Archive for the 'National cinemas: Germany' Category
Reporting on the magnificent Cinema Ritrovato festival at Bologna has become a tradition with us, but it’s become harder to find time during the event to write an entry. The program has swollen to 600 titles over eight days, and attendance has shot up as well; the figure we heard was over 2000 souls. The organizers–Peter von Bagh, Gian Luca Farinelli, and Guy Borlée–have responded to requests for more repetition of titles by slotting shows in the evening, some starting as late as 9:45. (You can scan the daily program here.) There are as well panel discussions, meetings with authors, and some unique events, such as carbon-arc outdoor shows, the traditional screenings on the Piazza Maggiore, and Peter Kubelka’s massive and mysterious Monument Film. Add in time to browse the vast book and DVD sales tables, and the need to socialize with old friends.
In all, Ritrovato is becoming the Cannes of classic cinema: diverse, turbulent, and overwhelming. How best to give you a sense of the tidal-wave energy of the event? I’ve decided to take off one morning and write up just one day, Monday 29 June. I don’t know when Kristin and I will find time to write another entry, for reasons you will discover.
9:00 AM: Ned Med Vaabnene! (Lay Down Your Arms!, 1914) was a big Danish production, based on a popular anti-war novel by the German Bertha von Suttner. It’s a remnant of the days when the rich went to war along with the common folk. (Sounds quaint in today’s America, where the elite have other priorities.) The Nordisk studio specialized in “nobility films,” melodramas that show the upper class brought low by circumstances; Dreyer’s The President (1919) is another example. The film, directed by Holger-Madsen, shows a family devastated by war and its aftermath. It’s shot in tableau style, with the restrained acting and sumptuous, light-filled sets characteristic of Nordisk. The combat scenes are remarkably forceful, but the most harrowing scene, for me, is the shot showing a battlefront hospital, with exhausted nuns and wounded men strewn around the shot–a tangle of limbs and heads.
Premiered soon after the Great War broke out, Lay Down Your Arms! anticipates Nordisk’s wartime policy. Denmark was a neutral country, and the Danish industry depended on both the German and the American markets. As a result, most of the films studiously avoided taking sides. After the war, with the revival of the German industry and the circulation of American films in Europe, Nordisk lost its powerful position in the international market.
The entire film is available for viewing online at the Danish Film Institute site.
Programmer Mariann Lewinsky, in charge of the “100 Years Ago” thread, wisely included other pacifist films from the mid-teens. One of the high points was the evening screening, on the Piazza Maggiore, of the fine Belgian film Maudite soit la guerre (1914), in the hand-colored version I discussed some years back. Not by accident, I suspect, Lay Down Your Arms! featured several Lewinsky dogs.
10:30 AM: Werner Hochbaum was an unknown name to me, but after seeing Morgen beginnt das Leben (Life Begins Tomorrow, 1933), I realized that was my loss. This story of a cafe violinist released from prison is a sort of anthology of 1920s International Style devices: canted angles, rapid montages, City Symphony passages, flamboyant camera movements, multiple-image superimpositions, and huge close-ups of faces, hands, and objects. The work on sound is no less ambitious, with voice-overs, sound motifs (a carousel, a canary’s call-and-response to a chiming doorbell), offscreen dialogue, and harsh auditory montages of traffic and city life. Everything from Impressionist subjective-focus point-of-view to Expressionist shadow work comes into play.
The plot is gripping throughout. At first we don’t know why the violinist was imprisoned, and we learn about the case first from his gossiping neighbors (excellent run of whispers during fast-cut close-ups of housewives), then from his own flashbacks, which build up to a revelation of the murder he committed. Threaded with all this is another uncertainty: Has his wife begun a love affair while he was in jail? Giving us only glimpses of her life as a cafe waitress, Hochbaum leads us to suspect that he will come home to more misery–and perhaps another temptation to murder.
Along with all this were arresting side scenes of cafe life, like a fat woman ordering up a gigolo to dance with her, reminiscent of Georg Grosz and the New Objectivity’s cynical portrait of daily desperation. It’s a lot to pack into 73 minutes, but Morgen beginnt das Leben succeeds smoothly and made me want more. Alex Horwath‘s introduction confirmed that this is a director we should know better. We can hope that a DVD edition is coming soon.
Noon: A packed house for the panel of three American studio archivists: Schawn Belston of Twentieth Century Fox, Grover Crisp of Sony, and Ned Price of Warners. Too many ideas to summarize here, but one that emerged: Digital tools are great for restoration, not so reliable for preservation.
Ned (left) emphasized that now scanners are very sensitive to the oldest negatives, with their shrinkage and warpage. But Ned pointed out that today’s monitors don’t often render the full color scale needed to respect film’s tonal range, so that weak monitors mean that we are “working blind” and may “bake in” flaws that will be evident when display devices improve. Likewise, low bit-depths (often only 10-bit) in outputting to film for preservation can cause problems later. Grain reduction is another big problem. Grover (center) added: “When you do anything to grain, you’re denaturing the film.”
On the restoration front, Schawn showed clips from the 1959 Journey to the Center of the Earth, first from a beautiful photochemical restoration of twelve years ago, then from a recent digital one. To my eye, the warm skin tones of the 35mm image were more attractive than the almost porcelain surfaces of the digital version, but the latter was sharper and contained a healthy amount of grain. Grover screened A/B comparisons of the main titles of Only Angels Have Wings and Vaghe stelle dell’Orsa (Sandra ), both of which showed how handily digital restoration creates a rock-stable image, without the jitter and weave unavoidable with a strip of film.
All the panelists agreed that digital restorations are rapidly improving; ones finished only a few years ago could now be done better. A major problem coming up is that younger restoration workers know the digital tools better than the look and feel of photochemical, particularly the surface of older films. Grover recalled that one eager techie added flicker to a Capra silent because he thought that was how old movies looked.
1:15 PM: Hurried lunch with Schawn. Main topic: The Grand Budapest Hotel, but also the vagaries of the DVD and Blu-Ray market.
You Never Know Women (1926) is an exercise in good old classical storytelling. The plot presents Vera (Florence Vidor), star of a troupe of Russian entertainers, momentarily entranced by a no-good millionaire who wants to seduce her. The magician of the troupe, Norodin (Clive Brook) loves her, but she’s unaware of her feelings for him until the Lothario’s true nature is exposed. El Brendel adds spice as a clown devoted to his pet duck.
Variety‘s review was ecstatic, claiming that “Wellman at the megaphone lifts himself into the ranks of select directors with by his handling of this story, for his direction is never obvious or old-fashioned.” I’ll say. Filled with running gags, seesawing conflicts, and motifs (Ivan’s skill at knife-throwing, the expletive, “Ridiculous!”), You Never Know Women has a headlong pace. With nearly a thousand shots in 70 minutes, it relies on glances, gestures, and reactions to channel the dramatic flow. It needs only three expository titles, letting its 100 or so dialogue titles pinpoint key emotional transitions. In anticipating the sound cinema that was just around the corner, You Never Know Women resembles the more famous Beggars of Life (1928, given pride of place at Ritrovato), which as I recall uses dialogue titles exclusively.
