#Wilhelm Thiele

[gatutor]

Robert Young-Annabella "Bridal suite" 1939, de Wilhelm Thiele.

[lyslily]

Jean Boyer Dactylo, Wilhelm Thiele (1931

[pacingmusings]

Seen in 2023:

The Private Secretary (Wilhelm Thiele), 1931

[rwpohl]

[classicalartdark]

Edit after Karl Friedrich Schinkel, Karl Friedrich Thiele and Ludwig Wilhelm Wittich (Metropolitan Museum of Art) (Ed. Lic.: CC BY-NC 3.0)

[ourstaturestouchtheskies]

art history playlist moodboard – haunting songs for celebrating halloween all year

Country House by Moonlight – Wilfred Bosworth Jenkins // Vanitas Still Life – Aelbert Jansz van der Schoor // Procession in the Fog – Ernst Ferdinand Oehme// Crypt of the Capuchin Friars – Oscar Parviainen // The Abbey in the Oakwood – Caspar David Friedrich // Anguish – August Friedrich Schenk // The Premature Burial – Antoine Wiertz // The Old Trinity Churchyard at Potsdamer Bahnhof in Berlin – Wilhelm Thiele // Night on the Dniepr – Arkhip Kuindzhi

[citizenscreen]

Gene Reynolds and Virginia Weidler in Wilhelm Thiele’s BAD LITTLE ANGEL (1939)

[elena-ferrante]

the madonna's secret (wilhelm thiele, 1946)

[myastrouniverse]

June/2024🌘♈️Collectively fuck off.

♂️ Λ 🎸 I realize all these ‘collective’ readers coming up on my YouTube feed, are scammers being PAID by CIA psych ops to lure me into their false prophecies and idiotic stories about parasite paradise for perverts. These assclowns are associated with the Adrift Inn, in Longbeach WA. I know things are bad, because EVERYONE keeps making things bad for me, to appease their disgusting mafia of pedophiles and ape whores. Your fucking ignorant scum cunt ape whores can burn in hell. I know that FAT BLACK WHORE has stolen from me. Go the fuck to jail. You should feel guilty but I know RACIST cunts don’t care and don’t tell me you aren’t a RACIST PREJUDICE BITCH, because you are BLACK. You filthy cunt. This person I am talking about was my neighbor ACROSS the street from my home in Vancouver. Also my next door PEDOPHILE neighbor. Behind my house was the white trash delusional military Christians who think I should be sold into breed whore slavery. EVERYONE in my community HAS HARMED me over their own fucking EGO ISSUES and DELUSIONS.

🌘◾️🌽 Manipulating the truth doesn’t validate YOUR fucking lies, you pathetic murdering COWARDS.

🌘 ☌ 🚑 The residual muck running from my cheek, down my neck to my back isn’t bad. It is what is left from the poisoned jelly beans I bit into, back in March. The incident I reported multiple times to police, but everyone is refusing to do their actual job, WHICH IS TO PROTECT MY HUMAN RIGHTS. Instead of protecting my human rights, our public servants only seem to want to help the actual criminals.

🌘◾️🦺My job is to heal from multiple murder attempts against MY LIFE. I didn’t create my problems. A mafia of fucktarded ape whores ruined my life, over their fucking whore egos. 🖕

☿︎ < ☊ The reason no one wants to talk to me is because EVERYONE is a stupid murdering fucking liar.

🌘 < 🦚 I try to be nice to everyone. I AM nice, unti a herd of apes try to harm me, over the gossip of strangers. I AM not the bad person for BEING UPSET that YOU TRIED TO MURDER ME. Why is that so difficult for these animals to comprehend?

♃︎🔺 ♇︎ I can stand in MY TRUTH, because I AM not hiding ANYTHING. Go ahead and stare at me. Go ahead and stalk me. I don’t do anything but listen to meditation music, write whatever, and tend to my MANY WOUNDS. I AM a person who has been TORTURED and unable to work for OVER FOUR YEARS. Do you think I go out partying? The fuck? Again, I am dealing with people whom have NO FUCKING GRASP of reality.

