- Índice de Ripeos: -
- DVDRip Versión Original con subtítulos en inglés incrustados, publicado por jacob.
DVDRip Versión Original con subtítulos en español, publicado por serdar002.
*Nota: Tenga en cuenta la calidad de cada ripeo para hacer la mejor elección. Haga click aquí para más información.
"- Leave the lady alone.
- Lady? What lady? Me?"
FICHA TÉCNICA Y ARTÍSTICA
La comedia de la vida
Director - G. W. Pabst
Assistant director - Mark Sorkin; Gerbert Rappaport
Screenplay - Leo Lania; Ladislaus Vajda; Béla Balázs
Basada en la obra de Bertolt Brecht (Frei nach dem Bühnenstück) con música de Kurt Weill
Director of photography - Fritz Arno Wagner
Assistant camera - Carl Moeller; Walter Hrich
2nd Camera unit - Robert Baberske
Still photography - Rudolf Brix; Hans G. Casparius (Werkfotos)
Set design - Andrej Andrejew
Costumes - Max Pretzfelder
Make-up - Paul Dannenberg
Editing - Hans Oser
Sound - Adolf Jansen
Boom operator - H. Meller; Eugen Hrich
Music - Kurt Weill
Conductor - Theo Mackeben
Music performance - Lewis-Ruth-Band
Lyrics - Bertolt Brecht
REPARTO
Rudolf Forster .... Mackie Messer
Carola Neher .... Polly Peachum
Reinhold Schünzel .... JPolizeichef Tiger-Brown
Fritz Rasp .... Bettlerkönig Peachum
Valeska Gert .... Frau Peachum
Lotte Lenja .... Dirne Jenny
Ernst Busch .... Straßensänger
Wladimir Sokoloff .... Smith
Production company - Tonbild-Syndikat AG (Tobis) (Berlin); Warner Bros. Pictures GmbH (Berlin)
manufactured by - Nero-Film AG (Berlin)
Producer - Seymour Nebenzahl; Gus Schlesinger (Delegierter Warner); Guido Bagier (Delegierter Tobis)
Production manager - Wilhelm Löwenberg
Unit manager - Gustav Rathje
Shoot - 19.09.1930-15.11.1930
Original distributor - National-Film Verleih und Vertriebs GmbH (Berlin)
Length - 3077 m, 112 min
Format - 35mm, 1:1.19
Premiere - Atrium, 19 de febrero de 1931
DVD en Play.com
German-cinema.de | filmportal.de | IMDb
- Lady? What lady? Me?"
FICHA TÉCNICA Y ARTÍSTICA
La comedia de la vida
Director - G. W. Pabst
Assistant director - Mark Sorkin; Gerbert Rappaport
Screenplay - Leo Lania; Ladislaus Vajda; Béla Balázs
Basada en la obra de Bertolt Brecht (Frei nach dem Bühnenstück) con música de Kurt Weill
Director of photography - Fritz Arno Wagner
Assistant camera - Carl Moeller; Walter Hrich
2nd Camera unit - Robert Baberske
Still photography - Rudolf Brix; Hans G. Casparius (Werkfotos)
Set design - Andrej Andrejew
Costumes - Max Pretzfelder
Make-up - Paul Dannenberg
Editing - Hans Oser
Sound - Adolf Jansen
Boom operator - H. Meller; Eugen Hrich
Music - Kurt Weill
Conductor - Theo Mackeben
Music performance - Lewis-Ruth-Band
Lyrics - Bertolt Brecht
REPARTO
Rudolf Forster .... Mackie Messer
Carola Neher .... Polly Peachum
Reinhold Schünzel .... JPolizeichef Tiger-Brown
Fritz Rasp .... Bettlerkönig Peachum
Valeska Gert .... Frau Peachum
Lotte Lenja .... Dirne Jenny
Ernst Busch .... Straßensänger
Wladimir Sokoloff .... Smith
Production company - Tonbild-Syndikat AG (Tobis) (Berlin); Warner Bros. Pictures GmbH (Berlin)
manufactured by - Nero-Film AG (Berlin)
Producer - Seymour Nebenzahl; Gus Schlesinger (Delegierter Warner); Guido Bagier (Delegierter Tobis)
Production manager - Wilhelm Löwenberg
Unit manager - Gustav Rathje
Shoot - 19.09.1930-15.11.1930
Original distributor - National-Film Verleih und Vertriebs GmbH (Berlin)
Length - 3077 m, 112 min
Format - 35mm, 1:1.19
Premiere - Atrium, 19 de febrero de 1931
DVD en Play.com
German-cinema.de | filmportal.de | IMDb
SINOPSIS
London’s underground world: the elegant gang boss Mackie Messer falls in love with the beautiful Polly, daughter of beggar king Peachum, and plans to marry her. In a dusty underground warehouse - the room lavishly prepared with goods stolen from London's top shops - the wedding is attended by a crowd of beggars and thieves, as well as Tiger Brown, police chief and Mackie’s best friend. Peachum, however, strongly opposes the marriage. He puts pressure on Tiger Brown to send Mackie to the gallows, threatening to organize a beggars' revolt to disrupt the queen's upcoming coronation if the police chief does not accede to his wishes.German-cinema.de
"Los bajos fondos londinenses: el elegante capo Mackie Messer se enamora de Polly, la hija del rey de los mendigos Peachum, y pretende casarse con ella. Al padre no le gusta nada la idea e intentará desbaratar los planes de Mackie por diversos medios. Y tal." Jacob
En 1931 Pabst realiza una de sus obras más logradas, “LA OPERA DE CUATRO CENTAVOS”, con música de Kurt Weill, es la adaptación de la obra teatral del gran Bertold Brecht, el que a su vez adapta una pieza clásica del siglo XVIII, “La ópera del mendigo” de John Gay. Alabada por críticos e historiadores, se ambienta en el Londres de 1900, pero se trata de un contexto estilizado que ironiza sobre la sociedades modernas, la sociedad capitalista-burguesa con sus falsas dignidades y su organización basada en el lucro, o sea, en definitiva, en el saqueo y el robo.
