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astrognossienne · 3 years ago

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tragic beauty: lupe vélez - an analysis

“I had to play with boys, girls found me too rough.” - Lupe Vélez

This is an analysis I’ve wanted to cover for a while for quite a few reasons. Primarily because, in a few ways, I see myself in her and, as such, feel the need to defend her and assert her true legacy: as a pioneer. Which brings me to the main reason I wanted to do this: to correct the scurrilous rumours about her premature death cooked up by a hating ass imbecilic Aquarius whose infamous book doesn’t deserve to be named. So if you want to hear the truth about this lady, read on.

Known as the “Mexican Spitfire”, Latin bombshell Lupe Vélez was (an to an extent, still is) a much-maligned and terribly misunderstood woman. A true Cancer, she was a force of nature and unconsciously antagonized others and made them uncomfortable because of her authenticity to herself and her emotional nature. Born during a storm, she had a naturally stormy personality. She could be hilarious and charismatic one moment, and depressive and vicious the next. Instead of anyone trying to understand her, they just stuck her with the “spicy fiery Latina” stereotype, not knowing or caring what was behind it. The harshness of her life before stardom may explain some of her fearsome, yet fun, personality; she grew up with violent trauma – watching her father kill and almost be killed during the Mexican Revolution. She also is believed to have had undiagnosed bipolar disorder, which would explain her extreme moodiness and outbursts.

One of the first Latina actresses to make an impact in Hollywood, she was subjected to the racist, sexist Hollywood tropes that forever typecasted her—she was called “senorita cyclone,” and the “hot tamale”. The Hollywood press willfully misunderstood Vélez’s sex positivity and consistently portrayed her as a woman who took great pleasure in her body, and indeed, the tempestuous Vélez had numerous affairs, including a particularly torrid one with a young Gary Cooper, and a tumultuous marriage to “Tarzan” star Johnny Weissmuller. But in 1944, at age 36, she found herself pregnant with the child of a little known-actor name Harald Ramond, who would not marry her and this reality made her come undone, and like my other baby Carole Landis, she succumbed to an drug overdose. Her promiscuity, right or wrong, became part of the way her stardom was packaged and promoted. Also, the press naturally compared her to (and pitted her against) Hollywood’s only other female Mexican star—the “high-class” and elegant Dolores Del Rio. The press couldn’t even find sympathy for her even in death and a false story was printed that she drowned in the toilet after vomiting up a spicy Mexican dinner. Her death is parodied and mocked to this day. Again, she’s a true Cancer in the sense that the same imperfections that everyone else has, she is seen as less than human for having them. I hope to help right that wrong by honoring Vélez for being the trailblazer that she is. At any rate, Vélez would seem to be a prototype for contemporary female stars, from Madonna to Rihanna, who have proclaimed their pleasure in their body and their sexual liberation — a pro-sex activist before her time, doomed to suffer the rejection of a more puritanical age.

Lupe Vélez, according to astrotheme, was a Cancer sun and Leo moon. She was born María Guadalupe Villalobos Vélez in San Luis Potosí, Mexico, to young upper-middle class parents. Her father, Jacobo Villalobos Reyes, was a colonel in the military, and her mother, Josefina Vélez, was an opera singer. They also had another son, John and daughter, Annette. The Villalobos family were considered prominent in San Luis Potosí and most of the male family members were college educated. The family was also financially comfortable and lived in a large home with servants. As a young girl Lupe showed an interest in performing, but her father was outraged at his daughter’s “low-class” dreams, and forbade his daughter from being in show business. All that changed during the war. Her family was in a state of upheaval—the Mexican Revolution was happening, her father had been presumed dead in the war and all their money was gone. While most of her family members were too proud to get jobs, a teenage Vélez did just that, supporting the family by working as a saleswoman in a department store. She then finagled an audition with a local theater. However, her father was indded alive and well and soon returned home from the war. Because at that time becoming an artist and coming from a well-to-do family was seen as embarrassing, her father refused to let her use his last name in theater, so she used her mother’s surname.

