Directed by Joe May
From the 35mm Restoration by the F.W. Murnau Foundation
From its elaborate and stylish opening scenes, Asphalt immediately establishes itself as a startling achievement. This unforgettable film is in many ways the perfect summation of German filmmaking in the silent era: a dazzling visual style, a psychological approach to its characters, and the ability to take a simple and essentially melodramatic story and turn it into something more complex and inherently cinematic. Although influenced by such classics as The Last Laugh and Berlin: Symphony of a Great City, Asphalt is a unique look at urban life and a classic in its own right.
Gustav Frahlich, best known as the young protagonist of Metropolis, stars as Holk, a strait-laced traffic cop who has the simple task of escorting a diamond thief to the police station. However, the thief is the exotic and beautiful Else (played by Betty Amann), which makes the task far from simple. The stage is thus set for a scandalous turn of events, and the drama is made all the more exciting thanks to the dynamic photography of Ganther Rittau (The Blue Angel) and the equally impressive sets of Erich Kettelhut (Metropolis).
Asphalt is directed by Joe May, a leading German filmmaker of the 1910s and 1920s who is also known for the two-part epic The Indian Tomb. In addition, he helped to launch the career of Fritz Lang. Like Lang, May later relocated to Hollywood, where he directed several classic B-films, most notably The Invisible Man Returns. But Asphalt remains perhaps his most famous, and some say greatest, work.
"Asphalt" reveals a filmmaker of astonishing technical skills and a distinctive visual style, based on a use of raked sets to create a sense of precariousness and claustrophobia." Dave Kehr, The New York Times
Click here to learn more at Kino Lorber Edu. Interested in bringing Asphalt to your school or library? If you'd like to have an in-class viewing, on-campus screening, or purchase the DVD for your library's collection, please visit our site or contact Estelle Grosso at EDU@kinolorber.com or call (212) 629-6880 with your request.
RT' @vulture': These are the kinds of movies we talk about for years' https://t.co/uBX0ieYcmy'
RT' @otiewheeler': Well, Martin Eden (2019, Pietro Marcello) is completely beguiling. That film stock! Italian pop! Soft lenses. This leadin…
RT' @mspfilmsociety': NOW SHOWING-- MARTIN EDEN. A neorealistic masterpiece adapting one of Jack London's best novels, following the tale of…
RT' @TheLoftCinema': "The sort of movie that restores your faith in an art form - or, at the very least, in the craft of turning a bygone era…
RT' @Kinoscope': "...the short century hasn’t taught us anything, and we’re back to square." ' @Honors_Zombie' interviews Pietro Marcello for' @…'
RT' @CitizensJourn': Monday Night Foreign Film Series VIRTUAL CINEMA NY Times Critic's Pick!! Streaming this Friday is the audacious and thr…
RT' @SilentDawnLB': I'm going to be so embarrassing about MARTIN EDEN, because that's one of the best movies I've seen in my life, full-stop.
RT' @carbon_arc': Virtual screenings return with Martin Eden available from October 23 to November 5.' https://t.co/Sr9qO28iKP'' https://t.co/Gw…'
RT' @thepscc': Jack London's provocative tale MARTIN EDEN comes to Virtual Cinema- a New York Times CRITIC'S PICK and winner of the Best Acto…
Inquiries & Press
333 W. 39th St., Ste. 503
New York, NY 10018
Tel. (800) 562-3330
Fax. (212) 714-0871
Press & Media
For publicity assistance and press inquiries please contact us by emailing firstname.lastname@example.org or calling 212-629-6880.