For example, the Munich Film Museum has been showing its own restored silent film treasures on a regular basis since last year. Particularly interesting in February is the free “home cinema” offer from the Filmarchiv Austria (www.filmarchiv.at). The films change weekly. In a very special series you can see a selection of films by Willi Forst and get to know the “other Viennese film”. The central works of the thirties by the Austrian film artist Willi Forst can be seen: “Masquerade”, “Burgtheater”, “Allotria”, “Bel Ami” and “Wiener Blut” from 1942. A thoroughly musical cinema of a “total filmmaker ”of the Viennese cinema, not only because of the melodies of a Kreuder or Mackeben, but because of the very“ flowing ”staging that the Nazis’ Ufa cinema lacked.
His most beautiful film by his ingenious Jewish friend Walter Reisch can be seen in the “other” series: “Episode” with the young Paula Wessely, who had her breakthrough in a teamwork by Forst & Reisch: “Masquerade”. In the nineties, the Filmarchiv Austria discovered the “unwanted cinema” before the “Anschluss”. Together with a documentary about this cinema, which was shaped by Jewish producers, directors, authors and actors, the film archive shows three beautiful examples: the high-spirited comedy “Salto into Eternity” and two films by the Berlin director Hermann Kosterlitz, who “wintered in Vienna until 1935 “Until he became the successful Henry Koster in exile in Hollywood:” Katharina, the last “with the great Franziska Gaal and” Diary of the Beloved “with a wonderful score by the former” operetta king “Paul Abraham.
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