Was ist los im Zirkus Beely? (Harry Piel 1927) VHS-Rip

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Was ist los im Zirkus Beely? (Harry Piel 1927) VHS-Rip

Notapor goletz » Mar Abr 03, 2007 10:59 pm

Was ist los im Zirkus Beely? - Harry Piel 1927

(What's going on in Cirkus Beely?)


Harry Piel
Max Bauer (based on ideas from two novels:"Das Geheimnis des Zirkus Barre";"Der Reiter ohne Kopf")
Georg Muschner;Gotthardt Wolf
Harry Piel as Harry Peel
Fritz Greiner as Kriminalkommisar Bull
Erich Kaiser-Titz as Dr Oskar Waldow
Ilona Karolewna as Rose Jackson
Max-Ralf Ostermann as Robert Jackson
Eugen Burg as Zirkusmenager
Charly Berger as Allan Kean
Hanni Weisse as Anita de Moran
Prod. Company:
Nero-Film GmbH Berlin


Harry Piel (Düsseldorf, 12 July 1892 — Munich, 27 March 1963) was often styled "the German Fairbanks" — which underestimates the individuality of his style and achievement as actor-director of Sensationfilmen in a career that spanned some forty years. Intended for a career in business, he then joined the navy, but returned to civilian life in a job at the Pathé studios in Paris. Arriving in Berlin in 1913 he immediately started work as actor-director at Continental. In 1915-16 he directed Max Landa in several episodes of the Joe Deebs detective series, after which he established his own company and embarked on the long series of adventure films which were to make him famous. He continued to play the insuperable and incorruptible hero until 1953 and his final film Panik (aka Gespengte Gitter / Die Elefanten sind los). His most regular leading ladies were in the early years Sacha Gura, and later Dary Holm, his wife. In 1923 he entered into partnership with the French director Gérard Bourgeois to make a series of Franco-German co-productions; and with the coming of sound established a new company, Ariel Film. Not notably glamorous in physical appearance, Piel made a virtue of his somewhat phlegmatic personality, cunningly allied to impressive acrobatics and, when the occasion demanded, impeccable evening suits.

In 1926, Piel, having just separated acrimoniously from Phoebus Film, represented a major prize for the newly founded company Nero-Film. Nero was established by Richard Oswald and Heinrich Nebenzahl and his son Seymour. The younger Nebenzahl combined artistic sensibility with a talent for raising money, and endeavoured to provide Piel with ideal creative conditions. He was given his own production unit and allowed relative autonomy, within his budget of 200,000 marks. It was planned that the film would be distributed by Südfilm AG, which had grown out of the old Bayerische and a part of Emelka.

Piel in return offered Nero a special event: Was ist los im Zirkus Beely? would be his 75th film. In commemoration of this, Nero’s ambitious public relations efforts included the production of a booklet, Harry Piel — 75 Films, honouring him as "actor, author, director, and businessman, all in one person". The booklet’s eleven pages chronicled his life and creations — he was at this time only 34 years old — and declared that he was "a fanatic of his art". His films were then playing in some 1,200 of Germany’s 3,500 cinemas, representing a "considerable economic factor" in the industry. There was a tone of irony in the declaration that "he is one of the most popular beings in the German-speaking world, and perhaps beyond that also. Only the German press does not appreciate him in the same way" ("serious" German critics were inclined to disregard him as a popular entertainer). A full-page announcement in Film-Kurier (27 September 1926) listed Piel’s complete work in chronological order, permitting everybody to count for themselves that Was ist los im Zirkus Beely? was indeed his 75th film.

The film’s writer was an old Piel collaborator, Max Bauer, and for the last time the two explored the Harry Piel fantasy world together — though some of the thrills and characters, and even some names, were inspired by the source novels, Das Geheimnis des Zirkus Barré (The Secret of Circus Barré) and Der Reiter ohne Kopf (The Headless Rider). The excitements included a mysterious murder, a testament scratched on the wall of catacombs, a mysterious masked man, fights over the lion cage in the Big Top, a blind girl (played by Ilona Karolewna), and a rediscovered fortune which pays for the operation to restore her sight.

For the first time Harry Piel worked with an adult animal co-star, a 600-lb., two-and-a-half-metre tiger named Bylard, who came from Leipzig Zoo but had spent some time in a circus. Bylard was by this time quite old and amiable, though his trainer, who was present throughout the filming, admired Piel’s calm and sensitive way of handling him, and his instinct for the animal’s psychology in accustoming him to the camera and to his own person. A highpoint of the film shows Piel sharing his breakfast with Bylard, sitting at the same table in the circus restaurant, feeding him with rolls and hard-boiled eggs and being rewarded at the end with a kiss. Piel was justifiably proud of the scene, even though it landed him in the hospital for a few days. To tempt Bylard to kiss him, according to the script, Piel had rubbed cheese on his cheeks. He had not reckoned that a tiger’s tongue is as sharp as a cheese grater.

"To be honest," he wrote, "I would wish such a partner for every action star. In any case I would advise every actor in action films to maintain his own zoo at home, which would delight the good housewife. As well as lions and tigers, crocodiles can provide lots of pleasure. If you forget their presence in the bathtub, you will no doubt be reminded, by a tickling of the legs, of these animals that are so revered in India. Since these loveable creatures have a charming habit of pulling their victims under the surface of the water, this would also provide some underwater sensations.

"But to be serious, … I see my life’s work as showing past and present in a new way. To create. To discover. To think new things. Work, work, work. Not to mention the occasional breaking of bones."

The circus was clearly a setting which Piel enjoyed: he was to return there for his hundredth film, Artisten / Gala Night at Circus Peter (1935).

This print of Was ist los im Zirkus Beely?, preserved by the Cineteca Italiana, is the only material of the film known to survive. It represents the original Italian distribution print, which was cut by almost half from the film’s original length of 3549m (152 minutes at 20 fps). Despite this drastic cutting, and the loss of a few further metres now missing from the first reel, the story remains comprehensible, thanks to its essentially episodic structure.

[This programme note has been freely based on material from Matias Bleckman’s book Harry Piel, Ein Kino-Mythos und seine Zeit (Film Institut der Landeshauptstadt Düsseldorf, 1992), kindly translated into English by Sabine Lenk and Frank Kessler. The quotation from Piel is from an article in Emelka-Journal No. 13, 20 May 1927, entitled "Alles ist schon dagewesen, aber trotzdem" ("It’s all been done before, but just the same…").]


AVI File Details:
Video Codec:DIVX 5
Bitrate:1013 kb/s
Audio Codec:MPEG1/Layer 3
Bitrate:128 kb/s
Channels:2 stereo

VHS-Rip(post ARTE Channel)


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Notapor spione » Mié Abr 04, 2007 12:01 am

que buena pinta tiene con esos tintados, gracias goletz
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Notapor Pasanen » Mié Abr 04, 2007 12:07 am

Downloading it. Thanks goletz. :amo: :amo:
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Notapor David_Holm » Mié Abr 04, 2007 1:07 am

The film looks so good... (it has even big cats :mrgreen:) Thank you very much Goletz, Harry Piel had a long filmography but I have seen nothing yet.

życzenia :hola:
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Notapor Justiniano Conquián » Mié Abr 04, 2007 5:06 pm

Thank you, Goletz. Another film I've been stuck in at 70 % you got for us.

:amo: :amo: :amo:
Ya tú sabes... Pase lo que pase y suceda lo que suceda yo me llamo Justiniano Conquián...
¿Con quién?...
¡Con quién no!... ¡¡¡CONQUIAN...!!!
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