A fragmentary landscape for a little train station in a suburban area and a bus stop in a mining town. A lonely soldier in his heavy coat, a tired old man, a bubbly young lady, a punk, a woman waiting in the street... From all those different people in these unfamiliar places, we can feel the exhaustion of every life.
From Victor Hugo`s classic French novel of the nineteenth century to Tom Hooper`s award winning blockbuster, Les Misérables has undergone one of the most successful transitions from book to stage to screen. In this new documentary, the scintillating journey of Hugo`s universal story is traced from book to stage to screen with contributions from those who have starred in and helped to create the entertainment phenomenon which has captured a place in everyone`s hearts. Helmed by entertainment and celebrity journalist Neil Sean, this insightful documentary traces the events of the Paris insurrection in 1832 and features excerpts from the restored 1978 Les Misérables lm starring Anthony Perkins alongside interviews with Frances Ruffelle, Hugh Jackman, Nick Jonas, Tom Hooper, Alfie Boe, Amanda Seyfried, Sir Cameron Mackintosh and Anne Hathaway.
A girl in a Sevillian dress dances to the sound of music played a couple of men at the "Féria Sevillanos" [sic] during the Exposition Universelle de Paris - though she does not look a real Sevillian dancer.
Shows all the prominent buildings on this thoroughfare, ending with a close view of the base of the Eiffel Tower, with the Trocadero Palace in the background.
A panoramic shot, making a full circle, at the 1900 Paris Exposition. It begins and ends looking at the front of the Palace of Electricity. As it pans, first we see a workman hosing down the promenade. Men and women walk past, all wearing hats. We see the base of the Eiffel Tower, which the Palace faces. A couple strolls. A mother and daughter walk passed, father is slightly ahead wearing a boater. Three men in uniform walk toward the camera as it comes to a stop facing the Palace.
Filmed clandestinely in Czechoslovakia on 16mm. It's one of the films Godard made with the Groupe Dziga Vertov - a Marxist film about the political situation after the '68 revolution.
Shot on a Digital Harinezumi, the film features a disturbing and monstrous character walking the streets of Havana to meet people. The reading of a poetic, funny and false prophecy about communism and a new revolution coincides with a minimal and repetitive soundtrack.
“This subject taken just after the recent first fall of snow, shows two enthusiastic horsemen indulging in a "brush" with their respective horses and cutters.” (Maguire & Baucus)
A burning wagon is dragged from the barn by the firemen, and four horses are rescued from the flames by the stablemen. Thick volumes of smoke pour from the doors and windows. (Edison catalog)
Vaudeville dancer Amy Muller performs a portion of her stage routine, which features dancing on her toes. She dances on one toe for part of the performance. Later, she also twirls and does cartwheels.
The first feature in António Reis and Margarida Cordeiro’s trilogy is a journey through this almost mythical region of north-east Portugal, a tapestry of micronarratives where past, present and future become intertwined.
Footage shot not long after the 1906 earthquake in San Francisco is edited together so that more than one scene and more than one vantage are included. We see fire raging. We see burned-out buildings, piles of rubble, and buildings with only one wall standing. People stand and watch; others walk purposely through the debris. A carriage passes; the camera pans the desolation. A horse-drawn cart is laden with a family's remaining possessions. A sign hangs outside one building: "A little disfigured but still in business. Men Wanted."
During the Alaska gold rush, one way to reach the Klondike was over the Chilkoot Pass. A stationary camera is placed to see a ways down the curving trail. A pack train comes into view and passes in front of us, led by a man on horseback. Eight loaded mules follow, then another cowboy on horseback and a man walking, then eight more laden mules, another cowboy, then nine more mules, a cowboy, and still the pack train stretches as far as the eye can see. A solitary man watches from atop a hillock.
The film discusses the cultural impact of “pichação”, a Brazilian form of graffiti, on the streets of São Paulo and its international influence as one of the main cornerstones of Street Art.