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Abstract/Sommario: A celebration of the pioneering solo cartoon work of Ub Iwerks;Walt Disney's foremost animator/collaborator. Includes All Singing! All Dancing!;Fiddlesticks;The Soup Song;The Little Red Hen;The Village Smitty;Mary's Little Lamb;The Village Barber;Old Mother Hubbard;Humpty Dumpty;The Brementown Musicians;Summertime;The Music Lesson;Puddle Pranks;Willie Whopper's Fantastic Adventures And Other Tall Tales;The Good Scout;Happy Days;The Air Race;Tom ... Thumb;Insultin' The Sultan;Sinbad The ...; [Leggi tutto...] A celebration of the pioneering solo cartoon work of Ub Iwerks;Walt Disney's foremost animator/collaborator. Includes All Singing! All Dancing!;Fiddlesticks;The Soup Song;The Little Red Hen;The Village Smitty;Mary's Little Lamb;The Village Barber;Old Mother Hubbard;Humpty Dumpty;The Brementown Musicians;Summertime;The Music Lesson;Puddle Pranks;Willie Whopper's Fantastic Adventures And Other Tall Tales;The Good Scout;Happy Days;The Air Race;Tom ... Thumb;Insultin' The Sultan;Sinbad The Sailor;Rasslin' Round;Ali Baba;Viva Willie;Don Quixote;Free-Form Fairy Tales;Aladdin And His Wonderful Lamp;Jack And The Beanstalk;The Brave Tin Soldier;Puss In Boots;Little Boy Blue;The Queen Of Hearts;Simple Simon;The Valiant Tailor;The Three Bears;Dick Whittington's Cat

Abstract/Sommario: In Chaplin's Essanay Comedies, made in 1915, cinema's greatest comedian was first able to build his screen work around his performance style rather than forcing himself, as before, into Mack Sennett's frenzied Keystone comedy matrix. With this freedom Chaplin evolved in a year from the gag comedian of "His New Job" to the brilliant pantomimist of "A Night Out," "The Champion," "The Tramp" and "Shanghaied" to the profound satirist of "Police." Volume 1 includes: "His New Job," "A Night ...; [Leggi tutto...] In Chaplin's Essanay Comedies, made in 1915, cinema's greatest comedian was first able to build his screen work around his performance style rather than forcing himself, as before, into Mack Sennett's frenzied Keystone comedy matrix. With this freedom Chaplin evolved in a year from the gag comedian of "His New Job" to the brilliant pantomimist of "A Night Out," "The Champion," "The Tramp" and "Shanghaied" to the profound satirist of "Police." Volume 1 includes: "His New Job," "A Night Out," "The Champion," "In the Park," "A Jitney Elopement" (all 1915).

Abstract/Sommario: Charlie Chaplin entered a period of tremendous artistic freedom and creative growth when he embarked on his 12 films for Mutual Studios in 1916. As he neared the conclusion of his contract, he became increasingly more ambitious and mixed his tried and true comic formula with social commentary for two of his most enduring works. The Immigrant finds the promised land less than rosy for peasants herded like cattle on the ship and wandering the streets of New York looking for work and foo ...; [Leggi tutto...] Charlie Chaplin entered a period of tremendous artistic freedom and creative growth when he embarked on his 12 films for Mutual Studios in 1916. As he neared the conclusion of his contract, he became increasingly more ambitious and mixed his tried and true comic formula with social commentary for two of his most enduring works. The Immigrant finds the promised land less than rosy for peasants herded like cattle on the ship and wandering the streets of New York looking for work and food, but the Tramp's ingenuity and resilience make him into a symbol of hope for the future as well as a comic riposte. Easy Street is Chaplin's most successful mix of social issues and slapstick comedy. As a rookie cop in the city's toughest neighborhood, a slum overrun with bullies, drug addicts, and gangsters, the goodhearted Chaplin isn't above a little unconventional policing--when his billy club proves ineffective on gargantuan Eric Campbell's thick skull, he resorts to gassing him with a compliant street lamp. The balance of the tape emphasizes lighter fare: The Adventurer finds Charlie as an escaped convict who hides out in a high society party crawling with cops. When the Tramp decides to take The Cure, he comes prepared with a trunk full of alcohol, which quickly inebriates the guests and staff of the sanitarium. The revolving door becomes a comic centerpiece (like the escalator in The Floorwalker), which befuddles the inebriated Chaplin and infuriates gout-stricken nemesis Eric Campbell. --Sean Axmaker

