This page is to obtain ONLINE access to the Sands Films Cinema Club presentation of The Threepenny Opera on Tuesday 1st November
To attend in person, please CLICK HERE
In 1929, Bertolt Brecht and Kurt Weill were engaged with GW Pabst to adapt their successful transposition of John Gay’s The Beggar’s Opera to the screen as one of the very first sound films made in Germany. Brecht wanted to give the film even more anti-bourgeois bite than the stage version. His changes proved too strong for the producers: they refused. Brecht sued them but lost and left the film. Pabst to continued alone but did not betray the essence of Brecht's work. A mix of realism and stylized settings, the performances and wonderful score and lyrics retain all of the pungency of the original.
112minutes
This page is to obtain ONLINE access to the Sands Films Cinema Club presentation of The Threepenny Opera on Tuesday 1st November
To attend in person, please CLICK HERE
In 1929, Bertolt Brecht and Kurt Weill were engaged with GW Pabst to adapt their successful transposition of John Gay’s The Beggar’s Opera to the screen as one of the very first sound films made in Germany. Brecht wanted to give the film even more anti-bourgeois bite than the stage version. His changes proved too strong for the producers: they refused. Brecht sued them but lost and left the film. Pabst to continued alone but did not betray the essence of Brecht's work. A mix of realism and stylized settings, the performances and wonderful score and lyrics retain all of the pungency of the original.
112minutes