The Cure (1917) - News Poster



Looking Back 100 Years: The Birth of Classic Hollywood

  • Cinelinx
This month, Cinelinx is taking you on a trip back through time. Join us as we examine how movies have changed over the last 100 years. To begin, we are going all the way back to 1917.

1917 was a year of tension and conflict. Europe was war-torn, having been engaged in World War I for 3 years with no hope for peace on the horizon. Several acts by Germany including resuming submarine warfare and the Zimmerman Telegram would cause the United States to reluctantly enter the war and bolster the Allied forces. On the homefront, numerous scientific advances around the turn of the century were proliferating their way through society to modernize cities and improve industrial efficiencies. However, the transition to having more machines and electricity in the workplace was not a smooth one. Industrial accidents were common, working conditions were terrifying, and child labor was the norm. Thus, free time was not
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Krisha and The Art of Filming Self-Destruction

A movie that approaches and separates itself from a familiar storyline.

Self-destruction has been a popular cinematic theme since the silent era. One of the first examples being Charlie Chaplin’s The Cure from 1917, a film about a drunk who goes to a spa hoping to cure his addiction. Almost 100 years later, the most recent contribution to this popular narrative is Krisha, Trey Edward Shults’s first feature film. The film stems from Shults’s short film released the year prior titled Krisha, and, spanning over a single day, tells the story of a woman returning home after having disappeared for a number of years.

Krisha isn’t the first film to screen addiction, as stated above. To name a few movies of this genre: Miles Ahead (2016), Trainwreck (2015), Thanks for Sharing (2012), Shame (2011), Requiem for a Dream (2000), Man With a Golden Arm (1955), The Lost Weekend (1945), and Sadie McKee (1934). Yet since its festival circuit and (limited) release as of
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Chaplin—First, Last, And Always

For me, comedy begins with Charlie Chaplin. I know there were screen comedies before he came along, and I appreciate the work of everyone from Mr. and Mrs. Sidney Drew to Max Linder. But none of them created a persona as unique or indelible as the Little Tramp, and no one could match his worldwide impact. The miracle of the “golden dozen” two-reelers he made for Mutual Film Corporation in 1916-17, just a few years after his motion picture debut, remains unmatched almost a century later: twelve perfectly-formed comedies (The Immigrant, Easy Street, The Adventurer, The Cure, et al), filmed…
See full article at Leonard Maltin's Movie Crazy »

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