🌘 < ♀️I AM nearly 50. I don’t care how I look. I care about NOT TURNING INTO A CORPSE BOT. Why are you looking at me? Go dig up a grave or buy a plastic fucking fuck doll.

🌘 < 🌞 The only way out is to EMPTY THE WHITE HOUSE of it’s CRIMINALS.

☿︎ ☸︎ ♆︎ I don’t need parasites to talk to people on astral planes. I just need to get stoned or meditate for a few hours. Either way. Getting stoned is a quicker ride. You understand that because I AM an initiate, I have access to SEVERAL collective lineages. That is why apparently, MANY people were able to hear me telepathically or via WiFi because of ALL that fucking radioactive poisonous shit they pumped into my body. I AM appalled by how disgusting and stupid the leaders of our countries have become.

Legit Smitty - Grudges

Edit after Karl Friedrich Schinkel, Karl Friedrich Thiele and Ludwig Wilhelm Wittich (Metropolitan Museum of Art)

(Ed. Lic.: CC BY-NC 3.0)

[schorschidk]

Kalender - Bilder unserer Landschaft 1993 der Vereins- und Westbank mit den Inhalten:

- Abendstimmung in Hamburger Hafen um 1920: Friedrich Kallmorgen

- Hamburger Hafen 1909: Albert Marquet

- Morsum Kliff auf Sylt, 1878: Eugen Gustav Dücker

- Prospekt von Schwerin über den Burgsee gesehen, 1750: Johann Alexander Thiele

- Gut Staberhof auf Fehmarn, 1913: Ernst Ludwig Kirchner

- Wiesen bei Greifswald, um 1820/22: Caspar David Friedrich

- Helgoland, 1959: Franz Radziwill

- Hiddensoe, 1922: Walter Gramatte

- Schafherde in der Lüneburger Heide, 1904: Heinrich von Zügel

- Gewitterstimmung bei Ahrenshoop, 1913: Carl Wilhelm Malchin

- Der Plöner See, 1798: Ludwig Philipp Strack

- Braunschweig, Blick vom heutigen Ruhfäutchenplatz  nach Norden auf die Andreaskirche, 1832: Domenico Quaglio

- Jakobi-Kirche in Lübeck, 1958: Oskar Kokoschka

- Das Bild der Landschaft

Maße: 34 x 29

[blaqsbi]

Post: ...

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[gatutor]

Lew Ayres-Peggy Fears "La lotería del amor" (The lottery lover) 1935, de Wilhelm Thiele.

[theageofthemovies]

NOI VIVI - ADDIO KIRA! - (Goffredo Alessandrini, 1942)

