There's a rotten core at the center of Lubitsch's Heaven Can Wait. No matter how engaging I find Haskell and Sariss's enchantment with the film, I cannot accede to their critical adulation of it and of Henry.
Today runs the gamut. Hollywood to indie art house, female perspective to male, screwball comedy to chamber drama. The odyssey from Ernst Lubitsch to Vincente Minnelli will provide illumination on how film's first special effects were used, how two brothers presciently preceded reality TV in the Hamptons, and why some directors prefer to work about once a decade on average...
Rudolph Herzog’s chilling assertions show that the presence of humor describing such events as the burning of the Reichstag building and the Night of the Long Knives means that these happenings were common knowledge and German citizens understood their meaning.
The pre-Hays Code sexual innuendos of these films capture a side of the musical rarely seen in classical Hollywood films, of guilt-free dalliances and blatantly carnal wordplay in the style of Cole Porter.