This year’s programme, organised by the Deutsche Kinemathek, offered,
“Self-determined. Perspectives of Women Filmmakers” with the sub-title ‘The Personal is Political’.
There were 26 feature length titles and 21 short titles; all produced and released between 1968 and 1999. The majority of titles came from the Bundesrepublik Deutschland [West Germany before 1990] but four features and six shorts were produced in the Deutsche Demokratische Republik [East Germany – DDR]. The Retrospective Brochure commented:
“In the decades between those films [from 1968 and 1999], women film-makers left their formative stamp on German cinema, and at the same time, the idea that a female director was an ‘exception’ gradually receded.”
The point is made that prior to 1968 and the advent of a recognised women’s movement there were only ”isolated film directed by women …” in West Germany; The commentary notes though that this was not same in the DDR;
“The state film school in Potsdam-Babelsberg was founded in 1954. A handful of women were among its first graduates ..”
but one speaker claimed that they primarily worked on children’s films and animation.
I was able to see 22 of the features and sixteen of the shorts. A variety of themes did indeed emerge in the span covered by the programme. There were features and documentaries. There were film that were relatively conventional with recognisable narratives and a style familiar to viewers of mainstream films. Other titles were definitely avant-garde and provided a range of experimentation. I intend to post on the individual films but the following selection gives some sense of the programme.
1968 was represented by Go For It, Baby / Zur Sache, Schätzchen, directed in West Germany by Mary Spils. She also directed the accompanying short film Manöver / Manoeuvres. I preferred the short film but both were typical of the late 1960s independent films, with both the vices and virtues of the period. The feature did have good freewheeling camera style. However, it seem to lack any sense of a feminist perspective. But it was successful. Apparently seen by six million people over two years in West Germany.
I was more taken with the earliest DDR title, Do You Know Urban? / Kennen sie urban? (Ingrid Reschke, 1971). Much of the story takes place on a construction site relying on effective location shooting. The film develops a relationship between a construction worker and ex-offender with a student trainee. The characters were believable and the environment at the site and later in Berlin convincing.
A West German film of 1978, The All-round Reduced Personality – Redupers / Die allseitig reduzierte Persönlichkeit – Redupers offered a stand-out feature. Falling between a fictional drama and a documentary director Helke Sander played the protagonist Edda. She is divorced, a single mother and working photographer. We watch her working as a freelance, as part of a collective and processing her films in the home made lab she has constructed. Sander and her fellow players are excellent; the use of locations offers a real sense of the city; and the working life of a photographer-cum-mother is portrayed with subtle comment.
Helke Sander was among a number of directors who were there to introduce their films. So I also saw and heard Margarethe von Trotta introducing The German Sisters / Die bleierne Zeit (1981), a film that retained its power for me, seeing it again after a gap of many years.
The East German films were particular interest for me. Another very effective title was The Bicycle / Das Fahrrad (1982). This offered a portrait of another single mother. This time Susanne was a factory worker. Her life style represented the alienation that was the lot of workers in a state supposedly superior to capitalism. Her independent spirit and the apparently realistic depiction of working class situation did not endear the film to either critics or film bosses.
One of the short East German films was Nude Portraits – Gundula Schilze / Aktfotografie, Z. B. Gundula Schulze (1983), directed by Helke Misselwitz. Gundula was a young photographer who researched stereotypical nude shots of women in the DDR. Her own practice aimed to present women in their own right as ‘whole women’. The contrast was highlighted by regular cuts to 16mm footage of working women. An instructive study.
From the same year in West Germany a group of women filmmakers, touring with a programme of titles, recorded their journey on hand-held Bolex camera; Umweg / Detour. The style was experimental in black and white. The changing views, of wintry landscapes, of the train and its passengers, and of their own filming was graceful and almost hypnotic.
Dorian Gray in the Mirror of the Yellow Press / Dorian Gray im Spiegel der Boulevaerdpresse was an example of an even more radical and experimental approach. The director Ulrike Ottinger developed her [episodic] narrative by combining ideas from Lang’s Dr Mabuse and Wilde’s ‘Dorian Gray’. This was a fairly epic film running 150 minutes in Eastmancolor. The film combined a subversive mix satire, camp musical sequences, avant-garde design, video techniques and [intervening in the narration] an island-set opera that mirrored the main narrative.
The 1991 documentary Locked Up Time / Verriegelte Zeit followed the point when the wall and the division of the Germany ended. The director, Sibylie Schönemann, together with her husband, was imprisoned as a ‘political prisoner’ under the DDR. They were the only DEFA film-makers to suffer this fate. So, in the early months after the collapse of the East German state, she went back to visit the prison and other places in her incarceration. She also tracked down officials and challenged their role in the process. Like other explorations of authoritarian regimes this was a chilling story extremely well done.