“Noi vivi” (aka "We the Living", a movie that, by its unusual length has always been released as 2 separated films titled respectively "Noi vivi" and “Addio Kira!”) emerges undoubtedly, at any honest impartial critique, if not the director's most "perfect" movie, as the real "masterpiece" of Goffredo Alessandrini, a filmmaker who was one among the most creative and skilled directors of the Italian cinema between the two World Wars and is nowadays almost forgotten or, I should say, "disowned" by the cinematic sociability due to some of the successful movies he directed in the 1930s  that praised and publicized the nationalist themes of the Fascist regime of which he was quickly considered as a kind of cinematographic mentor. Nevertheless, and before I dwell on the film that is the subject of these considerations, I think it is convenient to further deepen the original and very interesting personality of this adventurous and intellectual filmmaker who could well be defined a sort of living icon that embodied those concepts of bold individuality and heroic creativity so cherished to the regime that then ruled Italy. GOFFREDO ALESSANDRINI. Goffredo Alessandrini was born in Cairo (where he lived until he was a teenager) in one of the most important and richest families of the Italian community in Egypt.; his father was a great businessman (he directed also the building of the Assuan big dams) and he wanted to give his newborn son an Anglo Saxon education (by an English governess) interspersed with frequent travels to Europe. When he attained suitable age, Goffredo was sent to study engineering at Cambridge, England, but the guy was more interested in sports activities than studying so he left the University and went to Italy where he practiced various sports activities (he also became National Champion in obstacle race). The following year he enrolled in the Faculty of Architecture and Scenography; in this area he was able to win the first prize in cinematic scenography (he was become a cinema passionate after having watched "L'Atlantide" of Jacques Feyder). His career in cinema was overwhelming and it effectively started when Alessandro Blasetti wanted him as assistant for his "Sole", one of the most innovative movies of the Italian silent cinema. His fate was set: his first movie ("Douze mille hommes force", a "colossal" documentary on the construction of a gigantic dam on the Nile in which 12,000 men move like ants in the spectacular Egyptian scenery) made him being known in film environments and in 1931 he was assigned the direction of the Italian version of a successful German comedy; the title is "La segretaria privata" (from the original "Die Privatsekretärin” di Wilhelm Thiele) and the movie suddenly became the first great success of the Italian sound cinema. After a few years in Hollywood, where he developed his experience as a dubbing director, as a writer, then as a consultant director, in 1934 he returned to Italy; here he directed a delicate comedy; "Seconda B", an adolescent romance that gets another great hit from the audience. After his biographic movie about “Don Bosco”, that  represents his most personal film, Alessandrini staged a refined period movie in 1936: "Cavalleria", starring Amedeo Nazzari and Luisa Cegani, the romantic bittersweet story of an impossible love that stands, in my opinion (and by a purely cinematographic pov) as his best movie. In the following years Alessandrini, now an established director, directed “Luciano Serra, pilota” from a screenplay he had written with Roberto Rossellini; if not fully successful (there is too much discontinuity, imo, between the first and the second part of the movie) the film won the Coppa Mussolini, a prize that then equalled the prestige of the actual Golden Lion of the Venice Film Festival. Three spectacular movies followed: the colonial-propagandist “Abuna Messias” and “Giarabub” interspersed with (the superior) “Caravaggio”. In the early 1940s, Alessandrini, as well as a famous filmmaker, was considered a real "celebrity", a fascinating adventurer with stylish habits and expensive tastes., a handsome man who  showed off the set (where he could assert his professional qualities) an inherent magniloquence and a fascinating taste for excess. Alessandrini was a great metteur-en-scène of epic sequences and ruthless battles where he could make to shine his figure of a director/commander who jumps among the opposite battlefields riding his white horse and directing fake fights between African tribes (they say that, for the huge masses required in his war movie "Giarabub", he was able to obtain from the Government, the 8th Regiment Bersaglieri and a whole battalion of Camice Nere). As it appears to me, Alessandrini enters the immense living scenography of his mass movies with sincere vitalist propensity and brilliant environmental adherence.; these characteristics establish the visual charms of his choral movies but explain also both the unavoidable heeling of the narrative structure and a pervading sense of incompleteness of the movies in question. I think Alessandrini was not (if in a minimal part) a director in the service of the regime but one of those intellectuals who formed their culture and their behavior by inspiring themselves to D'Annunzio and (ironically) just due their adversion to the most trivial sides of the Mussolini-an rhetorics, they proved to be the most suitable persons to grant the Fascism the popular consensus. However, now, at the