The Man I Love (1929) tells the familiar story of a prizefighter who, as he rises in the game, leaves his loyal woman behind. As an early sound film, it relies on multiple-camera shooting for extended dialogue scenes, but Wellman enlivens the staging with unusual angles, including a view of a quarrel seen through a window in a dressing-room door. The Man I Love boasts the sort of ambitious, somewhat bumpy tracking shots we sometimes find in early talkies. One swaggering camera movement takes us from the locker room into an arena, down the aisle, past the ring, and to Dum Dum’s anxious wife in the crowd, a sketchy prefiguration of the celebrated Steadicam movement in Raging Bull. The fight scenes, not requiring sync sound, are shot with brio, while the dialogue scenes are extremely well-miked, allowing for fairly fast line readings and varied volume and emphasis in the voices.
Gina Teraroli and David Phelps, along with other colleagues, have assembled a wide-ranging dossier on Wellman’s work that serves as a fine complement to the Ritrovato thread.
5-something PM: One of the things in the first edition of our Film History: An Introduction that made me proud was the inclusion of sections on Indian cinema, a subject usually ignored in textbook surveys. I remember in the late 1980s and early 1990s watching the 1950s-1960s classics of Hindi filmmaking with a sense of discovery: How could we not have known this invigorating tradition? It was therefore with a sense of homecoming that I visited Raj Kapoor’s Awara (“The Vagabond,” 1951), in a pretty sepia-tinted print.
The young ne’er-do-well Raj (no last name, and this is important) is on trial for attacking a judge in his home. A female lawyer, Rita, takes up his defense and urges the judge, on the witness stand, to tell why he expelled his wife from his home many years ago. The wife had been kidnapped by the gangster Jagga, and the judge assumed that the child she was now expecting was Jagga’s. Before the courtroom, Rita recounts up the story of how young Raj, actually the judge’s legitimate son, took up a life of crime. To add spice, Rita is the judge’s ward and Raj’s lover.
No coincidence, no story, they say, and Awara offers plenty of timely misunderstandings and improbably neat encounters. No matter. We’re told that TV narrative, by stretching its tale over several hours, can introduce novelistic breadth, but so can Indian classics of the 1950s. This one takes us across twenty-four years and as many ups and downs as a mini-series might offer. Not to mention Kapoor’s vigorous visual style, with huge sets, vivacious fantasy sequences, and traces of 1940s Hollywood hysteria (chiaroscuro, fluid track-ins to overwrought faces, even thunder and lightning in the distance). Here Raj, about to stab the judge, shatters the childhood picture of Rita; her simple gaze checks his moment of revenge.
Then there are the songs, lusciously sung by Lata Mangeshkar and Mukesh. Of course the sprightly “Awara Hoon” is the official classic and Kapoor’s signature tune, but this time around my favorite was the duet, “I wish the moon…,” with Rita asking the moon to look away and Raj asking it to turn to him. With its glamorized social realism, its tale of a good boy gone wrong, unjustly punished, and eventually redeemed, and its primal themes of mothers, fathers, and sons, Awara is a milestone in the world’s popular cinema…. and just one of several Indian classics in this year’s Ritrovato.
That was one day. Now I’m off to…what? Polish films in widescreen? The Riccardo Freda retrospective? The rare Ojo Okichi? Or maybe the restored Oklahoma!? In any case, this afternoon an incontro on Nicola Mazzanti‘s book 75000 films, and tonight Guru Dutt’s glorious Pyaasa.
I tell you, it’s hard to keep up, running on Ritrovato time.
Nargis and Raj Kapoor sing to the moon in Awara.
Le brasier ardent.
Six years ago David and I celebrated the 90th birthday of the classical Hollywood cinema with a post that included a list of what we considered the ten greatest (surviving) films of 1917. Choosing the ten best films of 90 years ago has become a custom, one which helps us avoid doing a ten-best list for the current year. It’s a way of drawing attention to some wonderful but often little-known films, for those who are interested in exploring the treasures of silent cinema.
For some reason, that 1917 list was pretty easy to put together. In recent years, I’ve had more trouble. As I wrote last year, “For the past two years, I’ve noted that it was difficult to fill out the list of ten masterpieces. I keep thinking that I’ll get to a year where I won’t have to say that, but 1922 turns out not to be that year. Some titles were obvious, but the last one or two took some hunting.” Well, 1923 still isn’t that year. I’ve again had some trouble filling out the top ten.
Why? 1923 should be packed with worthy candidates. But oddly, some of the most significant directors of the era didn’t make films that year. This seems to have been partly because success brought greater ambitions. In 1923 Fritz Lang was preparing his epic two-part Die Nibelungen, guaranteed to show up in next year’s list. Abel Gance had embarked the long road to the release of Napoléon, four years later.
Carl Dreyer, who had made three films in 1919 and two each in 1920 and 1921, was bouncing around among companies and countries in the mid-1920s, and didn’t again release anything until his 1924 German-produced film, Michael.
Others made relatively unremarkable films. F. W. Murnau’s surviving film from 1923, Die Finanzen des Grossherzogs, serves mainly to prove that comedy was not his strong suit. Victor Sjöström’s Eld ombord (The Hell Ship) doesn’t match the masterpieces we find elsewhere in his career. Louis Feuillade’s 1923 feature Le Gamin de Paris is likewise unexceptional, though it’s of interest for showing his abandonment of complex staging and his conversion to American-style cutting, including angled shot/reverse-shots. (Of Feuillade’s 1923 installment film Vindicta, we can’t speak; we haven’t been able to see it.)
Other films are lost. John Ford made four films that year, only one of which survives: an incomplete, beat-up version of Cameo Kirby that doesn’t make it look like anything special. Murnau’s first 1923 film, Die Austreibung, seems to be gone. Mauritz Stiller’s The Blizzard is lost, and he, too, was probably already involved in his own 1924 two-part epic, The Saga of Gösta Berling.
[December 29: Brian Darr tweets that The Blizzard is not lost, which I am glad to learn. Its Wikipedia entry confirms that it is only partially lost, with about two-thirds of the film known to be preserved.]
Finally, the Soviet cinema, which was to make such major contributions to 1920s cinema, had not yet gotten off the ground.
Still, with some help from David, I’ve concocted a list with some great films and some near-great ones. The place to start was obvious.
From the ridiculous to the sublime
Some years now we’ve been watching the careers of Charles Chaplin, Harold Lloyd, and Buster Keaton delivering wonderful short films and inching toward even greater things. This was the year they blossomed.
Chaplin made a charming short feature, The Pilgrim, this year, but he also surprised everyone by making a sophisticated sex comedy (appearing only in an unrecognizable cameo as a porter). The title role of A Woman of Paris features Chaplin’s regular leading lady, Edna Purviance, as a village girl, Marie, who loses her young boyfriend Jean through a misunderstanding. She runs off to the city to become a rich man’s mistress and realizes too late what she has lost.
The plot centers largely around this romantic triangle and Marie’s indecision about whether to return to her boyfriend, who has become an impoverished artist in Paris, or to stay in the luxurious life that Pierre provides her. The affair between Marie and Pierre is handled in a sophisticated and yet subtle way. There are no love scenes, but at one point Pierre finds himself without a handkerchief and goes into the bedroom to pluck one casually out of drawer. Clearly he spends a lot of time in their love nest.
At the same time, the film deals more generally with the gulf between the very wealthy and the working-class people who who serve them. In one well-known scene, a woman gives Marie a massage, and the camera stays mainly on the masseuse as she tries to maintain a neutral expression while obviously being shocked by the lurid gossip between Marie and a friend. In another, a kitchen assistant in a swanky restaurant cannot bear the odor of the aging game bird he has to fetch for the chef, but the chef and Pierre consider it a prime delicacy.