The most recent film was a documentary made for television in 1999. Two film-makers, Crescentia Dünßer and Martina Döcker, interviewed six women born in the first two decades of the C20th. Their questions explored the personal lives of the women and also how the larger social and political discourse affected these. The women were fascinating. And the film-makers structured the sequences of dialogue with extremely large close-ups of the women’s bodies, skin and hair. These shots were lit with luminous skill.
This was one of the films screened on 35mm, we also had some 16mm screenings. About half the programme was on film and half on digital. The latter were mainly well transferred and looked and sounded fine. The projection teams worked skilfully and coped well with the changes in formats.
Most of the screening shad introductions; in many cases the women who had directed, and often scripted, these titles. And the Kinemathek had organised translators so that their comments and memories were available in German and English.
I could see the point of 1968 as a nodal point; less so 1999. So I wonder what interesting themes would have emerged if the programme ran from 1958 to 1990 when the reunification took place. Ingrid Reschke, one of whose films was in the programme, started directing in 1963. An earlier film might well be interesting. This was a rewarding experience but at the end I still retained a reservation about the scope of the programme. And I have reservations about the sub-title ‘The Personal is Political’. This was true in some cases but also true of may was how the political sphere determined the personal: a point I made regarding the films of Margarethe von Trotta.
It was a fairly demanding week. Even with the efficient Berlin transport system I often was having to move smartly from venue to venue. The saving grace is the excellent selection of coffee shots, especially around the Potsdam Platz. The Berliner’s take their film-going seriously. So the queue for a screenings can start oven half-hour before entry; just to ad to the demands of the Festival. But worth all the effort. I doubt that there will be many opportunities to see many of these films in Britain. There are videos and collections; including of East German films. And there are increasing number of books. Unfortunately the Deutsche Kinemathek accompanying book is only available in German.
This title was a Berlinale Press Screening held in the Berlinale Palast; outside the Festival the Theater am Potsdamer Platz. This is has a vast auditorium seating 1600 people with two balconies. It is a sign of the size of the media coverage of the Berlinale that on a Saturday morning the auditorium looked more than half-full. There is a large screen, 17 by 8 metres and good quality 4K digital projection and Atmos sound.
This title was one in the Festival Competition. It was written and directed by Marie Kreutzer. She has had made some short film, television titles and two previous cinema features; neither seems to have received a British release.
This film shares some plot features with the earlier Toni Erdmann (2016). Fortunately for me, it played the comparable story not for idiosyncratic humour but full-blooded drama. Lola (Valerie Pachner) is a driven and rising star in a multi-national business consultancy. Several times in the film she flies off from her spare, clinical home apartment in Vienna to the latest site where the company is selling ‘downsizing’ to a troubled firm. In this case the site is Rostock, though we do not encounter any of the contemporary Russian robber-barons.
Lola is in charge of a new and nearly completed project. Her career is helped by her relationship with senior manager Elise (Mavie Hörbiger). But this advantage unravels because of the her family complications. Officially an orphan she has an elder sister Conny (Pia Hierzegger). Conny suffers from paranoid schizophrenia.
Lola finds that she cannot manage/help her sister in the disciplined manner in which she works. As she struggles to balance one life against another we also discover some of the troubled background of the sisters. This includes the reason why at work Lola passes for an ‘orphan’; emotionally this is partly true.
The study of the Machiavellian environment in which she works is well done. Her colleagues run the gamut from the ruthless career climbers to the naïve juniors. It is easy to see how these contrary characters will emerge as the contract reaches agreement.
If the workplace is somewhat conventional the hospital and mental institution which shelters Conny is more interesting and complex. As the production narrative develops the sister’s relationship becomes the most interesting facet. But Lola has left addressing this situation squarely to a very late stage.
The leads are very good: Valerie Pachner dominates the story and the screen. The sexual relationship between the two women is overt and convincing. The plot, as I suggest, is in many ways conventional but the resolution is not just predictable but worthy of attention. The title was shot on 35mm in a scope format and colour. The screening used a digital transfer to DCP which was well done and offered a good image and sound with English sub-titles. The camerawork is well done. The use of mid-shots and close-ups in confined work spaces often suggest the claustrophobia in the company. Whilst in Vienna, and outside the white and metallic apartment, open-air sequences enjoy excellent tracking shots which emphasize the sense of the title.
The screening at the Berlinale was organised by Picture Tree International. I did not find any titles from the company that I recognised from a British release. The home market is not that receptive to Austrian titles [or quite a few other European industries]. The production has enough drama and is a relatively mainstream offerings. We may well in due course see it in Britain.
So the final day of the retrospective and of the Berlinale. This is ‘People’s Day’ / ‘Publikumstag’. Many of the industry and press visitors have left. The Award Winners have been lauded. Now ordinary Berliners (not just the film buffs) can check out the varied programmes and films. The auditoria were still full but the audiences had a slightly different feeling.
Alongside the Weimar retrospective the Berlinale offers Berlinale Classics. This included My 20th Century, Sidney Lumen’s Fail Safe (1964), Assi Dayan’s Life According to Agaa (Hachayin Al-Pi Ag fa, 1992), Wim Wenders’ Wings of Desire (Der Himmel Über Berlin, 1987) and Michail Kalatozov’s The Cranes are Flying (Letjat Schurawli, 1957). Wim Wenders actually turned up in person to introduce the other film in the programme, a title by Ozu Yasujiro.