El guión pertenece a Leo Lania, Ladislao Vajda y Bela Balazs, este último realizador, guionista y teórico húngaro, autor de obras teóricas tan estimadas como “El film”. Los decorados pertenecen a Andrei Andreiev, responsable también de la escenografía de “La caja de Pandora” y “Don Quijote”. La iluminación pertenece a Fritz Arno Wagner, fotógrafo de “Sombras”, “El ángel azul” y “Cuatro de infantería”.
El personaje protagónico es un pintoresco capo del hampa, amigo del jefe de policía, con el cual vivieron impiadosas aventuras coloniales en la India. El conflicto se desata cuando este gángster se prenda de la hija del que dirige a los inválidos e indigentes –en su propio beneficio. La resolución es de lo más aleccionadora.
Después de indignarse por el casamiento inconsulto de su hija con un delincuente, el director de la “corte de los milagros”, organiza una manifestación de mendigos e indigentes en el desfile por la coronación de la reina, para arruinar al jefe de policía, responsable del orden, por no haberlo librado del deplorable esposo de su hija.
Canciones irónicas pautan una puesta en cámara, cercana al ballet. Alfredo Colozzo - academiadelapipa.org.ar
Die Dreigroschenoper (1931)
A distinctly theatrical rendition of Brecht's satirical play, The Threepenny Opera looks and sounds wonderful. It does, however, almost demand a prior knowledge of the text and era. In the final decade of the Nineteenth Century the foggy London Docks are a forbidding place for even the bravest of souls. On narrow streets lined with empty warehouses and packed whorehouses, crowds gather to hear the tale of Mack the Knife. A mysterious figure who preys remorselessly on the weak and vulnerable, mere mention of his name sends chills running down people's spines. From one of these brothels steps Mackie Messer (Rudolf Forster), a smartly attired and well-appointed gentleman. On his arm hangs Pirate Jenny (Lotte Lenya), both tart and girlfriend.
She's dropped like a hot potato when Mackie spots Polly Peachum (Carola Neher) though. Polly has looks, a fine business brain behind her pretty face and excellent connections. No wonder Mackie is quite taken with her. Polly's father Jonathan Peachum (Fritz Rasp) is known as the King of the Beggars, for his tight grip on the vagrant population of the Capital. Through this network he has fingers in many pies, which is just how Mackie operates via his web of burglars and villains. Both stand outside of the law, as represented by Tiger Brown (Reinhold Schünzel), though Mackie has an advantage; many years ago he was stationed in India with Brown. Taking advantage of the immunity that results, Mackie thieves at will. It's a useful freedom, especially when on a whim he decides to marry Polly.
For anybody coming to The Threepenny Opera cold, its opening thirty minutes could be something of a culture shock. After Kurt Weill's haunting theme has played under the credits, the viewer is thrust onto the cold streets of London like a new-born babe. Mackie appears, looking suave and dangerous, while Jenny and Polly are later spotted. Locals move through the streets and the camera follows, yet there is no dialogue worth mentioning. All we hear are songs, thrilling the nerves with Macheath or enticing alehouse patrons into a moment of dance. What we don't get is exposition, background and explanation; the characters live in this city, everything else has to be inferred. Given this challenge you can either sit back and be confused, or take an active part in harvesting any crumbs that drop from the table. Chart the latter course and a world of corruption, power, surprise and beauty is revealed.
