing dichotomies of class and political commitment visceral but understated. The cinematography of Piotr Kukla and the radiant musical score by Fons Merkies are astonishingly effective. This is one of the powerful movies about the Holocaust from an entirely different stance – one that grabs you by the heart and holds on for the 135 minutes of the film…and beyond. In Dutch, German and English with subtitles. Very Highly Recommended. Grady Harp

Nonsmokingladybug wrote in a comment to Oosterman Treats Blog yesterday the following:

” .  .  .  .  We streamed a movie on netflix called “De Tweeling” (Twin Sisters). Great movie, one of the foreign films that got awards her in the US. So worth watching, .  .  .  .  ”

Several scenes from that movie you can find on youtube.

 

Peter and I saw this movie several years ago. It is one of those movies that stay in one’s memory.

 

 

Uta’s Diary, towards the End of May 2015

IMG_0129 (1)

This picture we took when this cafe had just been opened. This was a few years ago. It took the place of a book shop. Not many book shops in our area have survived. Over the years we have been to this cafe a few times. We like their coffee. We also like their hot chocolate.

The other day we had lunch in this cafe before we went to a close by cinema to see THE WOMAN IN GOLD. This movie did grab me emotionally.

This movie did not get a very high rating. I would have rated it much higher. I did not find it boring at all. On the contrary. And I found all the actors very good.

Maria Altmann, an octogenarian Jewish refugee, takes on the Austrian government to recover artwork she believes rightfully belongs to her family.

Director: Simon Curtis
Writers: Alexi Kaye Campbell, E. Randol Schoenberg (life story), 1 more credit »
Stars: Helen Mirren, Ryan Reynolds, Daniel Brühl

Biography
Maria Altmann was born on February 18, 1916 in Vienna, Austria-Hungary as Maria Viktoria Bloch-Bauer. She was an actress and writer, known for The Rape of Europa (2006), Woman in Gold (2015) and Adele’s Wish (2008). She was married to Friedrich Altmann. She died on February 7, 2011 in Cheviot Hills, California, USA.
Waged a seven-year legal battle against the Austrian government to recover five works by Gustav Klimt, commissioned by her uncle, which were seized by the Nazis when Austria was annexed in 1938, including two done of her aunt, Adele Bloch-Bauer. She sold “Adele Bloch-Bauer I” (1907) to Ronald Lauder in 2006 for a then-record $135 million. The four other works brought $192.7 million at an auction later that year.
Played by Helen Mirren in Woman in Gold (2015).
After she moved to Los Angeles, her brother-in-law Bernhard Altmann sent her a cashmere sweater, not yet available in the United States, with a note: “See what you can do with this”. She sold the sweater to Kerr’s Department Store in Beverly Hills. The resulting demand for cashmere enabled her to start her own clothing business. Among her clients was Caroline Brown Tracy, mother of Spencer Tracy. Bernhard Altmann was forced to sign over his Vienna textile plant to the Nazis in 1938 in exchange for the release of his brother. Having immigrated to the United States in 1941, he added cashmere wool fiber to his New York City-based yarn trading company in 1947. He then re-launched his Vienna factory and opened a factory in Texas, undercutting Scottish manufacturers, which had the cashmere wool market cornered at that time.

DIGITAL CAMERA
DIGITAL CAMERA

Three years ago, in 2012, we took this winter picture of Lake Illawarra. Well, from next Monday on, the first of June, our winter season has started. But if you ask me, we’ve been in the midst of winter already for the last few weeks. The nights are dreadfully cold, and during the day it does not get very warm either.

Before I got up out of my warm bed this morning, I was planning in me head what I would cook today. I knew I still had half a cabbage and some carrots and sweet potatoes in the fridge. Also onions, ginger and eggs. Peter had one Kranski left and there was some nice sweet Muscato wine in the fridge. Later on I managed to make a lovely meal out of all this. It would have made a nice picture, especially topped with some fresh parsley!

Instead of the wine Peter preferred to have some water with some apple cider vinegar in it. The ginger pieces I cooked together with the the orange vegetables in some vegie broth. I took them out, cut them into very small pieces and added them to my meal on the plate since Peter does not care to have ginger pieces in his meal. But he had nicely fried Kranski sausages. And we had a fried egg each.

I found this meal very satisfactory. I rounded it off with an espresso coffee. Peter did not want any coffee, but he did the dishes. I had my coffee while I was wiping some of the dishes and putting them away. Peter is going to have some afternoon coffee and cake later on, while I am looking forward to have a pot of tea to warm me up in the afternoon.

Well, today seems to be a day, when it shows that Peter and I have sometimes different likes and dislikes. But I think this all right. As the French say: Chacun a son gout!