Tokyo Twilight (Tokyo Boshoku, 1957). The film is in Ozu’s standard academy ratio and black and white. This was the premiere of a restored version screened from a 4K DCP. It is in a number of ways typical of late Ozu; the regular low angle camera; the deep focus and staging; the focus on props within the frame; the insertion of what are called ‘pillow shots’, brief sequences that are not obviously part of the developing plot; and the ‘lounge music’ which sounds non-Japanese in this most Japanese of directors.
But the plot was unusual for Ozu, involving marital discord, extra-marital affairs (safely in the past) and a troubled young woman who is pregnant and has to consider abortion. Yet this plot is made partly typical with Ryu Chishu as a single-parent father and a manager in a bank and Hara Setsuko (Takako) as the dutiful daughter, though again, unusually, she is married and has a baby daughter. Akiko (Arima Imeko) is the youngest daughter. She is described as ‘wild’ by other characters. During the film she spends much time seeking out her current boyfriend, Ken; and a regular haunt is a mah-jongg parlour, where people play and gamble. It is Akiko’s plight and the reappearance of her long-lost mother that provides the dramatic focus of the narrative.
The Brochure offers:
“This largely-unknown work is considered Ozu’s darkest post-war film . . . ”
Wenders’ comments were given in German but I noticed that he used the term ‘noir’ at one point. And shadows and low-key lighting feature in many scenes.
One theme in the film is late 1950s Japanese youth, seen here as breaking with the mores of the older generation. This is a thematic that is found in the films of Oshima Nagisa but it is unusual for Ozu. The use of low-class and unseemly settings would be more typical of Naruse Mikio, but this version is replete with the resignation that typifies Ozu.
Ozu works here with regular collaborators including as joint script-writer Noda Kogo. Atsuta Yoharu provides the cinematography which is finely done. The film was as absorbing as Ozu’s other late films. However, I did think that the structure was not quite as finely tuned. There is a scene in the mah-jongg parlour where the players discuss Akiko. The scene is clearly designed to inform the audience of aspects of her situation that are hinted at rather than made explicit. However, by this stage these seemed to me fairly obvious and I found the scene redundant: an unusual feeling in a film by Ozu.
Show Life (Song, Dire Liebe eines armen Menschenkindes, 1928) is a classic melodrama jointly produced by Eichberg-Film GmbH, Berlin and British International Pictures. The German title translates as ‘dire love of a poor human child’.
“Moving between dive bar and cabaret, ocean liner and night train, the German-British co-production represented Weimar cinema’s first foray into the milieu of European ex-pats in a colonial setting, which was very attractive for western foreign markets.”
The main protagonists are John (Heinrich George) an entertainer who has a knife-throwing act and who is stranded in an unidentified Asian port. On a beach he rescues a young Chinese woman, Song, (Anna May Wong) from assault. He recruits her into his knife throwing act, which, with her physical charms, becomes a success in a cheap bar. But John’s old flame and mistress, Gloria (Mary Kid), a successful dancer, reappears. Implausibly John prefers the scheming Gloria to Song: in the late 1920s how many female stars would one prefer to Anna May Wong?
Desperation leads to criminality and a fateful accident. John is duped regarding Gloria and Song, who is devoted to John, is caught and suffers between them. There are some fine sequences including late in the film when Song herself has become a successful dancer.
The cinematography by Heinrich Gärtner and Bruno Mondi, makes excellent use of low-key lighting. The contrasting sets, low-life and high-life, dramatise the conflicts on screen.
We had a fair 35mm print from the British Film Institute and a suitably dramatic accompaniment by Günter Buchwald.
My final film was back at the Zeughauskino, Life Begins Tomorrow(Morgen Beginnnt das Leben, 1933) directed by Werner Hochbaum who also directed >Brothers. This is a film that fits in the New Objectivity and shares some qualities with the ‘proletarian films’. The film opens with Robert (Erich Haußmann) nearing the end of his sentence for manslaughter. On the day of his release he expects to find his wife Marie (Hilde von Stolz) there to meet him. But Marie has returned home late after a tryst with an admirer. She oversleeps. Both spend the day searching for their partner in Berlin. So the city, or a particular area, is itself another character.
The film has a dazzling array of techniques:
“using documentary images, expressionist lighting, subjective camera angles, and experimental sound and picture montages..”
At times there are multiple superimpositions and these also lead the audience into the flashbacks that explain Robert’s and Marie’s situation. Robert was the kapellmeister of a restaurant orchestra. Marie worked in the bar and the killing resulted when he intervened to stop Marie being molested by the owner/manager. One of the ironies is that Marie’s admirer, (possibly lover) is the new kapellmeister.
