Inclubabu Plot so thin, it passes unnoticed.

Comwayon A Disappointing Continuation

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Teddie Blake The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Edgar Soberon Torchia Of the Carl Theodor Dreyer motion pictures that I have recently seen, the more mature and the one that shows a better knowledge of the film medium, is "Michael" a production financed and shot in Germany, after he made "Love One Another". The obvious mistakes are more related to editing than to "mise en caméra", and even that is not abundant. Dreyer stylishly uses space, light, and the depth and height of the decors, abstaining from the Expressionist frenzy that characterized a good part of German cinema after "The Cabinet of Dr. Caligari" (1920). Based on the novel "Mikaël", by Herman Bang, this is one of the most impressive studies of narcissism among the films that I have seen, and one of the most moving dramas on homosexuality in old age that I know. I find admirable is that a film from 1924 shows an understanding of human nature similar to a drama as "Happy Together", rather than recent bursts of sweat and semen that have pretended to explain narcissistic delight and homosexual love in epidermic, explicit ways. We should also remember that this is a motion picture from 1924 if it may illustrate ideas that today may seem as prejudice, or whenever we react negatively to the resources of 1920s cinema, in make-up, costumes, acting style, or technical shortcomings yet to be perfected to erase the efforts to convey an impression of reality. Less problematic, I believe, are the direction and especially the writing. Behind the adaptation there is a key name in the history of cinema: Fritz Lang's ex-wife, Thea Von Harbou, who remained in Germany when her husband fled from the Nazis. By 1924 Harbou and Lang had already collaborated in "The Weary Death" and the first two parts of "Dr. Mabuse", and next would come "Spies", "Die Nibelungen", "Metropolis", "Woman in the Moon", "M", "The Testament of Dr. Mabuse" and the diptych "The Tiger of Eschnapur" and "The Indian Tomb". Harbou excelled in adventures, science-fiction and exotic melodramas (genres almost absent in Lang's American filmography), but here she is more than adequate describing a homosexual liaison tinted with economic interest, loneliness and a narcissistic game of mirrors, in the story of a painter and the young male model to whom he gives all his possessions, which are then spent by the boy in an affair with a ruined and unscrupulous princess. The theme of Death is present throughout the tale, and it is duplicated in the story of an affair between a count and a young woman, married to an old man. Besides Von Harbou, "Michael" includes first-rate personnel in other roles: the cinematographer is Expressionist maestro Karl Freund (director of photography of "The Last Man", "Metropolis", "Berlin, Symphony of a Great City" and Tod Browning's "Dracula"), who also plays a art dealer; the painter is played by Danish director Benjamin Christensen (the maker of "The Witch"), and the Italian operatic diva Nora Gregor (leading lady in Renoir's "The Rule of the Game") plays the princess. For the role of Michael, Dreyer used beautiful blond actor Walter Slezak, born under the sign of Taurus, and --as a good son of the bull-- too much attracted to good food and wine. When he reached 30 he had already lost his slenderness and in spite of his big, expressive blue eyes, for the industry he was too a chubby fellow to be a leading man. However, when he migrated to the United States he became an instant sensation in Broadway, winning a Tony award. In films he had a more discrete participation, but he also had other unforgettable roles, as the Nazi sailor in Alfred Hichcock's propaganda drama "Lifeboat", and as Rock Hudson's feisty majordomo in "Come September", turning his boss' Italian villa into a hotel during his absence, except every September. A good work of restoration, "Michael" includes a dense 1993 score by Pierre Oser.

Michael_Elliott Michael (1924) *** (out of 4) German silent about an aging master painter (Benjamin Christensen) who takes a male model and wannabe painter (Walter Slezak) under his wings but soon their relationship begins to crumble when both men meet the Princess Zamikoff (Nora Gregor). This here was one of the director's lesser seen films but over the past decade or so it has become quite popular for being an early example of a homosexual relationship. Some could debate that the film isn't about homosexuality and I somewhat agree with his stance but I also see why some might think there was more to the two men's relationship. Either way, over the years I really haven't been too much of a fan of Dreyer's and I found this film much like the rest of his work. The biggest problem I had with this film as well as others from the director is that I never really get caught up in the stories. The stories always take second billing to the wonderful visual style and cinematography, which some might love but I'd also like to have a better story mixed in. Even with that said the movie is still worth watching due to the cinematography by Rudolph Mate and Karl Freund. Freund handled all the interior shots and these are the most impressive of the film. The sets are very beautiful and the film follows that German Expressionist mood perfectly. Christensen, director of the masterpiece Haxan, delivers a very strong performance and this is easy to spot towards the end of the film. I won't ruin the ending but Christensen's performance perfectly nails every moment. Slezak is also very good but I didn't care too much for Gregor.