One of the strengths of the film is that it does not take the obvious approach of making Pierre into a fat, obnoxious oaf. On the contrary, Adolphe Menjou plays him as a witty, unflappable figure. He thinks nothing of arranging a marriage with a rich woman while planning to carry on his affair with Marie, but he puts up with her shifting moods and does genuinely seem to love her. The touch of having him play his saxophone while Marie has a tantrum and orders him out (right) typifies the light touch Chaplin applies to what is ultimately a tragic story.
A Woman of Paris was not well received upon its release, at least by the ticket-buying public, who expected a Chaplin film to star the Little Tramp and to be straightforwardly funny. The title at the beginning, where Chaplin explains that he does not appear in the film undoubtedly did little to appease them. Many critics were respectful, however, and other filmmakers recognized the new type of sophisticated comedy that he had introduced. Lubitsch, who was working on Rosita at the same studio, United Artists, was definitely influenced by it–as we shall see next year when his The Marriage Circle figures in the top ten of 1924. That film includes Menjou, playing a similar role, and in fact after playing minor roles for nearly ten years, he became a star with Chaplin’s film.
[February 10, 2014: Paul Duncan, Film Book Editor for Taschen, has kindly supplied figures showing that A Woman of Paris was profitable, if not as much as Chaplin's other films: "It earned United Artists $634,000, of which $608,868.91 went to Regent Film (the company Chaplin formed to produce films for Edna Purviance). So with a production cost of $351,853.03, A Woman of Paris made a healthy profit, though, as you write, obviously it would have been more if it had been a comedy starring Chaplin." Paul also informs me that Taschen's The Charlie Chaplin Archives, which he is editing, will be published later this year.]
By 1923, Harold Lloyd had already done some shorts featuring nail-biting but hilarious comedy high up on skyscrapers. (See High and Dizzy in our 1920 entry.) In 1923 he took the same sort of premise into the feature-length Safety Last and created an indelible image: a brash young man hanging from a tilting clock. The gags go on story by story. After surviving the clock, Harold manages to get to the next level, only to be chased out a flagpole by a dog (left). Looking back, people tend to remember the vertiginous climb as the whole film, though remarkably, it takes place only over the last third. Earlier scenes involve a romance and misunderstandings that arise from the hero’s job at a department store.
Safety Last wasn’t Lloyd’s greatest film, but it launched the greatest period of his career. He’ll probably be joining us for these nostalgic lists every year now until 1927. The film is still available as part of New Line’s big box set of Lloyd’s films on DVD. (Buy that one, and you’ll be a step ahead of those future lists.) This summer the Criterion Collection brought Safety Last out on DVD and Blu-ray. There’s only that one feature on the disc, but it includes several supplements, including three newly restored Lloyd shorts and Kevin Brownlow’s 104-minute documentary, The Third Genius.
Keaton, too, entered a hugely creative streak in 1923. He made an amusing satire on Intolerance, the feature-length The Three Ages, in which Buster traces love through the stone age, the Roman era, and the Roaring Twenties. As Keaton himself acknowledged, “Cut the film apart and then splice up the three periods, and you will have three complete two-reel films.” He followed it up, however, with a masterpiece that displayed a complete command of story structure in the classical Hollywood mold: Our Hospitality. It’s arguably as fine as anything he ever made, except The General, which just edges it out.
Interestingly, Our Hospitality and The General are Keaton’s only two period pieces. (that is, if one excepts The Three Ages, which is far more farcical and does not attempt to recreate a realistic period atmosphere.) Both also take place in the South, and outdoors to a considerable extent. The milieu seems to have inspired him. Dealing with old-fashioned trains and other technology generated a lot of clever gags, and the fields, forests, and rivers helped give these two films a pictorial beauty that separates them from the Keaton’s other films.
Way back in 1978, when David and I were working on the first edition of Film Art: An Introduction, we wanted to include an extended analysis of a single film in each of the chapters on film technique. For mise-en-scene we chose Our Hospitality, which contains numerous uses of setting, costume, acting, and lighting brilliant enough to inspire a teacher and straightforward enough for students to notice and understand. Plus what better way to win over students who think that old black-and-white silent movies aren’t worth watching?
The story is simple. Willie McKay, the hero, travels from New York to the deep South, under the impression that he has inherited a mansion. The trip south on a very old-fashioned train supplies a long string of marvelous sight gags. There Willie meets the heroine, who shares his coach. Upon arrival, Willie discovers that his “mansion” is really a decaying house. Since the heroine has invited Willie to dinner, he wanders around to pass the time, unaware that he has inherited something else: a feud. The heroine’s family has a longstanding grudge against the McKays, and the father and two brothers are determined to shoot Willie. The only catch is that Southern hospitality dictates that they cannot kill him while he’s in their home.
In our analysis in Film Art, we pointed to the many motifs Keaton uses in service of the narrative, such as the moment of the hero’s rescue of the heroine as an echo of the earlier fishing pole/waterfall gag. One stylistic motif of staging comes back several times: Keaton using foreground doors or walls to create depth staging of moments when people spy or eavesdrop on others. In the frame on the left below, one of the brothers waits to ambush Willie, who is unaware of his presence (or indeed of the feud itself). In the one on the right, Willie eavesdrops on the brothers in their house, learning that they intend to kill him but that he is safe inside the house. Now Willie learns what’s going on, while the brothers don’t realize that he’s overhearing their plan. Such compositions are a motif in the film, forming a way of manipulating the narration–usually giving us more information than the characters onscreen have.
Like Safety Last, Our Hospitality ushered in the prime of the comedian’s career. Keaton made a string of marvelous features that lasted until The Cameraman in 1928. He didn’t always sign the films as director (he’s listed as co-director of Our Hospitality, along with John Blystone), but his unerring sense of how to compose images for the entire frame, both its surface composition and in depth, suffuses all his films of this period.
I’ve mentioned that Lubitsch was working at United Artists in 1923. Rosita was his first American film, starring Mary Pickford. It’s certainly not a masterpiece on the level of The Marriage Circle or Lady Windermere’s Fan, but Rosita is a charming and impressive film, certainly at least as good as Lubitsch’s other lesser films of the decade, Forbidden Paradise and Three Women.
As I discuss in my book, Herr Lubitsch Goes to Hollywood, the director had already been tentatively using classical Hollywood style in his last two German films, Das Weib des Pharao and Die Flamme. In Rosita, he managed to balance a typical historical epic from his German period (Madame Dubarry, Anna Boleyn) with the light, vivacious appeal of his star. She plays the title character, a cheerful street musician who is in love with Don Diego, an impoverished nobleman and military officer. Rosita catches the eye of the lecherous king. Don Diego ends up condemned to death, and Rosita plots to save him.
The sets were built on the enormous backlot of United Artists, where Douglas Fairbanks’ castle for Robin Hood had stood. The day after Rosita wrapped, the construction of the sets for The Thief of Bagdad began on the same lot. Indeed, one can detect a distinct similarity between Rosita’s big sets–city streets and a large prison–and those of the two Fairbanks films. This frame is a shot of the prison interior emphasizing a gallows in the background:
Given that this giant set was built in the open air, Lubitsch must have filmed this and other scenes at night, using the giant arc spotlights that had recently become a standard tool of Hollywood filmmaking to throw great swathes of illumination across the scene. In general, Rosita‘s style demonstrates that by 1923, Lubitsch had come fully to understand the American approach.