The narrative uses melodramatic tropes including, apart from missed meetings, a stopped clock, a unreceived letter and unhelpful neighbours. The brochure notes that the film was made after the end of the Weimar Republic. This sort of [mildly] left-wing film was past its time. The film was attacked on the grounds that the director,
“politicised his methods to the same extent that he resurrected the rhetoric of the old avant-garde.”
Hochbaum made films up until 1939 but died quite young in 1946.
We had a 35mm print but without subtitles. In fact I found the plot relatively straight forward to follow. And I read after the screening that the film had
“minimal, often deliberate incomprehensible dialogue’.
We did at one point see the unreceived letter which [I suspect] explained something about Marie’s admirer/lover.
The film provided a suitable finale to the retrospective. The audience offered a round of applause for the staff who had supported us all through the week. Then I walked round the corner to the stop outside Humboldt-Universidad. The 200 bus arrived punctually and within 20 minutes I was back at the Kurfürstendamm. The end of a fascinating and rewarding week.
Whilst popular cinema in the 1920s was focused on fictional dramas there were a variety of non-fiction films. This was the decade in which John Grierson coined the word ‘documentary’ for films that presented the actual world about us. Germany, as elsewhere, produced films that utilised film shot in and about recognisable places, peoples and institutions. The travelogue, one of the earliest examples of feature-length non-fiction film, was popular. There were also experimental and avant-garde film-makers who offered films that emphasised cinematic techniques and explored the way that film represented reality.
Across Two Worlds by Car (Im Auto durch Zwei Welten, 1927 – 1931) is a travelogue but also an adventure.
“For this prototype road movie, race car driver Clärenore Stinnes (1901 – 1990) and Swedish cameraman Carl-Axel Söderström covered 46,758 kilometres. Travelling in an Adler sedan and sponsored by companies like Bosch, Aral, Varta and Continental, they drove through 23 countries and once round the globe – ..”
This epic journey took two years and started out east from Frankfurt, through the Balkans, the Middle East, Iran, the USSR to Siberia, across the Gobi Desert into China and Japan. The crossing the Pacific it continued up the backbone of South America along the Andes. Then by boat to the USA, ending up in New York. Another boat across the Atlantic bought them back to Europe and finally Germany. Söderström claimed that he did ‘more pushing than filming’ and in fact there are long stretches where the filming is sparse. All we see of the USA is the West Coast and then the East Coast. There was also a van or truck accompanying the sedan, presumably all the stores and equipment.
After the journey Stinnes had the film edited by Walther Stern and added a commentary and a musical score by Wolfgang Zeller. The commentary accompanies the images but these are intercut with shots of Stinnes talking direct to camera. The score is European in style even for the far-away places.
The sponsorship by German firms was an important aspect of the production. In her opening comments Stinnes stresses the German composition of the team, then noting that the cameraman is Swedish. She adds, in a comment that is mirrored by others later in the film, that Scandinavian are Germanic ‘fellows’. The filming does tend to stress the backwardness and poverty of the lands through which much of the journey travels. In fact, even discounting the boats, the round-the-world journey is only partly driven. There are frequent sequences where local people are persuaded or paid for hauling the vehicles, often through mud, sand or rocky terrain. The most gruelling, for the labourers, is when they cross the mountains and deserts of Peru. So her comment that ‘the automobile makes the big world small’ is as much rhetoric as actuality. The film is interesting but conventional: Stinnes is not Riefenstahl. However, she clearly is an independent and adventurous woman.
Short Films 2: ‘Experiments in Sound and Colour’ (‘Kurzfilme 2: Experimente mit Ton und Farbe’) offered nine film made between 1922 and 1934, the majority from the early 1930s. They consisted of actuality film, advertising film, puppet animation and conscious experimentation. All of them used varied colouring techniques for the period. Staff from the Deutsche Kinemathek introduced the programme providing illuminating detail on the various colour formats used.
The Victor (Der Sieger, 1922) and The Miracle (Das Wunder, 1922) used hand colouring and tinting processes, techniques that had appeared in the earliest days of the new medium.
Colour tests (Farmfilmversuche, Demo-Film für Sirius Farbverfahren, 1929) used a Dutch subtractive two colour system. In the earlier experimentations in colour systems relied on two rather than three primary colours. This produced acceptable results and could utilise the two sides of the film print.
The Joy of Water at the Zoo (Wasserfreuden im Tierpark, 1931) relied on Ufacolor. This was another subtractive two-colour system introduced in 1931 by Germany’s major production company.
Palm Magic (Palmenzauber, 1933/1934) was an advertisement using Ufacolor.
Two Colours (Zwei Farben, 1933) was a more experimental advertisement using Ufacolor. It made great use of the two primary colours in the system, red and blue.
Tolirag Circles (Alle Kreise Erfasst Tolirag, 1933/1934) was an experimental work by Oskar Fischinger, a major cinematic artist in this period. Gasparcolor was a subtractive three -colour system, the technical advance that made Technicolor a dominant system for several decades. It was developed by a Hungarian scientist. Fischinger used it in several of his works in the period and at least one Len Lye animation also used the system. The palette was different from Technicolor but it looked really fine.