Abstract/Sommario: A celebration of the pioneering solo cartoon work of Ub Iwerks;Walt Disney's foremost animator/collaborator. Includes Down and Out With Flip The Frog;Nurse Maid;Room Runners;The Office Boy;The Milkman;The New Car;Ragtime Romeo;What A Life;The Bully;Funny Face;Movie Mad;Things That Go Bump In The Night;The Cuckoo Murder Case;Stratos Fear;Jack Frost;Chinaman's Chance;Masquerade Holiday (aka Hill's ... Fire);Techno-Cracked;Soda Squirt;The Headless Horseman;Spooks;Balloon Land;Cartoon Extr ...; [Leggi tutto...] A celebration of the pioneering solo cartoon work of Ub Iwerks;Walt Disney's foremost animator/collaborator. Includes Down and Out With Flip The Frog;Nurse Maid;Room Runners;The Office Boy;The Milkman;The New Car;Ragtime Romeo;What A Life;The Bully;Funny Face;Movie Mad;Things That Go Bump In The Night;The Cuckoo Murder Case;Stratos Fear;Jack Frost;Chinaman's Chance;Masquerade Holiday (aka Hill's ... Fire);Techno-Cracked;Soda Squirt;The Headless Horseman;Spooks;Balloon Land;Cartoon Extra;Laughing Gas;Circus;Stormy Seas;Coo Coo The Magician;School Days;The Goal Rush

Abstract/Sommario: Charlie Chaplin refined his trademark character the Little Tramp through his short films at Mutual Studios with the help of his two key costars: burly, barrel-chested Eric Campbell, his hulking physical opposite who forever played the bullying nemesis (often behind a positively demonic beard), and sweet-faced Edna Purviance, the alternately demure and plucky innocent he's forever courting, saving, or simply mooning over. In The Count, Chaplin and Campbell crash a society bash under fal ...; [Leggi tutto...] Charlie Chaplin refined his trademark character the Little Tramp through his short films at Mutual Studios with the help of his two key costars: burly, barrel-chested Eric Campbell, his hulking physical opposite who forever played the bullying nemesis (often behind a positively demonic beard), and sweet-faced Edna Purviance, the alternately demure and plucky innocent he's forever courting, saving, or simply mooning over. In The Count, Chaplin and Campbell crash a society bash under false identities to woo a rich lovely, but Chaplin soon reverts to his impulsive instincts and turns the posh gathering into an anarchic free-for-all. The Vagabond, Chaplin's second Mutual short, is a rural melodrama of a young girl saved from abusive guardians by the resourceful Tramp. Favoring pathos over slapstick, it looks forward to the sentimental melodrama of his features to come. As a lowly menial in The Fireman, Chaplin is cheerfully oblivious to the chaos he causes to the ordered firehouse and still manages to emerge a hero. Finally, Behind the Screen thumbs a nose at the movies in general and Mack Sennett (Chaplin's old boss) in particular with a lampoon of the studios that concludes with the invention of the pie fight ("I don't like this highbrow stuff," comments one victim). Equal parts class clown, downtrodden social outcast, and sentimental softy, Chaplin's continued appeal lies not merely in his comic invention but his dogged defiance of authority, class, and convention, and these classic shorts preserve the edginess he smoothed out in later features. --Sean Axmaker

Abstract/Sommario: By 1916 Charlie Chaplin was the most popular comic actor in America, but it was the 12 brilliant comedy shorts he directed during his 16 months at Mutual Studios that turned Chaplin from an inventive comedian to one of the greatest directors of the American cinema. "Fulfilling the Mutual Contract, I suppose, was the happiest period of my life," he wrote in his autobiography, and no wonder: with unprecedented freedom, an enormously lucrative contract, and a company of creative artists a ...; [Leggi tutto...] By 1916 Charlie Chaplin was the most popular comic actor in America, but it was the 12 brilliant comedy shorts he directed during his 16 months at Mutual Studios that turned Chaplin from an inventive comedian to one of the greatest directors of the American cinema. "Fulfilling the Mutual Contract, I suppose, was the happiest period of my life," he wrote in his autobiography, and no wonder: with unprecedented freedom, an enormously lucrative contract, and a company of creative artists at his personal disposal, Chaplin turned the studio set into his creative playground. Always one to latch on to the comic possibilities of inventive props, he turned an escalator into the centerpiece of The Floorwalker, his first film for the studio, where his rapscallion clerk continually incites the store's crooked manager (Eric Campbell). In One A.M. , Chaplin steps out of the Tramp persona to play an inebriated gadfly at war with his home, battling everything from a staircase to a suit of armor to a resistant Murphy bed, all seemingly set on keeping him from getting to sleep. The Pawnshop shows the Tramp in a more aggressive role than we're used to, goofing and playing practical jokes on his coworkers, while The Rink puts him on roller skates for a burlesque ballet on wheels. Each short becomes a comic workshop as Chaplin investigates the slapstick possibilities of an array of props and situations while refining his persona as the down but not out everyman. --Sean Axmaker