“Hitler Boy Salomon”

http://en.wikipedia.org/wiki/Europa_Europa

Europa_EuropaEuropa Europa

From Wikipedia, the free encyclopedia
Europa Europa
Europa europa us release poster.jpg

US release poster
Directed by Agnieszka Holland
Produced by Artur Brauner
Margaret Ménégoz
Written by Agnieszka Holland
Paul Hengge
Starring Marco Hofschneider
Julie Delpy
Hanns Zischler
Distributed by Orion (US)
Release dates
November 14, 1990 (France)[1]
Running time
112 minutes
Country Germany[1][2][3]
France
Poland
Language German
Russian
Polish
Hebrew
Yiddish
Box office $5,575,738 (domestic) [4]

Europa Europa is a 1990 film directed by Agnieszka Holland. Its original German title isHitlerjunge Salomon, i.e. “Hitler Boy Salomon”. It is based on the 1989 autobiography ofSolomon Perel, a German Jewish boy who escaped the Holocaust by masquerading not just as a non-Jew, but as an elite “Aryan” German. The film stars Marco Hofschneider as Perel; Perel appears briefly as himself in the finale. The film is an international co-production between CCC Film and companies in France and Poland.

The film should not be confused with the 1991 Lars von Trier film Europa, which was initially released as Zentropa in the United States to avoid such a confusion.

Plot[edit]

Nazi Germany[edit]

Solek (a nickname for Solomon, also called “Solly”) and his family live in Nazi Germany. On the eve of Solek’s bar mitzvah, Kristallnacht occurs. He escapes, naked, then hiding in a barrel. At night, he calls his acquaintance to bring him clothes from his house. She refuses, but throws him a leather jacket with a swastika band on its arm. He comes back home. His family is together at home, but his sister is killed by Nazis. The father, who was born in Łódź, Poland, decides to go back there.

Poland[edit]

The Perel family (Solek, his parents, and his two brothers, David and Isaak) decides to move to Łódź, central Poland, where they believed they will be safe. Solly causes criminal damage and the police are called. Living in Łódź, Solly meets Kasia, a cashier working in a cinema. Thanks to her Solly can go to the cinema without paying for the ticket. Later, they establish a romantic relationship. However, less than a year later, World War II begins with Germany invading western Polish borders. Solly is happy that the criminal case will be forgotten, since the police will have more important issues to solve. Solek’s family decides he and his brother should leave for the European East. Solek meets hysterically upset Kasia, but his brother separates them. Isaak and Solek flee, towards the eastern border of Poland, which soon has been invaded by the Soviet Union. (In an ironic scene, as Solek and other Jewish refugees cross a river in a small boat, while a boat carrying Polish refugees fleeing the Soviets passes in the opposite direction, Solomon explains in an internal monologue that the Jews, fearing Nazi persecution, fled toward the Soviets, while the Poles, who feared the Soviets more, fled toward the Germans.) The brothers are separated, and Solek is placed in a Soviet orphanage inGrodno with other Polish refugee children.

Soviet Union[edit]

Solek lives in the orphanage for two years, where he joins the Komsomol and receives Communist education. Being a teenager, he has a romantic interest in Inna, a young and attractive instructor who defends him when the authorities at school discover that his class origin is middle-class. He even climbs outside the building to watch her in her bedroom. One scene features a Russian version of the German Communist song Dem Morgenrot Entgegen (“Towards The Dawn”) before mail call, where Solek receives a letter from his parents who have been re-settled in a ghetto.

Nazi-occupied Soviet Union[edit]

Then, with the crash of a bomb, Germany invades the Soviet Union. The orphanage is evacuated, but Solek is left behind, to be found by German soldiers. Solek gets rid of his identity papers, and tells the Germans he is “Josef Peters”, a Volksdeutscher (ethnic German) from a Baltic German family in Latvia. Although he does not respond to his made up name, the soldiers deduce that he was in the orphanage because his parents were killed by the Soviets, and promise him vengeance. When the unit captures Yakov Dzhugashvili, the son ofJoseph Stalin, with Solly’s help translating Russian, they declare “Jupp” to be their “good-luck charm”, and adopt him as an auxiliary. Thanks to his fluent German and Russian, he becomes their cultural guide and interpreter. He accompanies the unit for several weeks, and sees all the horrors of war, including murdered civilians, as the Germans seek to crush Soviet resistance.

Nonetheless, Solek is still in danger. He cannot let anyone see him bathing, because his circumcised penis would expose “Jupp” as a Jew. Robert, one of the soldiers, is a homosexual, and sneaks in on “Jupp” when he finally manages a private bath. Solek rejects Robert’s advances. However, knowing that both of them have secrets the Nazis would kill them for, they become close friends.

Then a bizarre combat incident occurs. Robert is killed and Solek, left alone, tries to get to the Soviet lines. As he crosses a bridge, the unit charges across behind him, and the Soviet troops there surrender. “Jupp” is hailed as a hero.