Pitter and Patter (Pitsch und Patsch, 1932) was a drawing-based animation. In a distinctive set of techniques the sound was created by wave-like drawings that produced an equivalent of the soundtrack patterns printed on film stock.
Bacarolle (1932) used the same techniques but married with puppet animation.
This was a fascinating programme and I had great pleasure in watching the different colour palette and imagery. The different films came partly on 35mm film and partly on DCPs. Günter Buchwald provided accompaniment for the non-sound films.
The Great Unknown (Milak, Der Grönlandjäger, 1927) is a fictional drama presented in documentary mode. An opening title explains that the film is inspired by the exploits of polar explorers such as Roald Amundsen and Captain Robert Falcon Scott. Elements of both explorer’s stories figure in the plot.
Filmed largely on location in Greenland and Norway’s Spitsbergen archipelago, the film combines impressive landscape footage with ethnographic observation. With their athletic way of filming in the open air, the camera staff from Arnold Fanck’s ‘Freiburg camera school’ used the natural world as a key player, even blowing up ice sheets to create high drama.“
The film follows an expedition crossing Greenland to a high point in the north. The team consists of explorers Svendsen, Eriksen and Inuit Milak, an expert dog handler [who is titular in the German title]. During the course of the expedition we also watch their families at home waiting to hear how they managed.
The film seems to have been successful: critics at the time suggested that it was ‘Germany’s answer to Robert Flaherty’s Nanook of the North (1922). The connection is obvious. Apart from being set in Polar regions the films also features Inuit. The difference is that whilst Flattery did not just record but directed Nanook and his actions, in this film the Inuit are placed in a completely fictional narrative.
I found the tropes from other polar stories, especially that of the British expedition led by Captain Scott, lacked conviction. The expedition is trekking across Greenland and there is a contest, a US team with the same objective. They struggle over ice slopes, snow slopes and crevasses. Eriksen sickens and we follow a sequence where he does a ‘Captain Lawrence Oates’ style exit from the tent in a snow storm. Then the team run low on food and face the possibility of failing to reach stores, fuel and safety. The plot avoids the tragedy of Scoot and his team, but the sequences are clearly modelled on that actual disaster.
What undermines some of the narrative is that the film combines excellent location work with rather obvious studio sets. This is the case in the sequence where Eriksen attempts ‘suicide’ during a storm and in the scenes where lack of food and exhaustion threaten the team and the expedition.
The team also use two dog teams, more like Roald Amundsen. Twice the dog teams fall into crevasses, the second time they do not survive. In each case it is down to an oversight of Eriksen. I have to confess that I hope his fellows would save the dogs rather than Eriksen. What makes it odder is that one dog does survive. But it is clearly not one of the dog team, all black or dark-haired huskies. This sole survivor is brown and more like Labrador. This is a shame, because the location work and the sequences of the Inuit are well done. The ethnographer parts of the film work better than the dramatic episodes during the expedition. The film was screened from pretty good 35mm with Günter Buchwald essaying a balancing accompaniment between actuality and fiction.
The final film of the day also combined actuality with fiction. The Light of Asia (Die Leuchte Asiens, 1925) was a joint German/Indian co-production directed by Franz Östen for Indian producer Himansu Rai. They worked on three productions in the 1920s, titles that are rare survivors of Indian cinema’s silent heritage. In this film English tourists are regaled by an old Buddhist monk with the story of a C6th monarch who has to choose the material and the spiritual; a choice that figures in several Indian mythic tales. Essentially most of the film is a flashback to this story. The film uses actual Indian locations and cast for its narration.
The film had been transferred to DC P and had an added music track by Willy Schwarz and Ricardo Castagnola, Schwarz playing traditional acoustic instruments and Castagnola contemporary electronic music. This was a problem. The soundtrack was far too loud during the opening credits: I saw other audience members winching. The staff did lower the volume but I still found it too loud, especially with the harder tones of electronic music. So I left shortly after the flashback commenced. I checked later and the level of sound had been requested by the composers. This is a tricky issue as composers and performers are entitled to have their music presented as they intend. But in the case of film the music is an accompaniment and I do think it has to be subordinated to the image. In fact, I have noticed in recent years that increasingly some accompaniments are too loud or forceful and distract from the image. I suspect this is a follow-on from the increasing use of ‘live music’ as a way of attracting audiences to silent film screenings.
Fortunately I had seen the film previously. At Le Giornate del Cinema Muto with live accompaniments on traditional Indian instruments.
The Light of Asia was the only film that I gave up on in the programme. I thought that the live musical accompaniments were well done. Models of assisting and informing the imagery whilst respecting the primacy of what is on the screen.
Quotations from Weimarer Kino neu gesehen Brochure.