Abstract/Sommario: Before Chris Farley, there was Roscoe Arbuckle, the original "Fatty falls down" clown whose popularity in silent films once rivaled Charlie Chaplin's. But he became a pariah following the death of actress Virgina Rappe at an infamous wild party in 1921. The tabloid press had a field day, though Arbuckle was acquitted after three sensational trials. He was the first actor to be blacklisted. This collection of short subjects made at the peak of Arbuckle's popularity should restore his ri ...; [Leggi tutto...] Before Chris Farley, there was Roscoe Arbuckle, the original "Fatty falls down" clown whose popularity in silent films once rivaled Charlie Chaplin's. But he became a pariah following the death of actress Virgina Rappe at an infamous wild party in 1921. The tabloid press had a field day, though Arbuckle was acquitted after three sensational trials. He was the first actor to be blacklisted. This collection of short subjects made at the peak of Arbuckle's popularity should restore his rightful place in film comedy history. "The Bell Boy," "The Butcher Boy," "Out West," "Moonshine," and "The Hayseed" are knockabout slapstick gagfests in the classic tradition of Mack Sennett, with whom Arbuckle got his start as one of the Keystone Cops. Despite his heft, Arbuckle proves himself an agile clown. But he is upstaged by his costar, Buster Keaton, then 21 years old (but a 20-year show business stage veteran!). Keaton buffs will thrill to his earliest screen appearances. He makes his auspicious screen debut in "The Butcher Boy" as a general store customer who gets into a sticky situation when he tries to purchase a pail of molasses. More sensitive viewers will want to fast forward through the rather brutal "Out West," which includes some unfortunate racial humor.

Abstract/Sommario: Silent comedy (and especially Buster Keaton) buffs will thrill to this second volume of five revelatory shorts by Roscoe "Fatty" Arbuckle. "Back Stage," "Coney Island," "The Rough House," "The Garage," and "Good Night Nurse!" were made between 1918 and 1920 at the height of Arbuckle's popularity before scandal tragically cut short his career and forever unjustly tarnished his name. They represent a vital missing chapter in film comedy history. In addition to rescuing Arbuckle from obsc ...; [Leggi tutto...] Silent comedy (and especially Buster Keaton) buffs will thrill to this second volume of five revelatory shorts by Roscoe "Fatty" Arbuckle. "Back Stage," "Coney Island," "The Rough House," "The Garage," and "Good Night Nurse!" were made between 1918 and 1920 at the height of Arbuckle's popularity before scandal tragically cut short his career and forever unjustly tarnished his name. They represent a vital missing chapter in film comedy history. In addition to rescuing Arbuckle from obscurity, they also provide a fascinating nascent glimpse of Keaton. These are his first films, and one can see the seeds of his flowering genius. Arbuckle got his start with Keystone Studio founder Mack Sennett, the original King of Comedy, for whom he made more than 200 shorts in five years. These breakneck, gag-filled reels in which characters run amok show his influence. "Good Night Nurse!" is one of Arbuckle's best, a fever dream in which he finds himself at the mercy of sanitarium doctor Keaton (brandishing a cleaver and drenched with blood). Fans of the "Great Stone Face" will be surprised to see him smiling and laughing as he flirts with Fatty, rather fetchingly disguised in a nurse's uniform. Also of note is a fleeting gag in "The Rough House," in which Roscoe sticks two forks into a pair of dinner rolls and enacts a dance that imitates his former Sennett costar, Charlie Chaplin, who would later expand this routine for his masterpiece, "The Gold Rush." Arbuckle and Keaton's partnership ended on a high note with "The Garage," their last and one of their best collaborations

Abstract/Sommario: Madrid. Raimunda è una gran lavoratrice, fanatica della pulizia, che sopravvive a un marito fannullone e alcolizzato e si prende cura della figlia adolescente. Sua sorella Sole, invece, è separata dal marito e sbarca il lunario come parrucchiera abusiva. Le due donne sono orfane, hanno perso entrambi i genitori durante uno dei tanti incendi provocati dal "solano", il vento che devasta La Mancha, il loro paese d'origine...

Abstract/Sommario: Contiene: Il viaggio sulla luna con musica originale degli AIR