As a vehicle for Pickford, the film also is skillfully done, permitting her numerous intimate scenes that show off her charm. Given her star persona, the dramatic situation is leavened with humor in the interior scenes. Rosita’s poor family, a large, rowdy bunch, provides much of this, as when Rosita brings home a perfumed handkerchief and the impressed parents and children in turn bury their noses in it and sniff deeply. Rosita’s reactions to the King’s attempts to seduce her are also somewhat comic, though there is definitely a threat hanging over the situation.
Unfortunately, like all too many of the films on this year’s list, Rosita is difficult to see. It seems to have survived only in a Russian print, and a rather contrasty, worn one at that, as the frame above demonstrates. As long as that is the sole available material, a restoration might be too daunting. Still, in this day of digital manipulation, perhaps something could be done to improve the image quality. I hope at some point it will become available on home video. That also goes for Lubitsch’s other somewhat lesser films of the mid-1920s, Forbidden Paradise and Three Women.
Rosita’s reputation has suffered from strange statements Pickford much later made to Kevin Brownlow and which he published in The Parade’s Gone By. There she claims she and Lubitsch did not get along and that the resulting film was bad and a commercial failure. With the film itself unavailable for viewing, Pickford’s condemnation was accepted at face value. In fact, documents in the United Artists archive at the Wisconsin Center for Film and Theater Research overturn Pickford’s supposed dislike for Lubitsch. For years she tried to find financing to make another film with him, and in 1926 she called upon him for help in editing Sparrows. With the discovery of the Soviet print, it becomes apparent that Rosita was far from the disaster Pickford later claimed. Why her memories of her work with Lubitsch became so distorted late in her life we shall probably never know.
Overshadowed masters of French Impressionism
Abel Gance’s flashy La roue (on last year’s list) gets a lot of attention these days. He’s the high-profile representative of Impressionism. Yet 1923 saw the first fiction films from the director who was the movement’s modest heart: Jean Epstein. The very first, L’auberge rouge (“The Red Inn”) is a lovely film, but Cœur fidèle (“Faithful Heart”) epitomizes the quiet side of Impressionism. It’s story is as simple as they get: Marie is a barmaid whose foster parents try to force her to marry a thug, Petit Paul, while she is in love with the sensitive dock-worker Jean. The scenes around the waterside and the famous sequence in a carnival are all done with a realism blended with the subjective camera techniques that convey the characters’ thoughts, perceptions, and feelings in a way that was fresh at the time.
The exteriors were shot around the docks of Marseille, and Epstein uses superimpositions of the ocean to convey the lovers’ longing. Waves are sometimes superimposed over their figures, or one will look into the water and see the other’s face there, as when Jean envisions multiple images of Marie:
Shooting into a distorting mirror, Epstein uses the conventional Impressionist indicator of drunkenness as Petit Paul looks at a woman next to him in a bar:
Coeur fidèle has been released in the UK (Region 2) as a DVD/Blu-ray combo in Eureka!’s Masters of Cinema series. (This includes a helpful little booklet with excerpt from Epstein’s writings and a review of Cœur fidèle by René Clair.) It is also available as a Region 2 French DVD without English subtitles. As these frames indicate, the film survives in beautiful condition.
Along with La roue, Cœur fidèle proved hugely influential. It used the “unfastened camera” that later was credited to Murnau in The Last Laugh. Like Murnau, Hitchcock picked up Impressionist style, as reflected most obviously in his 1927 boxing film, The Ring. Hitchcock’s penchant for moving camera and subjectivity never went away. Hollywood, too, picked up the subjective techniques of Impressionism, especially in the 1940s films that David is studying now.
Unlike Cœur fidèle, Le brasier ardent (“The Burning Crucible”) was sophisticated, convoluted, and perplexing. It was one of two films directed in France by the Russian actor Ivan Mosjoukine for the émigré film company Albatros. (The earlier one is L’Enfant du carnaval, 1921; as far as I know, no print survives.) Earlier this year, upon the release of Flicker Alley’s box set of five Albatros films, I described Le brasier ardent:
It has a reputation as an audacious, surrealist, and almost incomprehensible film. This may be due to the fact that prints available in archives during the 1970s and 1980s lacked intertitles. The opening nightmare sequence is indeed disturbing, but at least with intertitles, we understand that it is only a dream. It begins with a wild-eyed man tied to a stake where he is about to be burned. The heroine stands looking on, resisting as the man pulls on her long hair, apparently intent on dragging her into the fatal flames to accompany him in death. Subsequent scenes of the nightmare show the heroine encountering different men, all played by Mosjoukine, culminating in a man in evening dress stalking her along a vaguely Expressionist street until she escapes and wakes up in bed.
This nightmarish opening must have established vivid expectations in the spectators of 1923 as to what sort of film they were in for. After the heroine wakes up, however, what follows is quite different. The main plot is a stylized but quite amusing comedy. The heroine is a pampered wife, married to a rich man whom she does not love. She is faithful, but he is unreasonably jealous. He goes to a distinctly odd detective agency, one department of which is “Recovery of Lost Wives” (above), with “Success guaranteed!” and “Nothing to pay in advance!” Juxtaposed with the bizarre opening, this quirky humor might have eluded puzzled audiences of the day. Certainly the film itself was a failure, and Mosjoukine stuck to acting thereafter.
Unfortunately for the husband, Detective Z, whom he picks from the eccentric group pictured above, is the very man, again played by Mosjoukine, whom his wife has dreamed about. What follows is an odd tale with the detective and wife gradually falling love. Mosjoukine, known for his tragic, intense characters in the Russian cinema, plays such figures in the fantasy sequences–but in the main story he is allowed to play for laughs, gamboling and rolling on the floor like a puppy when the wife finally appears at his mother’s apartment and declares her love for him.
Mosjoukine should not, however, be allowed to overshadow his co-stars, Ermolieff actors who were also were to make their way into the wider French production of the day, including Impressionism. The wife is played by Nathalie Lissenko, one of the stars of the pre-Revolutionary cinema, who had acted opposite Mosjoukine in Russia. Among her 1920s roles was the protagonist of one of Epstein’s finest films, the largely unknown L’Affiche (1924). The husband is Nicolas Koline, who started his career with Ermolieff only after the company had left the Soviet Union. He will be familiar to silent-film fans from his performance as Tristan Fleury in Gance’s Napoléon.
By this point, stylistic influences were beginning to pass back and forth between France and Germany. Le brasier ardent shows distinct touches of Expressionism in its decor, as when the heroine flees through a distorted door. (See top.)
I have to admit that the third Impressionist film on our top-ten list, Germaine Dulac’s La souriante Madame Beudet (The Smiling Madame Beudet) is not one of my favorites. It hasn’t got much of a plot. A sensitive woman in a provincial town finds her husband crass and unpleasant until a final crisis brings them–at least temporarily–together. It’s not so much the simplicity of the story, however, as the rather heavy-handed use of subjective camera tricks to convey Mme. Beudet’s thoughts about her husband, as when a distorting mirror conveys her grotesque view of him (at right).
We’ve just seen a similar distortion in Cœur fidèle, above, to show a drunkard’s point of view. In Marcel L’Herbier’s El Dorado, from 1921, another distorted-mirror close-up suggests drunkenness without using a character’s point of view (see Film History: An Introduction, 3rd edition, p. 79).
The film has decided virtues, such as the lovely shots of the small provincial town in which the film’s exteriors were made, as well as the genuinely surprising and touching ending, which pulls back somewhat from the simplistic characterization of M. Beudet.
