Scifirenegade's Trash Can

Missing (as of now): Snowflake Challenge number 8 and number 12.

Challenge #1

Journaling Prompt: Light up your journal with activity this month. Talk about your goals for July or for the second half of 2025.
Creative Prompt: Shine a light on your own creativity. Create anything you want (an image, an icon, a story, a poem, or a craft) and share it with your community.. Post your answer to today’s challenge in your own space and leave a comment in this post saying you did it. Include a link to your post if you feel comfortable doing so.

I want to finish uni once and for all!

As for ~ creations ~



Guess who?

Crummy picture, drawing is erhm, but it's alright.

Films Watched

• Body and Soul (1925)


• Everything Everywhere All at Once (2020)


• The Last Warning (1928)


• The Constant Nymph (1933)


• Last Night in Soho (2021)


• Dune: Part Two (2024)


• Flesh and the Devil (1926)

Books (for leisure)

• Gay Berlin by Robert Beachy (as always smh)


• Continental Strangers: German Exile Cinema, 1933-1951 by Gerd Gemünden

Arts

• 1 finished full piece (Above Suspicion)


• 1 unfinished piece (FP1)


• Lots of dumb doodles

Words Written

• That One Oberaertz Thing: 221 words (total 5024 words)


• Barbara's Great Wine Search: 0 words, ugh


• Pre-canon AadA fic: 292 words


• Unfinished miscellaneous short fics: one fic (total 63 words)

Total: 576 words

Maurice de Vlaminck had questionable politics and questionable taste in art. (But we do agree in one thing: fuck Paul Gauguin.)

Vlaminck was the rare Fauve who took main inspiration from Van Gogh (okay, they all did, but the Gauguin influence was huge). And it shows. The colours, however, are more. More. MORE.

Genuine is like The Cabinet of Dr. Caligari, but more. More. MORE. And just like Vlaminck, the predecessor is better in everything.

My first foray into ~ German expressionist film ~, over a decade ago, went like this: The Cabinet of Dr. Caligari, The Golem: How He Came into the World, Nosferatu, Orlacs Hände, Waxworks, Der Student von Prag. And some other films after that. Genuine being one of those, back when only an incomplete sub-50-minute restoration existed. Now that a longer, almost hour-and-a-half version exists (making the film near-complete now), it was time to go back to it.

Like Caligari, Genuine is detached from our world, the sets, makeup and wardrobe make sure of that. They are more abstract, however. And that's fine. Like Caligari, it has a framing device.

Genuine's (played by Fern Andra) wardrobe is the most interesting of all. Gaudy headpieces, dresses with big, geometric patterns with contrasting colours. Andra does acting in the way of interpretative dance, not quite the same yet not quite different from Conrad Veidt in The Hands of Orlac (hey, had to put my blorbo in somehow).

So the sets, the wardrobe and the acting make Genuine the character some otherworldy being, a powerful entity.

Plot is bleh. Style is the substance here, but comparing Genuine's style with its contemporaries, it falls short indeed. The whole package is one big step under Waxworks, which is also poor on plot, but looks incredible. It also features Ivan the Terrible having orgasms over people dying, which Genuine does not.

It's always nice seeing Hans Heinrich von Twardowski (Caligari, Spione, Casablanca). He's doing his best hetero acting here.

Ah, yes. Racism. So much racism. (They lynched a black man. Holy shit...)

This longer version simply adds more scenes for the framing device, and some context scenes for the story proper, which was nice. Didn't have to go "oh, so this is what we're doing now" as often as I did when I first watched it.

EDIT: Unrelated. Erdgeist available on the Digitaler Lesesaal of the Bundesarchiv.

The Yahoo Groups Rescue Project needs more taggers.

Paul Leni's The Last Warning (bilibili link). The copy on the Internet Archive is quite battered, this one is nicer. The website is weird for online viewing, so thank heavens for third-party tools (hehe). Leni's stuff is always nice, and I'm very curious about the sets (they were reused for The Last Performance apparently).

EDIT: Another upload. 360p. Hey, it's public domain.

Blog post about J. Storer Clouston. Featuring an omnibus edition of The Spy in Black, The Lunatic at Large, Simon and The Man From the Clouds. Conrad Veidt on the cover, never seen that specific publicity portrait. There's a message printed on this edition that he wrote (of course, someone told him to write that). Maintains "Germanisms", I hate he doesn't put the little strike on his t's.

Put on Nazi Agent as background noise while doing some research (even if it breaks me every time), and wondered:

• Do we even know how Otto got that scar? Hmmm... plot bunnies...


• That ending speech... Oh, that American hypocrisy, right?


• Speaking of the ending, I keep thinking about how Otto will be sent to a concentration camp, and probably executed. Which is why it breaks my heart so much. Once again, Connie plays a character who sacrifices everything for what he thinks is right.

by filmforfancy

*sob*