She proceeded to seek out venues where she could dance the then-popular “shimmy.” In 1925 she was cast in the big stage revues Mexican Rataplan and !No lo tapes! and became a big audience favourite. Her name got around to American stage star Richard Bennett (father of American film stars Constance and Joan Bennett), who was looking for a Mexican cantina singer for his new play. Lupe traveled to Hollywood but was rejected for the part for being too young. While in Hollywood, Lupe met film and stage comedienne Fanny Brice, who took a liking to Lupe because of her sparkling personality. She put in a good word for Lupe to impresario Florenz Ziegfeld (creator of the Ziegfeld’s Follies), who could use Lupe in one of his Broadway musicals. However, MGM producer Harry Rapf heard of Lupe as well, and offered her a screen test. When producer Hal Roach saw the test, he immediately signed her to a contract. Vélez soon made her major film debut in Douglas Fairbanks’ action-romance The Gaucho in 1927. The film was a huge hit and Vélez was an overnight sensation.

Along with her professional life gaining steam, so did her love life. Vélez sought out some of Hollywood’s hottest men, which wasn’t hard for a hot and sexy number like Lupe; men flocked to her like bees to honey. She was romantically linked with Gary Cooper, Charlie Chaplin, Clark Gable, cowboy Tom Mix, “Tarzan” actor Johnny Weissmuller, Errol Flynn, John Gilbert, Henry Wilcoxon, singer Russ Columbo, Randolph Scott, author Erich Maria Remarque (who wrote All Quiet On The Western Front and later married Paulette Goddard), Clayton “Lone Ranger” Moore, director Victor Fleming (director of Gone With The Wind), and boxers Jack Johnson and Jack Dempsey.

One of her first conquests was cowboy star Tom Mix. She also had an with newcomer Clark Gable, who cut off their romance because he was afraid Lupe would run all over town discussing their sexual secrets, which she did. Soon she had a torrid affair with comic genius Charlie Chaplin in 1928. Lupe revitalized Chaplin’s libido after he had gone through a torturous divorce from his wife. Whatever time she had for the many men in her life, that same appreciation didn’t extend to other women and she would frequently battle with the other females with whom she had to work with and would often threaten them; when she was starring in director D.W. Griffith’s Lady of the Pavements, she had to co-star with an actress named Jedda Goudall, whom she hated, and the two had a ferocious cat-fight on the set. When she made her final appearance on Broadway in the Cole Porter musical “You Never Know”, Vélez and fellow cast member Libby Holman feuded viciously. The feud came to a head during a performance where Vélez punched Holman in between curtain calls and gave her a black eye, which pretty much ended the run of the show. Vélez was territorial about the men in her life, she was vicious toward any woman who might be competition for her man or an acting role. She mocked Marlene Dietrich, Greta Garbo, Katharine Hepburn and Shirley Temple, and her arch nemesis Dolores Del Dio by doing imitations of them.

When she was cast in the film The Wolf Song in 1929, she met Gary Cooper and immediately started what would be her first widely publicized romance. Theirs was a one-sidedly volatile relationship; he would often appear in public with scratches and bruises. One time, she attacked him with a knife during a fight. He needed stitches. By the end of their time as a couple, Copper had lost 45 pounds and was physically exhausted. He was ordered by the studio to take a vacation. As he boarded a train, Vélez shot at Cooper but missed. Lupe soon moved on to other men; she had a thing for fighters. In addition to having a brief fling with boxer Jack Dempsey, she conducted a flagrant, but secret, affair with the black boxer Jack Johnson. In those days, blacks and whites almost never conducted sexual affairs out in the open. She met Olympic swimming champion Johnny Weissmuller at the hotel where she was staying that was owned by film star Marion Davies. One problem: Weissmuller was already married. But no matter, he dumped his wife for Lupe and married her October 8, 1933 in Las Vegas. Theirs was not a happy, serene marriage, and they constantly battled, with Lupe filing for divorce several times in 1934 and changing her mind each time. Weissmuller’s patience was so strained he dumped a plate of salad on her head at Ciro’s nightclub. Finally, in 1938 she filed a petition that was finalized in 1939.