The first port of call in the morning is the Berlinale Press Centre in the Grand Hyatt Hotel in the centre of Potsdamer Platz. You can get coffee served by very helpful young film-buffs [I assume]. There is Press Information who got to know me well during the week but were still unfailingly affable and helpful. Importantly there is a kiosk where you can book screenings for the same day [usually gone] and for the next day. There is a computer room. The staff there got to know me well too, especially as they have a myriad different keyboard for different languages. They all do ‘@’ differently. And there is a large screen where you can watch the Press sessions by film-makers, actors and production personnel. The centre seems to run in waves, quiet then heaving, then quiet again. There appeared to be a large influx about 9 a.m. and again at 11 a.m. I spent quite some time on computers and less time in one of the excellent cafés nearby. They make excellent hot chocolate and served delicious pastries.
My first ticket for the day was Brothers (Brüder, 1929). This was a ‘proletarian’ film directed by Werner Hochbaum. The basis for the plot was a famous strike in Hamburg docks in 1896.
“Made on the eve of the global economic crisis, Werner Hochbaum’s look back at the failed Hamburg dock-workers strike is a reminder of the achievements in social welfare that the trade unions and social democracy brought about in the Weimar Republic. This film, Hochbaum’s feature début, received support from both the Unions and the Social Democratic Party.”
The focus of the narrative is a leading union member and his family, which includes a wife suffering [apparently] from consumption, his own mother and their daughter. He is a key mover when an individual worker is knocked down by a foreman. In fact, at times the plot reminded me of Eisenstein’s Strike (Stachka. 1925) which would have been seen in Germany by this date. The film dramatises the solidarity of the striking workers and the unholy alliance of the state authorities and police with the capitalist management. There is a mass meeting of the dock-workers where, despite the caution expressed by the official, section after section of the work force support the call for a strike. What I found odd was that two policemen appeared to be sitting in on the meeting. I asked one of the staff from Deutsche Kinemathek and she thought that this was a legal requirement during Weimar. There is a system of strike pay but it appears to be a pittance.
Late in the film our protagonist is arrested on a trumped-up charge. But a demonstration by his comrades enables him to escape. However, as in history, the workers are forced back. But, in a possible reference to Eisenstein’s Battleship Potemkin (Bronenosets Potemkin, 1925) there is a colourised red flag.
We viewed the film on a pretty good 35mm print. The film was full of location shots which, I was assured, were filmed for the production by Gustav Berger. He was an adept cameraman, using high and low angles and some notable travelling shots. We had a fine score by Stephen Horne who seemed as inspired by the film as I was.
Homecoming (Heimkehr, 1928) was the second film in the programme directed by Joe May. The story follows two German POWs held in Russia in 1917, Richard (Lars Hanson) and Karl (Gustav Fröhlich). In terms of the drama and screen time Karl is the main character but it seems that Hanson had the primary credit. Rather than imprisoned in a camp Richard and Karl have been left unguarded to operate a river ferry: however, they are in the wilds of Siberia, so escape seems daunting. In between ferrying passengers, mainly it would seem fellow prisoners sent to work in the mines, Richard incessantly talks about and describes his home and his wife Anna (Dita Pario). When they finally escape Karl must carry the exhausted Richard but eventually Richard is recaptured, and Karl continues his escape journey.
A year later Karl arrives in Hamburg and visits the flat looking for Richard. He is still absent, but Anna is entertained by Karl’s stories of the duo’s life in captivity. She offers Karl the use of one room. Inevitably a romance develops between Anna and Karl, though they try to resist this. Inevitably Richard returns and finds how relationships have changed in his absence. The climax and resolution of the film essay the conflicting demands of friendship, jealousy and desire.
The film is very well done. The film relies extensively on sets, but these work fine and there is some fine low-key lighting. The cast is good. There is a delightful sequence when Karl arrives at the Hamburg flat and, thanks to Richard’s descriptions, he both recognises the layout and notes the changes. There is some very smart editing late in the film as parallel cuts show us the responses of the different characters as the drama unfolds.
“Producer Erich Pommer had just returned from Hollywood where he had made two war films, Hotel Imperial and Barbed Wire. With this story of a love triangle, he brought American production methods to bear on Weimar cinema.”
The film avoids excessive militarism; this is a downbeat story of soldiers and war. The film starts in March 1917 and I rather expected that the Russian revolution would figure at some point. But the date is more to do with the war which, unlike in the West, ended in a treaty between Germany and the new Russian Socialist Federative Soviet Republic. So, Richard’s release is signalled when a Red Guard tells prisoners that they can ‘go home’.
“In the tradition of earlier intimate dramas, the film focuses on the psychology of the three protagonists. In the process, it creates a model of masculinity – unusual for the way the subject was normally dealt with in Germany at the time – that is utterly devoid of military bearing.”
Whilst this is true the representation of masculinity is not that different. The resolution of the film completely focusses on the two men and after the point at which they leave the flat we do not see Anna again. This is a rather cavalier treatment especially as Dita Pario is excellent in the role. We enjoyed a good 35mm print. The piano accompaniment was provided by Ricard Seidhoff, a young musician who performs in Weimar. His score was good, and I am sure I will hear him again at silent screenings.
