White Rose (film)

White Rose (Hungarian: Fehér rózsa) is a 1919 Hungarian silent drama film directed by Alexander Korda and starring María Corda, Gyula Bartos and Emil Fenyvessy. It was based on an 1853 novel by Mór Jókai.[1] It was released by the state-owned Hungarian film industry during the Hungarian Soviet Republic, although production had begun before the regime came to power.[2] Korda went on to make two further films for the Soviet government Yamata and Ave Caesar! which led to his eventual arrest once the regime had been overthrown and his ultimate decision to leave Hungary for Austria.

White Rose
Directed byAlexander Korda
Written byMór Jókai (novel)
László Vajda
StarringMaría Corda
Gyula Bartos
Emil Fenyvessy
Helene von Bolvary
CinematographyGusztáv Mihály Kovács
Production
company
Release date
1919
CountryHungary
LanguageSilent
Hungarian intertitles

Cast

References

  1. ^ Kulik p.340
  2. ^ Kulik p.25

Bibliography

  • Cunningham, John. Hungarian Cinema: From Coffee House to Multiplex. Wallflower Press, 2004.
  • Kulik, Karol. Alexander Korda: The Man Who Could Work Miracles. Virgin Books, 1990.

External links

Joan Chen

Joan Chen (born April 26, 1961) is a Chinese American actress, film director, screenwriter, and film producer. In China she performed in the 1979 film Little Flower ("小花") and came to the attention of western audiences for her performance in the 1987 film The Last Emperor. She is also known for her roles in Twin Peaks, Red Rose, White Rose, Saving Face, and The Home Song Stories, and for directing the feature film Xiu Xiu: The Sent Down Girl.

Red Rose White Rose

Red Rose White Rose (Chinese: 紅玫瑰白玫瑰; pinyin: Hong mei gui bai mei gui) is a 1994 Hong Kong drama film directed by Stanley Kwan. It was entered into the 45th Berlin International Film Festival.

The White Rose (film)

The White Rose (Arabic: الوردة البيضاء‎, translit. Al Warda Al Baida) is a 1933 Egyptian film directed by Mohammed Karim, the author of the silent film Zeinab. It was the second Egyptian musical film after Ounchoudat al-fouad, the success of which led to the musical as the preferred genre of Egyptian cinema.

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