As with some of our choices from previous years, The Smiling Madame Beudet goes on the list partly because of its historical importance. Dulac was one of the early women directors to make a career in the cinema. Back in the days of 16mm, prints of this film were among the few Impressionist classics available for film club and classroom use, and the film became a staple in feminist-film courses.
Ironically, nowadays teaching the film is more difficult. Oddly enough, none of the mainstream labels has brought out a DVD with English subtitles. A German DVD, which includes two other short Dulac films, Invitation au voyage (1927) and the surrealist classic La coquille et le clergyman (1928), is available. The copy on this DVD is probably the same as the fairly good-quality Swiss archive print on YouTube, with bilingual French and German intertitles. For anyone with even an elementary knowledge of either language, the titles are not very challenging.
Caligarisme was the French word for cinematic Expressionism, which, as the example from Le brasier ardent shows, fascinating many French filmmakers.
Despite the lack of major contributions from Murnau and Lang, in 1923 the country’s cinema was going strong. Several films that fall slightly short of being masterpieces appeared. By this point the Expressionist film movement was well established, having begun in 1920 with Das Cabinet des Dr. Caligari. Some of its greatest films–Der müde Tod, Nosferatu and Dr. Mabuse der Spieler–had already appeared.
Three very good Expressionist films came out in 1923: Erdgeist (“Earth Spirit,” directed by Leopold Jessner), Schatten (“Shadows,” released abroad as Warning Shadows; Arthur Robison), and Raskolnikow (adapted from Crime and Punishment; Robert Wiene).
It’s really a toss-up as to which film should represent Expressionism on this year’s list. I give the edge to Erdgeist, largely because it and Von Morgens bis Mitternachts (“From Morn to Midnight”) are the two films from the movement that push the style the furthest. They come the closest to Expressionism as it existed in drama and the other arts. Most Expressionist cinema “tamed” the style a bit by applying it to genre tales: horror (Caligari, Nosferatu), fantasy (Der müde Tod), historical myth (Die Nibelungen), and science fiction (Algol, Metropolis). These two films, in contrast, depended on dramas where elemental human passions are released and taken to extremes, with the costumes, decor, makeup, and acting reflecting the characters’ inner states.
The film was based on the first of the two “Lulu” plays by Frank Wedekind: Erdgeist (1895) and its sequel Die Büchse der Pandora (Pandora’s Box, 1904). G. W. Pabst’s much better-known Pandora’s Box (1929) combines the two plays, which tell a continuous story about an amoral young woman who lives by exploiting wealthy men but drives them to extreme jealousy by flirting with other men.
In Pabst’s film, Louise Brooks plays Lulu as a vivacious young woman, seemingly unaware of her disastrous effect on the men around her. Asta Nielsen plays the character in Jessner’s film as a ruthless, mature woman. The plot concerns Dr. Schön, a rich man who found Lulu on the streets when she was a child and has raised her with the intent of having her become his mistress. At the beginning, she is married to Dr. Goll but immediately begins seducing Schwartz, an artist hired to paint her portrait. In the image below, Goll bursts in on them in Schwartz’s studio and Lulu collapses at the right. The distorted stairway, the streaks of light painted on the set, and the jagged shadows all create the Expressionist look–as does the eerie blank glow of Goll’s glasses.
The acting is exaggerated and unnatural. Nielsen, foregoing all glamor, frequently holds a grimace on her face to the point where she almost looks like she is wearing a mask. In an early scene Goll moves his cane about, and she dances like a marionette attached to it by strings. (Puppet-like acting was a convention of Expressionist drama.)
Overall, the style is so grotesque and the characters so unpleasant as to make it clear why Erdgeist is one of the least remembered of the major Expressionist films. It is not available on home video. The print I saw about 16 years ago had Dutch intertitles and was somewhat dark. Perhaps, like Von Morgens bis Mitternachts, it will eventually be restored and released on DVD.
Two Expressionist films deserve brief mention as well.
Robert Wiene, the director of The Cabinet of Dr. Caligari, launched the Expressionist movement in cinema but never made another film that gained nearly as much attention. That’s a pity, because Raskolnikow is quite a good film–of all the Wiene films I’ve seen, probably his second best (though The Hands of Orlac, 1924, has its virtues). I found it difficult to decide between it and Erdgeist.
Crime and Punishment turns out to be, not surprisingly, a good fit for the style, with the hero’s increasingly bizarre view of the world literalized in the settings. The film seems to have had a higher budget than Caligari, and the sets are sturdier looking and more three-dimensional. (See bottom.) Wiene also had the good fortune to work with a group of Russian emigré theatrical actors who had trained under Stanislawski and worked at the Moscow Art Theater. Clearly they had to adapt their approach distinctly to achieve Expressionist performances, but they managed well. The lead, Gregori Chmara, makes a haggard and mercurial Raskolnikow.
Back in the 1970s, when I became intrigued by German Expressionist cinema, Schatten was considered one of the main classics. That was no doubt partly due to the limited number of Expressionist titles available for viewing at the time. It’s a good film, but its prominence in film history has declined a bit in the intervening decades, especially as the full surviving work of Murnau and Lang has been discovered and restored.
Schatten is an atypical Expressionist film. Not that many of its sets are distorted or simplified in the usual ways. (This is also true to some extent of designer Albin Grau’s other notable Expressionist film, Nosferatu.) Its few exterior shots, including the opening, show the most strongly Expressionist decor (below left). Part of the action consists of a shadow-puppet show put on by a wandering entertainer (below right). Its plot seems to magically unleash the passions of the onlookers, who begin to behave in odd ways. The male guests (and a servant) try to seduce their hostess, driving the master of the house into a jealous rage.
The shadow play creates its own distortions and stark, black and white imagery. Once the show is over, Robison often frames the distorted shadows of the characters more prominently than their actual bodies (again echoing some of the scene with the vampire in Nosferatu). In this corridor scene one of the servants slyly creates cuckold’s horns on another man’s head:
Shadows, with their natural capacity for distortion, not surprisingly appeared in many Expressionist films, though never so pervasively as in this one.
Raskolnikow is unfortunately not available on home video, at least in an acceptable copy. (The reviews for the Alpha release on Amazon deem it “unwatchable.”) Warning Shadows is available on DVD from Kino or to stream on Amazon (free to Prime customers).
Returning to our top-ten list, I yield the floor briefly to David, who has been studying Sylvester for another project.
German silent cinema is more varied than a litany of the official classics, from Caligari to Metropolis, would suggest. One of the most intriguing trends of the period involved what was called the Kammerspiel, or chamber-play, film. Kammerspiel films were far more naturalistic than Expressionist films. They concentrate on a very few characters in a drastically limited number of locales. Performance is often slow and understated, though action may freeze into somewhat contorted poses. The action typically takes place in a short time span, and it is built up out of everyday activities in working-class households—chores, job routines, the habits of family life. Eventually, however, the mundane milieu is likely to explode into violence.
The versatile Carl Mayer (who worked on the script of Caligari) conceived of the early Kammerspiel film Scherben (Shattered, 1921), which defined the trend. In the same year the stage director Leopold Jessner released the remarkable Hintertreppe (Backstairs), which Kristin mentioned as a runner-up in her Best of 1921 list. Mayer also wrote the script for Sylvester (1923). Named for the feast day of St. Sylvester, 31 December, it’s known in English as New Year’s Eve. It’s not available on home video, but it’s worth seeking out in screenings. It remains a striking study in tabloid tragedy.