It's easy to identify the source of this initial obfuscation though -- Georg Wilhelm Pabst. Faced with The Threepenny Opera, inherently theatrical source material, he makes few concessions to the broader vista of cinema. Instead his film remains true to its origin, a choice that always has certain implications for an audience. In the case of The Threepenny Opera this means that a working knowledge of at least three "languages" is required to feel the film's full power. On a simplistic level it's obvious that a functional fluency in German will enhance the experience, simply because translation deadens so much of the dialogue's subtle rhythm, resonance and nuance.
At a more basic level, a feel for the language of theatre may be the difference between loving and hating The Threepenny Opera. So much can be left unsaid in a live performance, where the cast is able to establish a rapport with the audience, that this connection is often overlooked. Yet such a conduit is vastly more difficult to create on film, which is where many adaptations fail. To get the most out of The Threepenny Opera you need to be aware of how stage plays function, then allowance can be made. At the fundamental, global level an understanding of the period, of Victorian society, pays dividends. The class hierarchy of the time shaped people's behaviour, the dynamics of their interactions. To realise this is to bathe the movie in a new light, where the characters no longer live in a world far removed from our own.
[img]http://www.filmportal.de/public/pics/IEPics/ef/2716F1B429BD4A208B42EE496D13B0FD_1358.jpg]Given that the cast perform in a style appropriate to Bertolt Brecht's words, they each add something of note to The Threepenny Opera. Forster exudes an air of power, authority and self-belief; qualities founded on his control of London's criminal underworld. At first this makes Mackie seem remote, a lofty puppeteer who governs the lives of others without a thought for them as people. However while this feeling remains, Forster tempers Mackie with humour, love and even tolerance. In contrast, while Rasp displays the same willingness to abuse the misfortune of others, he has no redeeming feature; he gets what he deserves. It's only Neher, trapped in the middle, who acts to prevent the destruction of all; her wits and steely resolve prevail. Along with the rest of the cast, these three seem only too happy to burst into song; it's amazing just how appropriate these interludes seem. Obviously Pabst's decision to retain a theatrical tone was the correct one.
Especially impressive in this print, newly struck by the National Film Theatre, are the production designs of Andrej Andrejev. Evoking the constricted, hazy and laissez faire atmosphere of the docks, the sets balance expressionism and realism. Frequently shot from unusual angles by Fritz Arno Wagner, the cast is occasionally dominated by their environment. This is, perhaps, why the tone of The Threepenny Opera waxes and wanes so considerably. Reaching a peak of tension during the beggar rally, several long connecting scenes produce a nadir of equal intensity. In the end only Weill's songs have real bite, nailing scathing lyrics to memorable melodies. By insinuating themselves into your awareness, they indicate how great The Threepenny Opera could have been with Brecht's original script. It's not that Pabst's effort is a misfire though, more a satirical dart which misses its target.
A review by Damian Cannon.
Copyright © Movie Reviews UK 1998
Copyright © Movie Reviews UK 1998
Die Dreigroschenoper. The Threepenny Opera. The Beggar's Opera. La Comedia de la vida.
Die Dreigroschenoper (The Threepenny Opera - G.W. Pabst, 1931) DVDRip DivXClasico.com.avi [1.09 Gb] 
GSpot
| File Name: | La Opera de cuatro cuartos.avi | ||
| File Size (in bytes): | 1,170,741,248 | ||
| Duration: | 1:44:40 | ||
| Subtype: | OpenDML (AVI v2.0), | ||
| Video Codec Name: | XviD 1.2 SMP | ||
| Width x Height (pixels): | 576 x 440 | ||
| Video Bitrate: | 1406 kb/s | ||
| Bits/Pixel: | 0.222 bpp | ||
| Frames Per Second: | 25 fps | ||
| Compatibility: | B-VOP, , | ||
| Audio Codec: | 0x0055 MPEG-1 Layer 3 | ||
| Audio Bitrate: | 77 kb/s | ||
| Audio Channels: | 1 | ||
| Interleave/Preload (ms): | 40/522 |
CAPTURAS
Also Known As:
Dreigroschenoper, Die (Germany) (alternative spelling)
The Beggar's Opera
The Threepenny Opera
Ópera dos Três Vinténs (Portugal) [pt]
Comedia de la vida, La (Spain) [es]
Kerjäläisooppera (Finland) [fi]
Opera da tre soldi, L' (Italy) [it]
Zebracka opera (Czech Republic) [cs]
Este film tiene dos versiones, alemana y francesa (cosa de los inicios del sonoro), ésta es la alemana. La francesa tiene un poco más de luz, más definición tal vez pero algunos defectos en los encuadres, además los actores son más impactantes en la alemana. Como podéis ver, tiene subtítulos en inglés incrustados, una pena.
En DXC hay filmo de Pabst: GWP
Y la obra de Brecht en español en eMule:
Brecht, Bertolt - La ópera de dos centavos.pdfRipeo de BlueGardenia.
Nos vemos.