After having many hit pictures with MGM, they unceremoniously dropped her. The excuse was that the studios were no longer going to make Spanish versions of their films and there was no longer a need for Latin actresses. Vélez returned to Mexico in 1938 to star in her first Spanish-language film. Arriving in Mexico City, she was greeted by 10,000 fans. The film La Zandunga, was a critical and financial success and Vélez was slated to appear in four more Mexican films, but instead, she returned to Los Angeles. She soon went to RKO Studios and starred in the B-movie The Girl From Mexico. Despite its lowly status, the picture became a tremendous hit with audiences. RKO rushed her into another film, this time called Mexican Spitfire, playing an emotionally volatile singer named Carmelita. The 1940 film became another smash for Lupe. The Spitfire series of eight slapstick comedy films rejuvenated Lupe’s sagging career. In late 1941, she had an affair with writer Erich Maria Remarque whose wife, actress Luise Rainer later wrote that Remarque told her “with the greatest of glee” that he found Vélez’s volatility hot.

At this same time Lupe took on another lover in the form of a French 27-year-old bit actor named Harald Ramond. He was a strong and controlling man who knew how to tame Lupe. After she discovered that she was three months pregnant, she announced her engagement to Ramond without his knowledge or consent. When he learned of her pregnancy, he refused to marry her. Deeply hurt and stunned, she felt backed into a corner; she knew her career would be ruined in Hollywood if word got out she was pregnant and unmarried. It just wasn’t done in those days. And despite her wildness, Lupe was a devout Catholic, so abortion was out of the question. She could see only one way out: suicide. On December 18, 1944, at the age of 36, Vélez swallowed 70 Seconal pills, she lay down on her pink satin pillow on her over-sized Hollywood bed and arranged herself like a movie star, with her hands folded across her chest and went into an eternal sleep. Dramatic to the end, Lupe went out of this world in glamorous style. She left a suicide note addressed to Harald, which read:

“To Harald, May God forgive you and forgive me too, but I prefer to take my life away and our baby’s before I bring him with shame or killing him. How could you, Harald, fake such a great love for me and our baby when all the time you didn’t want us? I see no other way out for me so goodbye and good luck to you, Love Lupe.”

THAT is the truth. But the bottom line is: how she lived her life as well as the circumstances around her death are all irrelevant at the end of the day. What matters is the loss of a great multi-talented, pioneering Mexican star and a legacy unrealized and stunted by a world that wasn’t ready for her.

Next, I’ll talk about the most famous of her paramours, the yin to her yang, a perfect example of the special chemistry that Taureans and Cancers share, the strong, silent hero of the silver screen: Taurus Gary Cooper.

Stats

birthdate: July 18, 1908

major planets:

Sun: Cancer

Moon: Leo

Rising: Gemini

Mercury: Cancer

Venus: Leo

Mars: Pisces

Midheaven: Pisces

Jupiter: Virgo

Saturn: Aries

Uranus: Capricorn

Neptune: Cancer

Pluto: Gemini

Overall personality snapshot: She may have seemed at times to be a shy, vulnerable, romantic individual who only wanted to please, but underneath she had a voracious appetite for adoration and respect, and would not stop until she got it. Without a doubt, she had a very warm feeling for others, and domestic security with plenty of happy togetherness is high on her list of priorities. When it came to cooperation with others, however, she had her limits because she was profoundly individualistic and, albeit in a charming manner, she insisted on doing things her way. Ultimately the most important thing for her was believing in herself and being true to her standards and aspirations. Most of all, she needed to fulfill her creative potential, which was like an intimate companion with whom she shared her life. You nurture it, protect it, and then you show it off, and whatever walk of life you are in, you tend to be a fine performer.

This gave her a lot of self-respect and a touch of vanity as well, and her emotional sensitivity combined with her underlying imperiousness tended to impress others and made them take her seriously. She was a devoted member of her flock, and she zealously and jealously protected and promoted whomever she was devoted to. When it came to developing her own talents, however, she seemed to know that she had to pull away in order to grow into her greatest self. Others may have thought she was a bit of a show-off but that was not the case: she simply had a deep sense of the importance of her own creative talents, and she felt only half alive if she did not honour them. Although she was pretty sensitive to criticism or rebuffs, she was just as committed to honesty and personal integrity; and despite her vanity, she eventually learned to laugh at herself.