A café owner and his wife are busily serving crowds on New Year’s Eve. After a big meal and too many drinks, the wife and the mother-in-law fall to quarreling. The tensions around the table are constantly crosscut with the increasingly wild revelry in the café and the upper-class nightclub across the street. As midnight draws near, the women struggle for the husband’s loyalty. This petty quarrel will end in death.
Director Lupu Pick explores the limited space of the action by shooting the parlor from many angles, including ones that make daring use of a mirror (right). The street shots feature extravagant camera movements that look forward to the “unchained camera” made famous in Der letzte Mann (The Last Laugh, 1925), directed by F. W. Murnau and scripted by Mayer. With its strict limitation to a single night and its focus on domestic space, along with suggestions of the husband’s Freudian dependence on his mother, Sylvester showed how a fait divers could yield psychological drama.
The Kammerspiel film wasn’t a dead end. After Carl Dreyer’s borderline contribution to the trend, the Ufa production Michael (1924), back in Denmark he created probably the best of the lot: The Master of the House (Du Skal Aere Din Hustru, 1925). He later returned to the aesthetic in Two People (1945), and he continued to exploit its possibilities in his last features. Over the years after World War II, other directors were rediscovering Kammerspiel principles. We see fresh applications of the approach in Les Parents Terribles (Cocteau, 1948), Les Enfants Terribles (Melville, 1949), and of course Hitchcock’s Rope (1948) and Dial M for Murder (1954). As often happens, ambitious films of the sound cinema owe a good deal to innovative impulses of the silent era.
Welcome, experimental cinema!
One of the most remarkable films of 1923 is a mere three minutes long. Man Ray, an American painter and photographer who moved to Paris in 1921 and became involved in the Dadaist and Surrealist movements. He soon acquired a film camera and later described how he shot bits of footage with it:
a few sporadic shots, unrelated to each other, as a field of daisies, a nude torso moving in front of a striped curtain with the sunlight coming through, one of [his] paper spirals hanging in the studio, a carton from an egg crate revolving on a string–mobiles before the invention of the word, but without any aesthetic implications nor as a preparation for future development: the true Dada spirit.
In 1923 Tristan Tzara advertised a Dadaist program in a Parisian theatre to be held the following evening, including a film by Man Ray as part of the entertainment. Ray had only a very small amount of footage ready. Faced with an overnight deadline, he supplemented it by using a technique he had already employed in still photography (the “rayograph”): placing small objects on a sheet of photographic paper in the dark, turning on the light briefly, and developing the image. The result was a series of sharply focused silhouette images of the objects against a plain background. This time Ray unrolled some raw negative film in a dark room, scattered nails, tacks, and other objects on it, exposed it to light, and developed the negative (right). Combined with the shots Ray had previously made, the result was a perfect Dada film, with randomly juxtaposed imagery that defied the audience to make any sense of what they were seeing. He titled it in ironic Dada fashion: Le retour à la raison (“The Return to Reason”).
Despite being cobbled together overnight, Ray’s film offers a broad exploration of the possibilities of abstract filmmaking. The opening, a rapidly shifting stippled screen, resembles the later flicker films of the 1960s avant-garde. The rayograph shots introduce an alien, high-contrast look–not surprising, given that these may have been the first cinema images produced without using a camera.
Ray also shifted between positive and negative imagery. This was not entirely new. Murnau had used short stretches of negative footage in Nosferatu the year before. But Murnau’s negative shots had a narrative function, to convey the eeriness of the environs of the vampire’s castle. In Le retour à la raison, Ray used negative imagery in an abstract way, to create startling juxtapositions of imagery that looked both similar and yet strikingly different. The tacks, nails, and springs in the rayograph stretches could be either stark white against black, as in the image to the right above, or the same shot repeated, but this time in black against white. The film ends with another positive/negative passage. The “nude torso moving in front of a striped curtain” is initially shown in a positive image, then in the same image flipped and shown in negative:
Ray was not the first to create an abstract film. In 1921 German filmmaker Walter Ruttmann probably made that conceptual leap in 1921 with Opus 1, a one-reeler with painted shapes moving around against a dark background. He followed this up with three further films, Opus 2 (1923), Opus 3 (1924), and Opus 4 (1925). (Good-quality prints with toning and appropriate musical accompaniment are available on YouTube: Opus 1 here, Opus 2 here, Opus 3 here, and Opus 4 here.)
I must confess that I probably should have at least mentioned Opus 1 in my entry on the best films of 1921. Still, Ruttmann’s films are far less daring than Le retour à la raison. It and its successors are basically efforts to do what so many filmmakers have tried since: to create the equivalent of a painting, but with motion. Ray’s film went much further, pushing the limits of the young art form in ways that had little precedent in the other arts, apart from Ray’s own highly experimental approach to still photography. There are even two fleeting stretches of film leader with illegible writing on them–a tactic one thinks of more in relation to, say, Bruce Conner’s A Movie (1958) than to the silent era. Much of the experimental cinema to come decades later was briefly probed here.
There are several copies of Le retour à la raison on YouTube. The best was posted by Dimitri Shubin, who also provides a piano score. The film is also available on disc 3 of the Unseen Cinema set of American experimental cinema. Unfortunately this copy has a considerable amount of breakup, particularly in the early flicker portions. (An HD version would perhaps help.) The version on Kino’s “Avant-Garde: Experimental Cinema of the 1920s and ’30s” set has the same problem and is distinctly shorter, apparently because it is running at sound speed. The copy provided by Shubin has the clearest, steadiest video image of the film I have seen. Ideally, of course, Ray’s film should be viewed on 35mm.
I regret that so many of our choices for this year’s list are not available on home video or even, except in very rare circumstances, for viewing on 35mm in archive screenings. Still, part of the purpose of this ongoing series is to call attention to obscure but worthy and important films. Perhaps an archivist or an enterprising DVD publisher will be inspired to restore some of the ones described here.
The quotation concerning The Three Ages comes from p. 217 of Rudi Blesh’s biography, Keaton (New York: Collier, 1966).
Mary Pickford’s strangely distorted claims about Rosita and her relationship with Lubitsch are expressed on pp. 129-34 of Brownlow’s The Parade’s Gone By (New York: Knopf, 1968). I go into more detail about the continuing Pickford-Lubitsch collegiality in the 1920s in Herr Lubitsch Goes to Hollywood, pp. 24-26.
For more examples of unusual German silent films, go elsewhere on this site here and here and here and here and here and here and here and here. Criterion has a new, authentic version of Dreyer’s Kammerspiel-influenced Master of the House forthcoming.
The Man Ray quotation comes from a detailed study of Le retour à la raison by Deke Dusinberre in the collection Unseen Cinema: Early American Avant-Garde Film 1893-1941 (New York: Anthology Film Archives, 2001), published to coincide with the release of the DVD set mentioned above.
Camille Claudel, 1915.
We’re halfway through the Vancouver International Film Festival, as we continue to catch up on world cinema in one dizzying ten-day swoop. Here’s a handful of worthwhile films I’ve seen so far.
Another “brave” performance
Critics speak of “brave” performances as those in which the role calls for an actress (seldom, for some reason, an actor) to allow herself to look ugly and awkward or to participate in explicit set scenes. The word got tossed around a lot this year in regard to the two young actresses in Blue Is the Warmest Color, this year’s Palm d’Or winner at Cannes. David and I saw it here and found it disappointingly conventional.