capkronos Strange as it may seem, as a huge horror movie fan I couldn't pass up watching this silent drama, even though it has absolutely nothing to do with horror. For starters, it was directed by Carl Th. Dreyer, who is possibly most famous for THE PASSION OF JOAN OF ARC (1928) but also made the genre classics VAMPYR (1932) and VREDENS DAG (1943). Even though this was filmed in Germany during a time of heavy government control of film output, Dreyer managed to secure full artistic control over this particular production. It stars Benjamin Christensen, who directed HAXAN (1921), one of the strangest and most bizarre and most innovative of all horror movies, silent era or not. The interiors were shot by Karl Freund, who later directed the horror classics THE MUMMY (1932) and MAD LOVE (1935) at Universal and would win two Oscars during his long and distinguished career. Freud also makes his first and only on-screen appearance here, playing an art dealer in a single scene. Exteriors were shot by Rudolph Maté, a five-time Oscar nominee who also directed the science fiction classic WHEN WORLDS COLLIDE in 1951. The basis for the film was Herman Bang's novel "Mikaël," which was adapted by the director and Thea von Harbou; the latter being well known for her collaborations with then-husband Fritz Lang. Her writing credits include METROPOLIS (1927), M (1931) and a whole series of "Dr. Mabuse" films. So from top to bottom, a bunch of very talented and influential filmmakers and production people worked on this particular film. The line-up of talent itself should appeal to a wide range of classic film fans and not just horror buffs like myself. The content also secures this film an audience, even today, as it's one of the first films to ever deal with homosexuality in a mature way. In fact, I really can't recall a film made prior to this one to include such content. For 1924, it must have been a very bold and courageous project for these people to take on.The main character in MICHAEL isn't really Michael himself, but an established, older artist by the name of Claude Zulot (played very well by Christensen). Over the years, Claude has become a wealthy and acclaimed painter specializing in human portraits. When approached by the youthful, almost angelic-looking artist Michael (Walter Slezak), Claude tells him his own sketches need some work but he'll let him become his "muse" and model. Five years later the men are still working - and living - together, but their relationship crumbles once an attractive destitute countess (Nora Gregor) stumbles onto the scene. Michael starts seeing more of her and less of Claude, at first behind Claude's back but eventually with little regard for his feelings. Before long, Michael abandons his mentor for the countess and moves out of the home, but continues to pop in from time to time to see Claude. Those visits usually end in Michael needing financial assistance, whether it be willingly offered to him or stolen. Though the relationship between the men is played off as an "adopted son" type thing to the public, it's obvious there's much more going on beneath the surface. This is evidenced by scenes of Claude's loneliness and agony over his abandonment, the sense of betrayal, a scene where the countess discovers a love letter and many other subtle moments. Adding another dimension to the story is the presence of a journalist named Charles (Robert Garrison), whose unwavering care and support for Claude hints at the kind of unrequited romantic love Claude unwisely tried to find with Michael. The people who truly care for and love you will be willing to put up with your hangups. The people who truly care for and love you will be with you at the end. Interestingly, on the sidelines, there's a contrasted love triangle between a man, his wife and a young duke she's having an affair with, almost as if to say, "Hey, we ALL have the same feelings, the same relationship problems and go through the same exact things whether we're male or female, gay or straight." Seems simple enough, but it took a lot of courage to put this message on the screen back in 1924. Unfortunately, the whole moral crusade and censorship took hold soon after this was made in much of the world and gay characters weren't tolerated in mainstream cinema unless they were comically exaggerated or hidden behind so much metaphor and subtext you'd need a decoder to spot them. While the content here is subtle by conventional standards, the movie does not shy away from it. Homosexuality is portrayed through adoring looks, touching (the hair, the shoulders, the arms) and holding hands, as well as through emotional reactions to the various events going on. The movie is extremely well made for its time, both in technical terms and in terms of content. The acting from the principals is very, very good and the insight into relationships are relatable to basically anyone who has ever been in one.

bkoganbing It is sometimes fascinating the subject matter for films before the infamous Code was put in Hollywood. Of course this is a German silent film and in those days when movies didn't talk all one had to do was change the subtitles and film was really universal. Such is the case with Michael, a romantic triangle the apex of which was Walter Slezak in his salad days. He was beloved by both an aristocratic artist and one carnal princess.In less than a decade when the Nazis took over and made the UFA Studio their personal propaganda reserve such homoerotic work like Michael would not see the light of day for years. I'm really surprised that a print existed and that TCM obtained one. I would have thought Josef Goebbels would have burned all he could find.Without a kiss, without an embrace, but with a look of love that tells all, we know exactly what the relationship Benjamin Christiansen has with Slezak. Slezak plays the title role, a callow youth a willing user of the affections of all in the same manner Murray Head was in Sunday Bloody Sunday. Slezak was quite the hunk in his youth to those of us who remember him from Hollywood in the Forties.Nora Gregor plays the princess who eyes Slezak like a side of beef on the meat rack at the Playgirl Club. He's getting tired of Christiansen anyway so he's hot to trot as his she.Christiansen is a sad and lonely old man and his performance really drives the film. His and Slezak's relationship also reminds me a bit of the famous relationship played out in the tabloids of Scott Thorson and Liberace. Another young cutie who was showered with everything, but just wanted his own space.It's a good thing this gay themed story did survive and is available now for home viewing on DVD. A great piece of gay cinematic history.