She had a very good memory and found it easy to learn subjects that interested her. She was very kind and thoughtful towards others. Her imagination was very keen, but if it got carried away, she may have experienced irrational fears. Even though she may have tried to maintain a scientific and objective outlook, her mind was actually dominated by her emotions. When it came to careers, she may have felt initially vague or confused about what she really wanted to do. She was eventually forced to give up her career of choice by events out of her control (as was evidenced by the tides turning from the “Mexican spitfire” female ideal due to the changing of the times). There was probably some element of self-sacrifice involved somewhere in her choice of career (the element of sacrifice being that she had to sacrifice her child, and ultimately her life, in relation to her reputation as an unwed mother as well as her unborn child’s reputation as an illegitimate child). She had good technical and scientific ability due to her, at times almost fanatical, attention to detail. She was also fastidious when it came to matters of health, diet and appearance. She was not afraid of work and was very resourceful and capable. She also worked well in a team. She became very annoyed if somebody else questioned the way that she operated. Her energy levels were somewhat inhibited, her self-confidence reduced, and her ambitions restricted through fear of failure. Times of strength and weakness alternated within her. Even though her decision-making ability could be ineffectual through over-caution, she often seemed to be placed in situations where a quick decision was needed. When she succeeded, it was mainly through her own efforts. She also showed a tendency towards wanting to start at the top, wanting to avoid the hard work that gets you there.

She belonged to a generation with a rational and logical attitude to life. There was a conflict between tradition and convention, and the experimental and unconventional. As an individual, she had to learn to strike a balance between the erratic and the conventional. As a member of this generation, she had the ability to come up with original ideas which could be of practical value. She was part of a very artistically talented and creative generation that wanted to escape from the demands of the world around them into a world of excitement and glamour. She was part of an emotionally sensitive generation that was extremely conscious of the domestic environment and the atmosphere surrounding her home place and home country. In fact, she could be quite nostalgic about her homeland, religion and traditions, often seeing them in a romantic light. She felt a degree of escapism from everyday reality, and was very sensitive to the moods of those around her. Bow embodied all of these Cancer Neptunian ideals. As a Gemini Plutonian, she was mentally restless and willing to examine and change old doctrines, ideas and ways of thinking. As a member of this generation, she showed an enormous amount of mental vitality, originality and perception. Traditional customs and taboos were examined and rejected for newer and more original ways of doing things. As opportunities with education expanded, she questioned more and learned more. As a member of this generation, having more than one occupation at a time would not have been unusual to her.

Love/sex life: It wasn’t easy to be passionate and emotionally explosive and also hold on to her dignity, but this was what she wanted to accomplish. She tried to conceal the pulsating softness of her sexual nature behind a façade of control and bluster. She thought that her display of strength and jolly self-confidence would hide her vulnerability and her susceptibility to virtually any sexual diversion. Of course, no one was really buying this cover up. They saw the luscious edges of her erotic hunger peeking through her disguise. That’s why they were all so anxious to be around her. The biggest problem in her sex life was how to deal with change. She loved it and she hated it. She loved following the lead of her feelings and surrendering herself to the moment. Too much consistency, even loving consistency, was apt to leave her bored and dissatisfied. But she also saw change as a threat to her sense of control and to the emotional security that she valued so highly. Because of this duality in her thinking, her reaction to changes in her sex life was abrupt, contradictory, and (horror of horrors) a little undignified.

minor asteroids and points:

North Node: Gemini

Lilith: Libra

Vertex: Scorpio

Fortune: Gemini

East Point: Gemini

Her North Node in Gemini dictated that she needed to prevent her idealism from influencing her thoughts to such a high degree. She needed to consciously develop a more clear-minded and analytical approach involving her thought processes. Her Lilith in Libra was definitely working overtime here. Relationships somehow caused her to err, and her partner choices caused much suffering. She expressed herself through others. As a lover, she was aggressive, yet co-dependent. As a mistress, she was not above trying to cause a divorce, which she did with Johnny Weissmuller and she ultimately became fatally despondent when she found herself pregnant with a bit actor's baby. She used her good looks as a weapon to help her get ahead in the movie industry. Also, Lilith in Libra strangely enough, manifested itself as a sort of lighter female Capricorn archetype, and she pulled herself up by the bootstraps in a rather glamorous way, going to work after her father left the family unit. As such, she exhibited graceful gumption right until the very end. Her Vertex in Scorpio, 5th house dictated that she had a desire or continual need for feeling irresistible and irreplaceable on all levels of intimacy, whether spiritual, intellectual, emotional, or physical. From the fires of hell to the heights of heaven, the further and deeper the range of interaction she could experience with another the more fulfilling. She had a childlike orientation, in all of its manifestations, toward relationships on an internal level. That implicit trust, or perhaps naivete, that was instilled in our childhood persisted far into maturity. The concomitant explosions and occasional tantrums when these constructs are violated also accompany this position. She had a need for fun, creativity, and excitement in a committed relationship, no matter how many years it has endured. She often had deep fears, typical of children, of abandonment, as well as a need for universal acceptance, no matter how she acted, which she needed her partner to respect and nurture, rather than rebuke, especially in adulthood. Her Part of Fortune in Gemini and Part of Spirit in Sagittarius dictated that her destiny lay in travel, education and communication. She was able to overcome enemies by her words and by her writing. Happiness and fulfillment came from being able to express herself fully. Her soul’s purpose lay in seeking truth, justice and fairness. She felt spiritual connections and saw the spark of the divine when she studied, broadened her mind through new philosophies, or looked for inspiration outside the home. East Point in Gemini dictated that she was often insatiably curious and loved to collect little bits of (what seemed to be useless) information and trivia. Her interests were quite varied, and she may have been somewhat scattered. Sometimes her curiosity could appear cold and callous as her level of objectivity was potentially high. There was usually an openness to learning in any situation.

elemental dominance:

water

fire

She had high sensitivity and elevation through feelings. Her heart and her emotions were her driving forces, and she couldn’t do anything on earth if she didn’t feel a strong effective charge. She needed to love in order to understand, and to feel in order to take action, which caused a certain vulnerability which she should (and often did) fight against. She was dynamic and passionate, with strong leadership ability. She generated enormous warmth and vibrancy. She was exciting to be around, because she was genuinely enthusiastic and usually friendly. However, she could either be harnessed into helpful energy or flame up and cause destruction. Ultimately, she chose the latter. Confident and opinionated, she was fond of declarative statements such as “I will do this” or “It’s this way.” When out of control—usually because she was bored, or hadn’t been acknowledged—she was bossy, demanding, and even tyrannical. But at her best, her confidence and vision inspired others to conquer new territory in the world, in society, and in themselves.

modality dominance:

mutable

She wasn’t particularly interested in spearheading new ventures or dealing with the day-to-day challenges of organization and management. She excelled at performing tasks and producing outcomes. She was flexible and liked to finish things. Was also likely undependable, lacking in initiative, and disorganized. Had an itchy restlessness and an unwillingness to buckle down to the task at hand. Probably had a chronic inability to commit—to a job, a relationship, or even to a set of values.

house dominants:

2nd

3rd

1st

The material side of life including money and finances, income and expenditure, and worldly goods was emphasized in her life. Also the areas of innate resources, such as her self-worth, feelings and emotions were paramount in her life. What she considered her personal security and what she desired was also paramount. Short journeys, traveling within her own country were themes throughout her life; her immediate environment, and relationships with her siblings, neighbours and friends were of importance. The way her mental processes operated, as well as the manner and style in which she communicated was emphasized in her life. As such, much was revealed about her schooling and childhood and adolescence. Her personality, disposition and temperament is highlighted in her life. The manner in which she expressed herself and the way she approached other people is also highlighted. The way she approached new situations and circumstances contributed to show how she set about her life’s goals. The general state of her health is also shown, as well as her early childhood experiences defining the rest of her life.

planet dominants:

Neptune

Mercury

Sun

She was of a contemplative nature, particularly receptive to ambiances, places, and people. She gladly cultivated the art of letting go, and allowed the natural unfolding of events to construct her world. She followed her inspirations, for better or for worse. She was intellectual, mentally quick, and had excellent verbal acuity. She dealt in terms of logic and reasoning. It was likely that she was left-brained. She was restless, craved movement, newness, and the bright hope of undiscovered terrains. She had vitality and creativity, as well as a strong ego and was authoritarian and powerful. She likely had strong leadership qualities, she definitely knew who she was, and she had tremendous will. She met challenges and believed in expanding her life.

sign dominants:

Cancer

Gemini

Leo

At first meeting, she seemed enigmatic, elusive. She needed roots, a place or even a state of mind that she could call her own. She needed a safe harbor, a refuge in which to retreat for solitude. She was generally gentle and kind, unless she was hurt. Then she could become vindictive and sharp-spoken. She was affectionate, passionate, and even possessive at times. She was intuitive and was perhaps even psychic. Experience flowed through her emotionally. She was often moody and always changeable; her interests and social circles shifted constantly. She was emotion distilled into its purest form. She ventured out to see what else was there and seized upon new ideas that expanded her community. Her innate curiosity kept her on the move. She used her rational, intellectual mind to explore and understand her personal world. She needed to answer the single burning question in her mind: why? This applied to most facets of her life, from the personal to the impersonal. This need to know sent her off to foreign countries, where her need to explore other cultures and traditions ranked high. She was changeable and often moody. This meant that she was often at odds with herself—the mind demanding one thing, the heart demanding the opposite. To someone else, this internal conflict often manifested as two very different people. She loved being the center of attention and often surrounded herself with admirers. She had an innate dramatic sense, and life was definitely her stage. Her flamboyance and personal magnetism extended to every facet of her life. She wanted to succeed and make an impact in every situation. She was, at her best, optimistic, honorable, loyal, and ambitious.

Read more about her under the cut.

Lupe Velez was born on July 18, 1908, in San Luis Potosi, Mexico, as Maria Guadalupe Villalobos Velez. She was sent to Texas at the age of 13 to live in a convent. She later admitted that she wasn't much of a student because she was so rambunctious. She had planned to become a champion roller skater, but that would change. Life was hard for her family, and Lupe returned to Mexico to help them out financially. She worked as a salesgirl for a department store for the princely sum of $4 a week. Every week she would turn most of her salary over to her mother, but she kept a little for herself so she could take dancing lessons. With her mature shape and grand personality, she thought she could make a try at show business, which she figured was a lot more glamorous than dancing or working as a salesclerk. In 1924 Lupe started her show business career on the Mexican stage and wowed audiences with her natural beauty and talent. By 1927 she had emigrated to Hollywood, where she was discovered by Hal Roach, who cast her in a comedy with Stan Laurel and Oliver Hardy. Douglas Fairbanks then cast her in his feature film The Gaucho (1927) with himself and wife Mary Pickford. Lupe played dramatic roles for five years before she switched to comedy. In 1933 she played the lead role of Pepper in Hot Pepper (1933). This film showcased her comedic talents and helped her to show the world her vital personality. She was delightful. In 1934 Lupe appeared in three fine comedies: Strictly Dynamite (1934), Palooka (1934) and Laughing Boy (1934). By now her popularity was such that a series of "Mexican Spitfire" films were written around her. She portrayed Carmelita Lindsay in Mexican Spitfire (1940), Mexican Spitfire Out West (1940), The Mexican Spitfire's Baby (1941) and Mexican Spitfire's Blessed Event (1943), among others. Audiences loved her in these madcap adventures, but it seemed at times that she was better known for her stormy love affairs. She married one of her lovers, Johnny Weissmuller, but the marriage only lasted five years and was filled with battles. Lupe certainly did live up to her nickname. She had a failed romance with Gary Cooper, who never wanted to wed her. By 1943 her career was waning. She went to Mexico in the hopes of jump-starting her career. She gained her best reviews yet in the Mexican version of Naná (1944). Bolstered by the success of that movie, Lupe returned to the US, where she starred in her final film as Pepita Zorita, Ladies' Day (1943). There were to be no others. On December 13, 1944, tired of yet another failed romance, with a part-time actor named Harald Maresch, and pregnant with his child, Lupe committed suicide with an overdose of Seconal. She was only 36 years old. (x)

#lupe velez #cancer #star analyses #astrology #long ass post #tragic beauty #mine

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vorfreud · 5 years ago

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films on youtube: part i

Updated on September 29th 2021.