Juliette Binoche’s performance in Bruno Dumont’s Camille Claudel, 1915 (2013) has her eschewing makeup and playing the haggard, aging inmate of an insane asylum. Historically, Claudel was a sculptress and Augut Rodin’s lover before being placed in the asylum by her family. As the title suggests, we see only a small slice of her life, after she has already spent a good deal of time in the asylum, a laudably humane one set in a Catholic nunnery in the mountains.
For much of the film, we stay with her, registering both her annoyance at the antics of her fellow inmates and her compassion for them. She seems to suffer from a persecution complex, cooking all her own food and eating apart from the others (above) through a fear of being poisoned. She attributes her incarceration to Rodin’s and his colleagues’ schemes to steal her studio and sculptures. We have no way of knowing how much of this is true, and hence no way of knowing whether she is really unbalanced enough to be in an institution with incurable cases. Her occasional visits to the complex’s church and her communing with nature help to sustain her.
Well into the film, there is an abrupt point-of-view switch to her brother, the author Paul Claudel, as he pauses en route to the asylum in order to pray. We soon realize that he is a religious zealot, utterly devoted to his own view of Catholicism. The contrast between his dogmatism and Camille’s simple religious sincerity bodes ill for her hopes that he will arrange for her release.
Math and maps
I am a fan of maps and of scientific exploration of exotic places, and Detlev Buck’s Measuring the World (2012) promised to deal with both in 3D. It weaves together fictionalized accounts of the exploits of two contemporaneous geniuses of the early 19th century: world explorer Alexander von Humboldt and mathematical genius Carl Friedrich Gauss.
I had high hopes for the 3D, imagining scenes a bit like the scene where Michael Fassbender plays with dazzling holograms of space maps in Prometheus–toned down a bit and more scientifically grounded, of course. Unfortunately there was nothing of the sort, with the 3D being used more conventionally for creating depth in the playing space, with branches in the foreground of shots in the Amazonian jungle and that sort of thing.
The film turned out to be a rather rollicking depiction of the two careers. The conceit is set up that Karl Wilhelm Ferdinand, Herzog von Braunschweig provided financing for both Gauss and Humboldt. He is caricatured (above) as a frivolous, silly man who reacts in utter incomprehension when handed Gauss’s first book on mathematics–as who would not at the time, given that it introduced startling new insights that revolutionized the field? Ferdinand was in fact a highly educated military man, and he never supported von Humboldt’s work.
Still, the eccentricities of the two seekers of knowledge are entertaining, the scenes of von Humboldt seeking specimens in the Amazon and on into the Andes are exotic, and the whole thing conveys something of the enthusiasm lingering as the Age of Enlightenment was coming to its end.
An African Charmer
The Senegalese film, Tall as the Baobab Tree (2012), is the first feature of a young white filmmaker, Jeremy Teicher, who first visited the village in which the film is set when he was 19 and making a documentary about it. Based on stories of village life he was told at that time by young students, he made Tall as the Baobab Tree at age 22. The local people helped with the script and acted in the film.
As with many African films, the subject relates to a traditional custom which has come in modern times to be viewed as a problem. It reminds me of Ousmane Sembene’s last feature, Mooladé (2004), which dealt with how a village’s women began to resist the practice of genital mutilation. Tall as the Baobab Tree concerns the practice of selling young daughters into marriage.
The story centers around Coumba, a teenager who has just passed her school exams. Her older brother falls from a baobab tree (the one seen looming above the scene above), and to pay for his medical costs, the father decides to sell Debo, the younger sister, into marriage. Coumba secretly works as a maid in a nearby resort to pay the costs, but although she succeeds in raising most of the money, the local village elder insists that custom dictates that the promised marriage must go through.
Although the father and village elder are clearly seen as in the wrong, they are not made into villains but are seen as stuck in the patterns of outdated traditions. Much emphasis is put on the education that Coumba has benefited from and that Debo will never experience. A touching scene near the film’s beginning shows Coumba among the students waiting in a group as the names of those who have passed their exams are read out. Clearly this was an actual event captured by the filmmaker, and the joy of the successful students effectively emphasizes education as the means to defeat the more oppressive remnants of tribal traditions.
Teicher describes his experiences and approach in collaborating with the villagers on the film in an interview on the BFI website.
The films of Miyazaki Hayao (Kiki’s Delivery Service, Spirited Away) and his colleagues at the Ghibli animation studio are the heights of Japanese animation. Beyond them, we in the west tend to know of other Japanese animated films as more simply made anime, with lots of violent action. But, as the program notes state, “it’s time to expand your horizons.” Hosoda Mamoru’s Wolf Children (2012) somewhat resembles the Ghibli films in genre, being a fairy-tale-like fantasy set in the present day.
Hana, a student, is attracted to a young man, Ookami, who decides to sit in on one of her classes. She offers to share her textbook, and as a romance develops, she discovers that Ookami is a shape-shifter, able to change into a wolf. After they have two children, Ookami is killed while in his wolf form. His children have inherited his ability, and Hana moves to a house in the countryside to hide their peculiarities from prying eyes.
The story follows the daughter, Yuki, as she decides to go to school and follow the human half of her nature, and the son, Ame, as he prowls the surrounding forests and mountains, communing with wolves he discovers there. The result has an environmental theme similar to that underlying some of Miyazaki’s films, with particular sympathy for the perpetually hunted wolves.
While the figure animation here is not as subtle as that of the Ghibli films, the settings are beautiful and detailed, with highly textured portrayals of the roiling movements of large cumulus clouds and the rustling of countless leaves in a forest.
Shooting Frau im Mond (1929) at Neubabelsberg studio, Potsdam.
Friends say that Berlin is now the most exciting city in Europe–a little too exciting, others say. I can’t prove either claim, but I can declare that I had a fine time last month during my second visit to Germany this year. Part of the fun was, as usual on many of our trips, finding tangible traces of film history.
Lobby space, Konrad Wolf Film School.
With Michael Wedel, I re-saw Hong Sang-soo film’s Turning Gate in the wonderful Arsenal theatre, part of the Deutsche Kinemathek. The Arsenal is run by Milena Gregor, another old friend (who happens to be Michael’s wife). On another night I also had a delicious dinner with filmmaker Christine Noll Brinckman and other friends. Then there was a pleasant lunch with another filmmaker, Carlos Bustamante (below), in his picturesque neighborhood.
But Berlin literally wasn’t the half of it. I visited Philipps Universität in Marburg, a charming university town. Part of the campus fronts onto the Lahn River, and it makes a charming place to relax.
After my lecture on 1940s Hollywood, my hosts Malte Hagener and Dietmar Kammerer took me out to dinner with their lively colleagues.
Most of my visit was spent in Potsdam, where I’d been invited by the Netzwerk Filmstil. This is a research team composed of several young professors teaching in German-language universities around Europe. Their focus is the exploration of style in audiovisual media–centrally film, but not ignoring television, video games, Internet pieces, and even surveillance and security videos. The two and a half days of the seminar were very stimulating. Michael Wedel, Chris Wahl, Malte, Dietmar, and Kristina Kohler gave illuminating papers on (respectively) digital sound, superimpositions, split screen, freeze-frames, and dance in silent film. The participants offered me good criticisms of my presentation, which explored how E. H. Gombrich’s explanations for stylistic change in visual art might apply (or not) to cinema.