Der Favorit der Königin (The Queen’s Favourite, 1922) was entertaining but offered a plot that was pure hokum. The Queen of the title was clearly a stand-in for Queen Elizabeth of England. The film is set in London and among the many references are the new colonies in the North Americas, including Virginia, though we never actually travel there. The main plot device is a ‘Grey Death’ that mysteriously strikes down people. The opening in a noir-like street as the bodies are carried away is very effective. There follows a tavern frequented by body snatchers, a breed supplying doctors with cadavers since the Church and State forbid dissection of the dead, on pain of death.
However, leading doctor Pembroke believes that dissection is only way to establish the causes of the ‘Grey Death’. When he pays the full penalty of the law his assistant Arthur Leyde continues his work. Complicating the narrative is the mutual attraction between Arthur and Pembroke’s daughter Evelyne, a lady-in-waiting to the Queen. But Evelyne is the object of desire of Lord Surrey who is already the Queen’s paramour.
It is the solving of the mystery of the ‘Grey Death’ which results in the resolution of the film, I would rather not spoil the fun by explaining this. But I can point out that Arthur’s treatment consists solely of his standing by the bed of a sufferer till the mystery illness passes. Presumably the limited medical knowledge of late C16th explains why no-one seems to notice that he does not actually carry out any medical procedures.
“In the suspenseful period film, [low on suspense actually], the stated goal of the doctors is to “liberate science from its shackles and the people from a scourge”. In 1922, it was no doubt a provocation – and not only in catholic Bavaria – to articulate a democratic ideal that was a resounding call to the powers that be and the clergy that “the people’s voice is the voice of God.”
However, the film is more interested in the elites than ordinary people who are represented as superstitious and gullible. The main characters are rather melodramatic. The film is from early in the 1920s, a period when acting came closer to what we regard as a naturalistic performance. The films are variable and there is a tendency to stand and declaim, a hang-over from the teens. The 35mm print was good.and Stephen Horne worked well in developing some psychology among the protagonists.
So today Hamburg became the most filmed city in the retrospective after Berlin. The docks obviously fitted well with the dramatic plots of the popular genres. And it also provided a range of interesting locations which the films were happy to exploit.
Today I visited the CineStar multiplex in the Sony Centre. The arcade towers over one like some set from Metropolis. CineStar has a host of screens and also offers IMAX: however, no-one could tell me if they used 70mm or Digital. The auditorium for the standard DCP we viewed was large, well appointed with a good size screen with drapes and masking.
Last Child was Korean drama in colour and widescreen. It dealt with a couple who had lost their son in a school accident. A few months earlier he died rescuing a fellow student in a river. It seems in Korea there is a state system to honour such deeds. So, the dead student is honoured as a hero, with a ceremony, commemorative plaque and a payment to the grieving parents. The father donates the payment to the school for Memorial for his son.
He and his wife cannot leave their lost son behind though friends advise them to ‘let go and move on to life’. Then the father meets the young man who was rescued. He has dropped out of school and seems to have fallen out with his group of student friends. So the father, an interior decorator with his own business, takes the boy on as an apprentice. The father is a perfectionist whilst the boy is, at first, disinterested. But he gradually involves in the work and becomes a promising trainee, passing the National Skills Certificate. The wife, at first suspicious of the lad, also warms to him.
But the blossoming relationships are disrupted as a version of events different from the official record emerges. There is increasing conflict at work, in the neighbourhood and with the school. The film proceeds to a powerful and disquieting climax. The resolution does not offer peace though the characters are likely wiser but sadder.
The film is effective and well produced. The cast are convincing and the slow pace at which the past emerges from an official history contributes to the power of the film.
So, back to Weimar. In most festivals there comes a day, somewhere in the middle, where strains and stresses catch up with one. This was the day. So, I struggled with the screenings and I am not sure I do the titles full justice.
The Blue Light, A Mountain Legend from the Dolomites (Das Blaue Licht, Eine Beglregende aus den Dolmiten,1932) was one of the most well-known titles in the retrospective. Leni Riefenstahl, having established her cinema presence acting in mountain films, now took on the mantle of director as well as star. In an introduction we were told that the film had been edited at different times. In the later 1930s the screenwriter, Béla Balázs, who was a known Marxist, lost his screen credit. However, the version screened now was from the personal collection left by Riefenstahl and this had provided the basis for a restoration presenting the film as originally released in 1932.
The film has a very simple plot but is blessed with some very fine mountain cinematography. Two climbers arrive in a mountain village to attempt the local massif. A picture catches their attention and they are told the legend of Junta. Decades earlier the young woman, an outsider in the village, is viewed with suspicion. The situation is exacerbated by a ‘blue light’ which has appeared half-way up the mountain pinnacle that overlooks the village. The light appeared after a massive avalanche and is visible at the time of a full moon. Several men from the village have died attempting to climb up to the light when it appears at night.