Below is a selection of films available on YouTube. As I try to update this list as regularly as possible (for this is a lenghthy process), please refer to the original post for the newest version.

IMPORTANT NOTE: Apparently, Tumblr restricts the number of links you can have all on one post. Therefore, this list is divided into two parts. You can access part two by clicking on the link below:

PART II HERE.

For a visual reference of all the movies available, click here.

Titles are alphabetized by director, and organized by year of release.

Gozāresh (1977), Abbas Kiarostami

Close-Up (1990), Abbas Kiarostami

Taste of Cherry (1997), Abbas Kiarostami

Shirin (2008), Abbas Kiarostami

Dreams (1990), Akira Kurosawa

Trans-Europ-Express (1966), Alain Robbe-Grillet

L'Homme Qui Ment (1968), Alain Robbe-Grillet

Rien Que Les Heures (1926), Alberto Cavalcanti

They Made Me a Fugitive (1947), Alberto Cavalcanti

Downhill (1927), Alfred Hitchcock

The Lodger (1927), Alfred Hitchcock

Elstree Calling (1930), Alfred Hitchcock and Adrian Brunel

The 39 Steps (1935), Alfred Hitchcock

Sabotage (1936), Alfred Hitchcock

Young and Innocent (1937), Alfred Hitchcock (Part I / Part II)

The Lady Vanishes (1938), Alfred Hitchcock

Rebecca (1940), Alfred Hitchcock

Spellbound (1945), Alfred Hitchcock

Notorious (1946), Alfred Hitchcock

The Paradine Case (1947), Alfred Hitchcock

Under Capricorn (1949), Alfred Hitchcock

The Trouble with Harry (1955), Alfred Hitchcock

Salomé (1923), Alla Nazimova and Charles Bryant

Goodbye Again (1961), Anatole Litvak

Ivan’s Childhood (1962), Andrei Tarkovsky

Andrei Rublev (1966), Andrei Tarkovsky (Part I / Part II)

Solaris (1972), Andrei Tarkovsky (Part I / Part II)

