NinadeL

From today's perspective, Murder for Sale, unfortunately, falls only into Heinz Rühmann's early filmography, but let's be glad for such an excuse if it leads to the film existing in excellent quality on DVD. In this film, the main famous couple Lilian Harvey and Willy Fritsch were walled off, but let's leave that aside, the important thing is that audiences get to know who was at their in 1930 and who was just starting out.

This is the real Boop-Oop-A-Doop. Betty Boop's second film from the 1980s really isn't afraid of anything. The entire style is an homage to the original Fleischer Brothers animation, the story has energy and there are a number of reminiscences of the original 1930s slapstick. Betty Boop is also not alone as she has Bimbo and Koko the Clown by her side again. The hits were also well-chosen. Actually, it's a shame that an entirely new series wasn't created in that vein.

CBS attempted to follow up the original Betty Boop Cartoon in the mid-1980s and it didn't quite work out. Still, both new Betty Boop movies are worth watching. The original Betty Boop was last aired in 1939 and had already been quite decimated by censorship. The original flapper girl, who had her it up to the max, gradually became a working girl. That's exactly who we reunite with - Betty working in a nightclub and dreaming of a brilliant career. In the meantime, of course, she manages to fall in love, finds herself in danger, and sings a few classic tunes...

Don’t you dare go after the Fleischer films under any circumstances. They were first in most of the important things and no one else has ever been able to pull off animation like that. :) Neither Hanna-Barbera nor Disney.

The first two-part film starring Barbie worked with the Barbie and the Rockers toy line. In the 1990s it was already slightly anachronistic in the Czech Republic and no one was aware of its competition Jem! and the Holograms. I loved the semi-animated Barbie commercials back then, and I didn't like this movie very much. In retrospect, I can appreciate the collaboration of Ruth Handler, Barbie’s creator.

The third of the Screen Songs (this one is from October 31, 1931), in which the future famous star of her own series, Betty Boop, first appeared in 1931. Her name was first mentioned in the prior Betty Co-ed short (also with Rudy Vallee). Like in some of the other shorts, a mouse very similar to Mickey makes an appearance along with Betty. :) This karaoke about Kitty from Kansas City will make sure that you will never get this song out of your head... At the end, audiences may be a bit scared of Betty's alternative with a few more pounds put on but don't worry, she will lose them. ;)

The original Rainbow Brite series starts off rather grim. That's why I remember to this day getting much more into the movie Rainbow Brite and the Star Stealer but I still have to say that it's a great complement to the series. After all, there is more room to get to know all of Rainbow Land.

One of the most beautiful film adventures with Anny Ondra in an Ondra-Lamač-Film production. At first glance, it is a simple but brilliantly vivid story of a seamstress who marries into higher circles. When Monika Böhnicke sings "Mir ist heut' Nacht so sonderbar" at a party there is no happier girl in the world and no one who wouldn't fall in love with her. This film has that unique atmosphere of the early 1930s, of Weimar cinema, and of all the magic they used to make the audience feel like they were in paradise.

After 1928, Marlene Dietrich was given only leading roles. In this story (based on the novel by Max Brod), she hones her vamp-woman game to subsequent perfection. To this day, I am still so entranced by the film that it is really hard not knowing the day or the hour if I will ever see The Art of Love, so as to conclude the picture of her work, which took on a truly new dimension with her visit to Vienna in 1927. Just like she did there, here too she began a new unprecedented stage. This is where Marlene’s character Stascha first sacrificed herself, as she did in later films as Marie Kolverer in Dishonored, Frenchy in Destry Rides Again, Blanche Ferrand in The Room Upstairs or Altar Keane in Rancho Notorious... In short, Marlene Dietrich in a silent film is an underrated treasure.

Rudolph Valentino and his alter ergo Sheik, or his son Ahmed. With this film, you just have to let yourself be carried away by the exotic and silent thrilling romance with the submissive Vilma Bánky, alias Yasmin, and you will feel as good as I do every time you watch it. Valentino couldn't have asked for a better farewell film. If I were ever to define the true essence of a film, this is it. A perfect oriental tale from the golden age of Hollywood cinema. An adventure story full of suppressed passions and true human values. There’s fun, suspense, emotion, and action. Awareness of one's own fetish and unintentional repressed vision of the world according to Freud. All of this offers an unforgettable experience.