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03 November 2024 Bielefeld (Germany)
Film + Music Festival: The Marriage Circle
Metropolis Orchestra Berlin conducted by Burkhard Goetze - Rudolf-Oetker Halle
Program Info: The dashing Mizzi is fed up with her moustachioed husband, Prof. Stock, and throws herself at her best friend's moustachioed husband. So she sets a carousel in motion on which lovers and abandoned people, idealists and cynics, bearded people and clean-shaven people ride in circles in strange harmony. Mizzi's husband hires a detective to tail her; her friend accidentally kisses the wrong guy; everyone is watching each other. It's just playing with fire that Berlin-born Ernst Lubitsch is demonstrating here: Who will burn their fingers or other extremities and when? By American standards, The Marriage Circle is unusually frivolous and demonstrates a joy in immoral transgressions that is otherwise only cultivated in slapstick films. The driving force is Mizzi, played by Marie Prevost, who had previously worked for years for Max Sennett, the “King of Comedy,” and rose to become a Hollywood star under Lubitsch.
While film comedies had previously been overshadowed by dramatic and serious films, The Marriage Circle proved that comedies could set standards not only in terms of acting but also in terms of film art: dramaturgy, camera work and editing reach a very rare level of perfection. After the German premiere under the title Marriage in the Circle, Kurt Pinthus celebrated in his diary in 1924 : “This is a successful fusion of chamber play and audience piece. Here is the first and only complete comedy that has ever been produced by German hands - tragicomically in America. If there were a word in our language to express the pleasure that this film brings, I would put it here with such passion that all other comedies produced in Germany would disappear and every reader would rush to see this Lubitsch opus to look at.« (Text Philipp Stiasny)
As the first and unique cinema orchestra of the 21st century, the Metropolis Orchestra Berlin under the direction of Burkhard Goetze resurrects the long-lost tradition of orchestral music in the cinema.