Our seminar sessions were held in the remarkable Konrad Wolf Film School, a towering building crisscrossed by staircases and walkways. I visited it once before some years ago, and once more I admired its airy yet rectilinear architecture.
The stripped-metal look is offset by lots of glass–the light pours in from all directions–and a corner with plenty of plant life. As in our house back home, winged silhouettes on the windows keep bird-brains from flying into the glass.
I also gave a talk on film style during the 1910s at the monumental Filmmuseum Potsdam.
The museum holds a fine screening space and a fascinating collection of historic materials, including a Soviet-era 70mm camera.
The current exhibition was devoted to the rise of the film studio Babelsberg, not far away. The displays included scripts, set photos, production sketches, photos, and maquettes.
Have you seen this still of the great Cathedral set from the Nibelungen?
The tradition of fastidious planning created during the silent era persisted into the period of the German Democratic Republic. Each set design was marked up to show camera positions (numbered), lens lengths, and special-effects elements.
The Filmmuseum’s collection was only one reminder of the towering importance of Babelsberg, now celebrating its hundredth anniversary year. Luckily the studio was an easy walk from the Konrad Wolf school. One sunny day our host Michael Wedel took the Style Network on an insider’s tour.
The 1910s and 1920s saw many production facilities spring up in Germany. Films were made in Munich, Frankfurt, and other major cities, and the area around Berlin boasted a number of studios. But the Potsdam facility, initially called Neubabelsberg, became the most well-known, something like Europe’s answer to Hollywood.
Founded by the Deutsche Bioscop company, the studio began production in 1911 and released its first film, Totentanz (The Dance to Death), in 1912. That starred Asta Nielsen, whose popularity had already enriched Bioscop. In this story she’s attracted to a rather louche composer, as we see below. (Yes, that mass of black is mostly her hat.) Later, she slices the guitar strings in a fit of passion and glares out defiantly at us. As if our attention might wander.
Neubabelsberg was home to such classics as The Student of Prague (1913), the Homunculus series (1916-1917), Madame Dubarry (1919), The Cabinet of Dr. Caligari (1920), The Golem (1920), and Genuine (1920). Fairly soon Bioscop merged with Erich Pommer’s Decla, and in 1921 the big company Ufa took over the facility and the resident firms. Ufa also had a studio in Tempelhof, a Berlin suburb, but the attention-grabber was Neubabelsberg, which became a sprawling complex of 350,000 square meters–the biggest studio in Europe.
Here Murnau shot Phantom (1922), as well as portions of The Last Laugh (1924). E. A. Dupont filmed some of Variety (1925) here, and Pabst shot all of The Loves of Jeanne Ney (1927) on its stages. Above all, Neubabelsberg helped sustain one of cinema’s great hot hands, the string of films Fritz Lang made in the 1920s: Destiny (1921), the Mabuse duo (19221-22), the Nibelungen saga (1924), Metropolis (1927), Spies (1928), and Woman in the Moon (1929).
The studio remained a powerful force across the next two decades, from The Blue Angel (1930) to the epic color production The Adventures of Baron Munchausen (1943).
The partitioning of Germany after World War II put it the studio the eastern sector, and the new state-sponsored film company, DEFA (Deutsche-Film-A. G.), took over the facility in 1953. That made it what Ralf Schenk calls “the exlusive site of feature cinema production in the GDR until 1990.”
After the Wall came down, the Babelsberg studio revived itself as a facility for international productions. It has hosted films by Polanski (The Pianist, The Ghost Writer) and Tarantino (Inglourious Basterds; below, a set on the Babelsberg backlot). The Wachowskis have been loyal supporters, with Speed Racer, V for Vendetta, and most recently Cloud Atlas using the facility.
You can get a sense of the studio today by visiting the website, which presents it as a modern resource for world filmmaking. But its early years matter more to me. To walk these quiet pavements and to imagine following in the steps of Lang, Jannings, Dietrich, and other legends ought to thrill any cinephile. Seeing some streets named for the greats, Tarantino requested a street in his name. It’s apparently a dead end.
A new Babylon
In the cold winter of 1911-1912, Deutsche Bioscop built its first studio, a 45 x 60 foot “glass house”at Babelsberg.
Michael Wedel explains:
Not only was a special cement-less glazing developed for the glass, but even the supporting beams of the infrastructure had to be installed outside of the studio, so as not to spoil the sunlight. . . . In contrast to already existing glasshouse studios that had been “set up” in Berlin and Munich in multi-level apartment blocks and office buildings, the ground-level location of the new Bioscop building at Babelsberg had the advantage of trucks with props and sets being able to be driven through a sliding door directly into the glass studio. . . .
The ground floor of the immediately adjacent factory building accommodated wardrobe and prop rooms, a woodshop, art studio, and a canteen. On the first floor, the production company’s office, as well as the laboratory for developing negatives and positives, were set up. On the floor above was where one found the dry drums for developed film material, the room in which the films were edited, and the rooms where intertitles were prepared. Except for the costume department, which would be built systematically a few years later, Bioscop oversaw a completely integrated film studio, which made it possible to perform most stages of film production on-site.
Later in the 1910s Guido Seeber, the cinematographer and all-around creative genius who had planned the Babelsberg plant, began to use supplemental artificial light. But this glass house and its bigger brother, built later, were relied upon throughout the silent era. A closed unit lit entirely by artificial light wasn’t built until 1926. Appropriately huge, it was called the Great Hall and eventually renamed the Marlene Dietrich Stage.
The Frau im Mond production shot atop today’s entry was taken in the Great Hall. Here’s another picture of the interior in the late 1920s. In both shots, those little figures on the far right are men.
On our stroll we caught glimpses of some filming taking place in a parking lot.
Not quite as glamorous as the behind-the-scenes action on–oh, let’s say Metropolis.
We ended our unofficial tour with a quick look at the backlot, which can be redressed to be almost any European city you like.
Movie magic, the Dream Factory: the rationalist side of me rejects these catchphrases as mere mystification. Filmmaking is hard thinking and hard work. But it’s tough to be purely rationalist when you’re facing an illusion machine that has thrilled audiences worldwide for a hundred years. If you see Hansel & Gretel: Witch Hunters, spare a thought for the tradition of Germanic lore that made it possible–and the hard work of the thousands of men and women who built a cinematic metropolis here.
Thanks to all my hosts and colleagues for making my trip to Germany, however short, intense and enjoyable.
My quotations come from Michael Wedel, ChrisWahl, and Ralf Schenk, 100 Years Studio Babelsberg: The Art of Filmmaking (teNeues, 2012). This is that rare coffee-table book whose historical texts (footnotes included) are as valuable as the luxurious photos. The book, in an English/German edition, is available from the Filmmuseum and from Amazon.de.
This post gathers information from Hans-Michael Bock and Michael Töteberg’s encyclopedic Das Ufa-Buch (Zweitausendeins, 1992). Also helpful was Klaus Kreimeier’s The Ufa Story: A History of Germany’s Greatest Film Company, 1918-1945 (Hill and Wang, 1996).
My lecture at Potsdam, “How Motion Pictures Became the Movies,” was a new version of a talk I’ve been giving for the last couple years to whatever audiences of innocents that fate has flung my way. Alert filmmaker Erik Gunneson, who prepared our video essay on constructive editing, is currently turning this talk into a video lecture. We hope to put it up on this site early in 2013.
The stylish Film Style Mafia, Neubabelsberg, November 2012.
10 Dec 2012: Thanks to Antti Alanen for two spelling corrections!