beginning of the Forties, the director is ready for his most representative and important movie, the cinematic adaption of Ayn Rand's bestseller "We the Living", an (almost) 4-hour length film that was released divided into 2 episodes; in it, Alessandrini finds the easy, happy, popular, measure of a modern "feuilleton" (not in the pejorative meaning of the word); it may be said that, paradoxically, facing a so emphatic and overflowing tale, he found the inspiration to make, with the book at hand, the movie of his life and, probably, one of the best love melodramas ever filmed. NOI VIVI & ADDIO KIRA! The story is set in Russia, few years after the Revolution, when the Argounov's (a White Russian family) must leave the Crimea and move to St. Petersburg; there the younger daughter Kira (Alida Valli) falls in love of an aristocratic, Leo (Massimo Girotti), who is supervised by the Soviet secret police; she is arrested by antisovietism but is then released upon order of political commissioner Andrej (Fosco Giachetti). Andrej loves Kira who is preoccupied by the poor state of health of Leo; desperately in search for money to cure him, Kira let herself seduce by Andrej..... the destiny of three human beings united and divided by an impossible love story and trapped in a tragic historic context may not have a happy end. "Noi vivi" is a great "big" melodrama (it was the first Italian film almost 4 hours long) that was contested by the critics (who do not lead it) but not by the public since its first release; after the war the film even suffered a kind of ostracism due mainly to the fact that it had been produced under the Fascism and that Alessandrini was now considered a devalued filmmaker because he had made some of the most important propaganda films (very soft, in truth) of the dissolved regime. Even the fact that it was taken from one of the greatest literary successes of the Russian spill Ayn Rand contributed to the "damnatio memoriae" of the film that incredibly, even today, when to an objective vision his artistic and historical importance cannot not emerge, has not been the subject of a restoration that can allow the viewers to enjoy it in its original form. Nevertheless, "Noi vivi" is in many respects a great film. This does not mean that it is, like most of the greatest, a "perfect" one; the few small defaillances that can be noticed (monotony, prolixity), such as the squint of Venus, serve, if anything, to emphasize the dramatic power of the film and, at the same time, to point out that this is not an "art film" but a "simple" (in the best possible meaning of the term) product of quality destined to the public more popular and less pretentious. The film is also a forerunner: it can be seen as the prototype of the Italian-style telenovel (consider it has always been shown in two parts or divided into shorter episodes) and subsequent television-like stylistic motives can be found both in the original shooting modes (based mainly on close-ups, for lack of means) and in the text of the "penny dreadful" screenplay by Anton Giulio Maiano, one of the future fathers of television scripts.. Although considered at the time (and even today) an anti-communist film, the film does not condemn the October Revolution so much as the Stalinist degeneration, and precisely in this sense (the degeneration of the self-proclaimed revolutionary movements) the disturbing representation of the decline of the new Soviet regime, that so much hope had aroused in the world, appears to confirm for me a reading of the text of the film according to an Italian (contemporary) perspective (and in this sense moves the excellent adaptation of the novel by Ayn Rand made by two Italian intellectuals of the strength of Corrado Alvaro and Orio Vergani, that literally, "improves" -in the literary sense too!- the original book). If we take into account this proclaimed allusion to the contemporary Italian social situation (with a regime to the extreme) it is illuminating both the setting (all played on the interior: "rooms messy, shabby, provisional, as if the whole city was in the imminence of an immediate move that never happens" (Lourcelles) and the mise-en-scène that, by choosing a political-dialectical point of view, unexpectedly shows signs of intolerance towards the autocelebrative rhetoric of the regime; a different, free way to relate to the reality that, only a few months later, Luchino Visconti with his "Ossessione" would free from the old patterns and bounds with all its expressive and destructive power. I would point out, as major contributes to the charm of this great film, the photography of Giuseppe Caracciolo, that, with its hazy and grainy images, emphasizes the sense of unavoidable constriction of the characters; the wonderful musical score of Renzo Rossellini that creates one of the most beautiful themes ever (the theme of Kira), and the brilliant performances of two of the greatest male actors of Italian cinema like Massimo Girotti and Fosco Giachetti. As regards the immortal "Kira" depicted and "lived" by Alida Valli, the great actress presents here, in my opinion, one of the most beautiful and meaningful interpretations of her prestigious career giving body and soul to an unfortunate but proud heroine who remains unforgettable in her timeless and hopeless beauty.     R.M.

xxxxxx

R.M.

[jasabiqacoq]

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[lairreparablefugadeltiempo]

Die Drei von der Tankstelle (Wilhelm Thiele, 1930)