Stalker (1979), Andrei Tarkovsky

Nostalghia (1983), Andrei Tarkovsky

The Sacrifice (1986), Andrei Tarkovsky

Very Nice, Very Nice (1961), Arthur Lipsett

21-87 (1963), Arthur Lipsett

A Trip Down Memory Lane (1965), Arthur Lipsett

The Chase (1946), Arthur Ripley

A Separation (2011), Asghar Farhadi

Werckmeister Harmonies (2000), Béla Tarr

The Turin Horse (2011), Béla Tarr

Un Homme Qui Dort (1974), Bernard Queysanne

Il Conformista (1970), Bernardo Bertolucci

By the Bluest of Seas (1936), Boris Barnet

Sherlock Holmes Jr. (1924), Buster Keaton

The General (1926), Buster Keaton

Steamboat Bill (1928), Buster Keaton

Mikaël (1924), Carl Theodor Dryer

Love One Another (1922), Carl Theodor Dryer

Night Train to Munich (1940), Carol Reed

The Way Ahead (1944), Carol Reed

Odd Man Out (1947), Carol Reed

The Running Man (1963), Carol Reed

Behind the Screen (1916), Charles Chaplin

The Gold Rush (1925), Charles Chaplin

City Lights (1931), Charles Chaplin

Modern Times (1936), Charles Chaplin

Monsieur Verdoux (1947), Charles Chaplin

Statues Also Die (1953), Chris Marker, Alain Resnais and Ghislain Cloquet

La Jetée (1962), Chris Marker

Sans Soleil (1983), Chris Marker

If I Had Four Dromedaries (1966), Chris Marker

The Seventh Veil (1945), Compton Bennett

Come Back, Little Sheba (1952), Daniel Mann

Brief Encounter (1945), David Lean

Oliver Twist (1948), David Lean

Madeleine (1950), David Lean

Summertime (1955), David Lean

Il Sorpasso (1962), Dino Risi

The Monsters (1963), Dino Risi

Shockproof (1949), Douglas Sirk

Interlude (1957), Douglas Sirk

Man With a Movie Camera (1929), Dziga Vertov

Twenty Years Later (1984), Eduardo Coutinho

Mikey and Nicky (1976), Elaine May

Agony: The Life and Death of Rasputin (1981), Elem Klimov

Come and See (1985), Elem Klimov

A Tree Grows in Brooklyn (1945), Elia Kazan

A Face in the Crowd (1957), Elia Kazan

The Kreutzer Sonata (1956), Éric Rohmer

Stéphane Mallarmé (1968), Éric Rohmer

Ninotchka (1939), Ernst Lubitsch

That Uncertain Feeling (1941), Ernst Lubitsch

Journey Into the Night (1921), F.W. Murnau

Faust (1926), F.W. Murnau

Sunrise: A Song of Two Humans (1927), F.W. Murnau

City Girl (1930), F. W. Murnau

Tabu (1931), F. W. Murnau

Love in the City (1953), Federico Fellinni …

La Strada (1954), Federico Fellini

The Swindlers (1955), Federico Fellini

Nostos: The Return (1989), Franco Piavoli

Voices Through Time (1996), Franco Piavoli

Landscapes and Figures (2002), Franco Piavoli

Fragments (2012), Franco Piavoli

7th Heaven (1927), Frank Borzage

A Farewell to Arms (1932), Frank Borzage

Mr. Deeds Goes to Town (1936), Frank Capra

Meet John Doe (1941), Frank Capra

Marketa Lazarová (1967), František Vláčil

Die Nibelungen: Siegfired (1924), Fritz Lang

Die Nibelungen: Kriemhilds Rache (1924), Fritz Lang

Metropolis (1927), Fritz Lang

M (1931), Fritz Lang

Hangmen Also Die (1943), Fritz Lang

Scarlet Street (1945), Fritz Lang

Cloak and Dagger (1946), Fritz Lang

House by the River (1950), Fritz Lang

Major Barbara (1941), Gabriel Pascal

The Cigarette (1919), Germaine Dulac

The Battle of Algiers (1966), Gillo Pontecorvo

Coração Materno (1951), Gilda de Abreu

Death Laid an Egg (1968), Giulio Questi

Intermezzo: A Love Story (1939), Gregory Ratoff

Simple Men (1992), Hal Hartley

Hamlet (1921), Heinz Schall and Svend Gade

Kiss of Death (1947), Henry Hathaway

Woman in the Dunes (1964), Hiroshi Teshigahara

After Life (1998), Hirozaku Kore-eda

Bringing Up Baby (1938), Howard Hawks

His Girl Friday (1940), Howard Hawks

Hard, Fast and Beautiful (1951), Ida Lupino

The Hitch-Hiker (1953), Ida Lupino

Crisis (1946), Ingmar Bergman

Summer Interlude (1951), Ingmar Bergman

Summer With Monika (1953), Ingmar Bergman

The Seventh Seal (1957), Ingmar Bergman

Wild Strawberries (1957), Ingmar Bergman

The Virgin Spring (1960), Ingmar Bergman

Through a Glass Darkly (1961), Ingmar Bergman

The Silence (1963), Ingmar Bergman

Winter Light (1963), Ingmar Bergman

Persona (1966), Ingmar Bergman

Hour of the Wolf (1968), Ingmar Bergman

Shame (1968), Ingmar Bergman

The Passion of Anna (1969), Ingmar Bergman

Cries and Whispers (1972), Ingmar Bergman

La Belle Noiseuse (1991), Jacques Rivette

Playtime (1967), Jacques Tati

Man Friday (1975), Jack Gold

Diamonds of the Night (1964), Jan Němec

Who Saw Him Die? (1968), Jan Troell

The Flight of the Eagle (1982), Jan Troell

Valerie and Her Week of Wonders (1970), Jaromil Jireš

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