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A rare gem of cinematic storytelling that weaves docudrama, fictional reenactment, and experimental photography into a powerful, reflective work on the early days of German cinema. The film tells the story of the Skladanowsky Brothers, the German-born duo responsible for inventing the “bioskop”, an early version of the film projector.
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Snobbish and wealthy Joanna Stayton (Goldie Hawn) is living a life of leisure with her husband, Grant (Edward Herrmann), when she falls off their yacht and suffers amnesia. Grant takes the opportunity to rid himself of the demanding Joanna – but Dean (Kurt Russell), a widowed carpenter with four kids who once worked for Joanna, arrives and claims she’s his wife. Joanna can’t remember her past identity, but has trouble believing that she was ever meant to be a working-class mother of four.
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In California, an old man (Bela Lugosi) grieves the loss of his wife (Vampira) and on the next day he also dies. However, the space soldier Eros and her mate Tanna use an electric device to resurrect them both and the strong Inspector Clay (Tor Johnson) that was murdered by the couple. Their intention is not to conquer Earth but to stop mankind from developing the powerful bomb “Solobonite” that would threaten the universe. When the population of Hollywood and Washington DC sees flying saucers on the sky, a colonel, a police lieutenant, a commercial pilot, his wife and a policeman try to stop the aliens.
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Following WWII and with China brought to it’s knees by the actions of the Japanese, prior to the rise of the Communists, led by Chairman Mao. This is the time during which Fei Mu’s film takes place. Wei Wei plays a woman who lives a lonely life, shackled by her care for her gentle, but ill husband (Shi Yu)- that is until her first love reappears into her life. This is Fei’s penultimate film as director, but is still enjoyed by many today as one of his best works. It has now been a firm favorite of many since it was restored in the 80’s by the China Film Archive and some rate it as one of the greatest Chinese movies in history.
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TOKYO-GA, Spanish poster art, 1985, ©Gray City

Taking a breather from the Paris, Texas shooting, Wim Wenders hopped a plane, camera in hand, to look for the Tokyo enshrined by the late Yasujiro Ozu (whose work Wenders dubs “the sacred treasure of the cinema”). What he found instead, documented in this filmic journal, was an urbanized dislocation not far from the forlorn emptiness he coached out of German and American vistas. Whether abstracting businessmen teeing off atop skyscrapers or the rigorous, artisanal craft of building a wax sandwich display, Wenders scrambles for humanity seeping through neon and steel – a humanity linked, inevitably, to the old Japan of Ozu’s films (rebellious tykes, cherry blossoms, tranquil countrysides). A far less queasy piece of hero-worship than Lightning Over Water, the picture meditates not so much on Ozu the filmmaker than on Ozu the vanishing feeling, motifs and images reconsidered in a modernized Japan circa 1983 (the trains that fill the Japanese master’s pictures with notions of inexorable movement have now become bullet expresses, gliding with smooth, ominous impersonality). Elsewhere, Wenders bumps into Werner Herzog (who bitches about having to space-travel to find pure images nowadays), Chris Marker (whose Sans Soleil would make a superb double-bill with Tokyo-Ga) and two aged Ozu stalwarts, gracious, dignified leading man Chishu Ryu and anecdotal camera operator Yuuharu Atsuta. Wenders’ eulogy for a culture alienating its own roots is built, characteristically, upon cinema’s capacity for regenerative beauty, though his links to Ozu are, if anything, more tenuous than his affinity with Nicholas Ray – Ozu’s images distill life, Wenders’ etherealize it. Cinematography by Edward Lachman.
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The skipper goes to the sea with 14 other man to catch fish. However, all execept the skipper are drowned and the people blame the skipper for the death of their dear ones. Meanwhile, Haniyeh, the skipper’s little daughter is paralysed and the skipper and his family leave Tangak for Bushehr…
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Seemingly happy gun enthusiast Bobby Thompson (Tim O’Kelly) tells his wife Ilene (Tanya Morgan) that he’s feeling disturbed, but she hasn’t time to hear him out. Aging horror film star Byron Orlock (Boris Karloff) reluctantly agrees to a public appearance at a drive-in, even though he’s bitter and has announced his retirement. Their paths will eventually cross, as Tommy embarks on a wave of modern horror that outpaces anything in Orlock’s old movies.
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A man tries to get a smoking room approved at the company he works at. While there is initial support from other employees, many end up backing out and change their opinions towards how the company should be run.
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Newspaperman Bill Bradford becomes a special agent for the tax service trying to end the career of racketeer Alexander Carston. Julie Gardner is Carston’s bookkeeper. Bradford enters Carston’s organization and Julie cooperates with him to land Carston in jail. An informer squeals on them. Julie is kidnapped by Carston’s henchmen as she is about to testify.
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After Leila, his boss’s daughter, is kidnapped by psychopathic plague victim Decker, chauffeur Chazz teams up with plague-infected mercenary Luger to penetrate the toxic & off-limits Plague Zone and bring her back alive.
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Larson E. Whipsnade runs a seedy circus which is perpetually in debt. His performers give him nothing but trouble, especially Edgar Bergen and Charlie McCarthy. Meanwhile, Whipsnade’s son and daughter, Phineas and Vicky, attend a posh college. Vicky turns down her caddish but rich suitor Roger Bel-Goodie, but changes her mind when she learns of her father’s financial troubles. Will Vicky marry for money or succumb to the ventriloqual charm of Edgar Bergen? Will Whipsnade’s Circus Giganticus make it over the state line one jump ahead of the sheriff?
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Noémie and Priscilla, two teenagers from a modest background, nurture the same violence, the same revolt. They seriously worry their families, who feel that these girls are capable of anything.
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After the death of her husband, the mother of Julie, Jack, Sue and Tom begins to suffer from a mysterious illness. Aware that she is going to have to go into hospital she opens a bank account for the children, so that they can be financially self-sufficient and will be able to avoid being taken into care by the authorities. Unfortunately she also dies and Julie and Jack (the older, teenage children) decide to hide her body in the basement so that they can have free reign of their household. Soon Tom has taken to dressing as a girl whilst Sue has become increasingly reticent, confiding only to her diary, meanwhile Jack and Julie sense an attraction developing for each other. However Julie’s new beau, Derek, threatens to unearth the many dark secrets within this family as he becomes increasingly suspicious of Jack.
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In England, the times are a changing: it’s mods and rockers. On the day Nancy gets off the London train, cases in hand, looking for the YWCA, Colin has had enough of missing out on the sexual revolution. He begs his smooth (and misogynistic) pal Tolen to teach him ‘the knack’ – how to score with women. Serendipitously, Colin and his new lodger Tom meet up with Nancy while Colin’s buying a bed larger than Tolen’s. The three hit it off, but their simple fun ends when Tolen meets Nancy. Colin is jealous but impotent, and Tolen both attracts and repels her. She swoons, wonders what happened, and cries ‘rape.’ Impish serendipity rubs against unsettling ambiguity; Tolen bolts.
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In a hill city of war-torn China, the American mission hospital is run by Dr. Gray Thompson and Dr. Sara Durand, who secretly loves him. Then Gray comes back from the USA with new equipment …and new wife Louise, who is jealous of Sara, shows herself a coward in the first Japanese air raid, and wants to take Gray back to the States. Others have similar troubles; and Japanese prisoner Colonel Yasuda manipulates them for his own ends.
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