The company commander decides that “such a fine young German” should be properly educated. He is childless himself, so he tells “Jupp” that he will adopt him and that “Jupp” will be sent to the elite Hitler Youth Academy in Berlin where he is to receive Nazi education. (This is much to Solek’s consternation, but of course he cannot refuse.)

He is escorted for much of the trip by Rosemarie, a middle-aged female Nazi official. Rosemarie thinks “Jupp” resembles Hitler, and observes that he even has the same birthday. On the train, she makes “Jupp” have sex with her, crying out “Mein Führer!” as they have intercourse.

Nazi Germany[edit]

At the school, “Peters” is introduced to the other boys as a heroic combat veteran. The problem of concealing his circumcision continues, and Solek uses string and rubber bands in various painful ways to simulate a foreskin. He evades a medical examination by pretending to have a violent toothache, and then must endure having the dentist pull it without anesthetic.

Girls from the Bund Deutscher Mädel (League of German Girls, the female equivalent of the Hitler Youth) serve meals at the Academy. Leni, one of these girls, becomes infatuated with “Jupp”, but he dares not take advantage – Leni is a fervent Nazi and even speaks of wanting to kill Jews. Leni strongly hints that she would happily bear “Jupp”‘s child, but after a particularly venomous anti-Jewish remark he refuses any intimacy. She calls him a Schlappschwanz (“limp-dick”), and they break off.

A less serious threat is the visit to the Academy of a Nazi “expert” in “racial science“, who claims particular skill in detecting Jews. The Nazi selects “Jupp” as his subject for a demonstration, and carefully measures his head and face. He then calculates “Jupp”‘santhropometric indexes, and pronounces him mixed but “pure Aryan stock”, to Jupp’s relieved surprise. Soon after, while working in a factory for the war effort, Jupp and his classmates learn that the Sixth Army has fallen at Stalingrad.

After several months without seeing Leni, Solek visits Leni’s mother, who does not sympathize with the Nazis. She tells him Leni is pregnant and intends to “give the child to the Führer”, in the Lebensborn program. Solek realizes that the child’s father is his best friend and classmate Gerd. When Leni’s mother presses Josef on his identity, he breaks down and confesses that he is a Jew; she tells him that she suspected that and promises not to betray him. Leni never finds out.

Solek’s pretense is nearly exposed when the Gestapo investigates “Jupp”‘s supposed parentage. He is summoned to Gestapo offices, but cannot show a Certificate of Racial Purity, which he claims is in Grodno. The Gestapo official says he will send for it, and then rants about how the war will be won by Hitler’s Wunderwaffen (“wonder weapons”). As Solek leaves, the building is destroyed by Allied bombs. Solek’s relief is tempered by Gerd’s death in the bombing.

Soviet-occupied Nazi Germany[edit]

As Soviet troops close in on Berlin, the Hitler Youth at the school are sent to the front. There Solek manages to surrender. His captors refuse to believe that he is a Jew. “If you’re a Jew, why don’t you look like this? Look!” demands a Soviet officer as he shows Solek photos of murdered Jews from the death camps they had liberated. Jupp had not been aware this was going on. They are about to have Solek shot by an elderly Communist political prisoner (wearing a red triangle on his camp uniform) when Solek’s brother Isaak, just released from a concentration camp, identifies Solek and saves him. Before leaving the camp, Isaak tells Solek to never reveal his story to anyone, saying it would never be believed. He is released shortly thereafter and emigrates to the British Mandate of Palestine, the future state of Israel, where he embraces his Jewish heritage. The films ends with the real Solomon Perel, as an old man, singing a Jewish folk song taken from the Book of Psalms (“Hineh mah tov,” Psalm 133:1).

Box office[edit]

The film was released on June 28, 1991 and grossed $31,433 in its opening weekend in two theaters. Its final grossing in the US was $5,575,738.[4]

Awards[edit]

The film won the Golden Globe Award for Best Foreign Language Film and was nominated for the Academy Award: Best Writing Adapted Screenplay, but lost the award to The Silence of the Lambs. It had been expected to be nominated for Best Foreign Language Film but Germany did not submit it.

Cast[edit]

Actor Role
Marco Hofschneider Solomon Perel
Julie Delpy Leni
René Hofschneider Isaak
Piotr Kozlowski David
André Wilms Soldier Robert Kellerman
Ashley Wanninger Gerd
Halina Łabonarska Leni’s Mother
Klaus Abramowsky Solomon’s Dad
Michèle Gleizer Solomon’s Mother
Marta Sandrowicz Bertha
Nathalie Schmidt Basia
Delphine Forest Inna
Martin Maria Blau Ulmayer
Andrzej Mastalerz Zenek
Solomon Perel Himself