Option Trading Partners – Independent developer, Maxime Gabella today announces Filmster for iOS devices. The app searches iTunes for films that were in competition at top international film festivals. It then creates a list of available films specifying the awards that they won. The user can…
Russian director an actor Vladimir Strizhevsky worked in Russia, Germany and France. He was born as Vladimir F. Radchenko. In 1915, Strizhevsky started to act in silent Russian films like Sashka-Seminarist (Cheslav Sabinsky, 1915), and Teni grekha (Pyotr Chardynin, 1915) with Vera Karalli. With director Yegeni Bauer he made Grif starogo bortsa/Griffon of an Old Warrior (Yevgeni Bauer, 1916) also with Karalli, Nabat/The Alarm (Yevgeni Bauer, 1917) and Revolyutsioner/Revolutionary (Yevgeni Bauer, 1917) . The latter is one of a very few significant cultural works that survive from the period between the two revolutions in Russia in 1917, since it was made after the Tsar was overthrown in February, but before the Provisional Government was itself overthrown by the Bolsheviks in the fall. Moreover, its perspective and story are clearly drawn from the way that things stood in the days of the Provisional Government. In Zhizn trekh dney/A life of three days (Gromov, 1917) , his co-star was Lidiya F. Ryndina (1884-1957). His first film as a director was Chernaya lyubov (Vladimir Strizhevsky, 1917) in which the later director Lev Kuleshov played an important role. After appearing in Beloe i chernoe/White and Black (Aleksandr Razumnyj, 1918), he abandoned Russia and moved to the west.
In France Vladimir Strizhevsky had a part in the Gaumont production Le sens de la mort/The Meaning of Death (Yakov Protazanov, 1922) with André Nox. He also appeared for Albatros in the French serial La maison du mystère/The Mysterious House (Alexandre Volkoff, 1923) starring Ivan Mozzhukhin and Charles Vanel. From then on, he mainly focused on writing and directing films. His films include Taras Bulba (Vladimir Strizhevsky, Joseph N. Ermolieff, 1924) with J. Douvan-Tarzow and Helena Makowska, and Der Adjutant des Zaren (Vladimir Strizhevsky, 1929) with Ivan Mozzhukhin and Carmen Boni. He continued to make films in the sound era, such as Troika (Vladimir Strizhevsky, 1930) with Hans Adalbert Schlettow and Olga Tschechova, and Les bateliers de la Volga/The Volga Boatman (Vladimir Strizhevsky, 1935) starring Pierre Blanchar and Véra Korène. His final film was the Italian production La carne e l'anima/Father and Son (Vladimir Strizhevsky, 1945) starring Isa Miranda and Massimo Girotti.
Sources: Find a Grave, Wikipedia (Italian) and IMDb.
Russian actor, producer and stage director Ossip Runitsch (1889-1947) was one of the biggest stars of Russian silent cinema and one of the first iconic figures of Russian cinematograph.
Osip Ivanovich Runich was born in St. Petersburg, Russia in 1889. In 1915-1919 he starred in some successful silent films of that time, such as the historical drama Voyna i mir/War and Peace (Vladimir Gardin, Yakov Protazanov, 1915) with Vera Karalli, and Pesn torzhestvuyushchey lyubvi/Song of Triumphant Love(Yevfgeni Bauer, 1915) with Vera Kholodnaya. He co-starred again with beautiful Kholodnaya in the circus drama Molchi, grust… molchi/Be silent, sorrow … be silent (Pyotr Chardynin, 1918) , and Posledneiye tango/Last tango (Vyacheslav Viskovsky, 1918). According to Wikipedia, Runitsch was a long time admirer of Kholodnaya and was devastated after her early death in 1919. During the Russian Civil War, Ossip Runitsch thus fled Russia and left for Italy where he took part in a number of films, including L'orchidea fatale/The fatal orchid (Alessandro Rosenfeld, Aleksandr Uralsky, 1920) and L'automobile errante/The wandering car (Arturo Ambrosio Jr., Achille Consalvi, 1921) .
Ossip Runitsch moved on to Berlin, then burgeoning into the film capital of Europe. In Germany he co-starred as Desmoulins in the silent historical film Danton (Dimitri Buchowetzki, 1921) opposite Emil Jannings as Danton and Werner Krauss as Robespierre. The film was based on the play Danton’s Death by Georg Büchner. Interesting was also the silent comedy-drama Das Spiel mit dem Feuer/Playing with Fire (Georg Kroll, Robert Wiene, 1921). Diana Karenne, starred as a method actress, who likes living out the roles she is playing in real life. To prepare for her new play, she enters the criminal underworld and ends up being implicated in a burglary of a Duke who is one of her suitors. Runitsch also worked with director Wiene on Der Puppenmacher von Kiang-Ning/The Doll Maker of Kiang-Ning (Robert Wiene, 1923) with Werner Krauss as a doll maker in China who crafts a puppet which he is convinced is lifelike. In 1925 Runitsch married Nina Pavlishcheva, a courtier ballet dancer. One of his last silent films was the German drama Tagebuch einer Kokotte/Diary of a Coquette (Constantin J. David, 1929) starring Fee Malten. A year later, sound and his accent finished his film career. By the late 1930s, Runitsch was living in Riga, Latvia,where he played in the troupe of Russian Drama Theatre. Apparently, when he realised that the World War II was inevitable, he accepted an invitation to tour South Africa from his local Jewish friends. He stayed in South Africa and became a founder of one of the first professional theatre companies in a country. Besides, he produced operas for the State Theatre in mid-1940s. Ossip Runitsch died in 1947.
Op dit moment is productiehuis NL Film bezig met de voorbereiding van een nieuwe speelfilm genaamd ‘Knielen op een bed violen’, naar het gelijknamige boek van Jan Siebelink. Ben Sombogaart (Bekend van o.a. ‘de Storm’) regisseert de film met Barry Atsma en Noortje Herlaar in de hoofdrollen. Hiervoor zijn ze op zoek naar enthousiaste auto-eigenaren die het leuk zouden vinden om met hun mooie…