However, Junta climbs up a down with immunity and regards the light as personal treasure. A painter befriends her. And one night he and Junta set out for the source of the light. They are followed by a villager intent on also reaching the light. These are impressive mountaineering sequences. There is predictably a fall. But there is also a hidden grotto on the massif. It is here that there is an explanation of the magical light. But in solving this mystery the way is open for the villagers to exploit the mountain, leading inexorable to a tragedy which is the reason why Junta is still remembered.
Riefenstahl plays Junta as a type of ‘earth spirit’: in some ways the character is reminiscent of the parts she played in the films of Arnold Frank, a key exponent of the ‘mountain film ‘.
‘Short Films 1: Quotidian’ (‘Kurzfilme I: altag’) was one of two programme. The five films shared some of the themes and approaches of ‘New Objectivity’.
Police Report of Mugging (Polizeibericht überFall ,1929) made by Ernö Metzner was a film running for 21 minutes. The short drama offered a critical, equivocal and ironic comment on urban life. The prop which provides the focus for a series on interlocking scenes is a one-Mark coin. This is initially dropped and then picked up by a passing man. However, he becomes the focus first of a potential ‘mugger and then of a prostitute and her pimp. Wherever he goes or even runs an obstacle appears. The irony is that the coin is a dud.(
“ The censor’s office regarded this social satire, shot in avant-garde style, as nothing more than a “crime film” that “due to its accumulated brutality and harsh acts was likely to have a lowering and deadening effect”. It banned the film. “
Open-air market in Berlin (Markt in Berlin, 1929), was made by Wilfried Basse and ran 18 minutes. “The weekly market at Wittenbergplatz, from the vendor set-up in the early morning hours to the clean-up in the afternoon, provides an opportunity for sympathetic observation of the customers.”
Where the Old People Live (Wo Wohnen alte leute, 1932).
“Artist Ella Bergmann-Michel presents an old-age home in Frankfurt’s Westend neighbourhood as a “functioning living organism”. While the elderly in the dark, inner city building descend into isolation and loneliness, the modern architecture of the newer building, with its light-flooded spaces, promotes socialising. “
Fishfang in der Rhön (An der Sinn) Fishing in the Rhön Mountains, 1932), also by Ella Bergmann-Michel.
who arranges collages of fish pictures for natural history books, films her husband angling in a crystal-clear river.”
The idyll is slightly disrupted by a cat stalking prey. For a contemporary audience this offers a premonitory warning. As the Brochure notes the film was made in the ‘final summer of the Weimar republic’. Ella was an abstract artist, influenced by Constructivism: both abhorred by the Nazi regime.
During the Nazi era, the Michels survived by fishing and farming.”
Alexanderplatz Unawares Alexanderplatz Überrunpelt, 1932 – 34) was a series of fragments from an unfinished film. Unfinished because
the film was never completed because the director [Peter Pewas] was arrested by the Gestapo and the footage seized.”
The charge was treason, though I have not found the details. Pewas returned to film-making but had more problems in the 1940s. After World War II he had an extended film career. In the remains of this film we see the great department stores but also the contrasting pictures of urban rubble where children play. And there is a torchlight procession of Nazi Storm Troopers.
The next feature was Ludwig II of BavariaLudwig der Zweite, König von Bayern, 1932) a sound portrait of this frequently-filmed C19th monarch. The film was subtitled ‘Destiny of an unfortunate man’ (‘Schicksal eines Unglücklichen menschen’). The film treats of the last decade of Ludwig’s life, when his obsession with building castles took full flight. So the only nod to Wagner is a portrait and a telegram announcing his death,
As the Brochure notes Ludwig is surrounded by ‘fawning courtiers and officials.’ The political class attempt to occupy him by indulging his castle mania. But as his breakdown proceeds he is placed under the care of a psychiatrist. The ‘unfortunate’ king descends into paranoia and finally death.
The film was directed by William Dieterle who also plays Ludwig. His performance is impressive but the film struck me as repetitious. I cannot remember a film with so many dissolves: more than half the scene changes use this device. Many of the sets are impressive and Charles Sturmar’s cinematography is well done. But other characters remain ciphers. I think if I had not seen later versions by directed by Helmut Käutner (1955) and Luchino Visconti (1973) I would have found some of the narrative puzzling.
The Brochure notes that the film which,
did not hide Ludwig’s fascination with the naked male body drew intense criticisms from Bavaria. When the Bavarian censorship board refused to intervene, Munich’s police commissioner imposed a ban on showing it on the grounds that it was ‘a danger to public order’.
Ludwig has clearly exercised a fascination for film-makers as there is also an earlier title from 1922.
We had a short film projected silently; otherwise all the titles were films with soundtracks. The German film industry pioneered sound-on-film as it did with other technical developments and stylistic techniques. The Tri-Ergon system was, for many years, the dominant sound system in Europe. Whilst early sound lacked the quality developed later these prints and DCPs were perfectly adequate for dialogue, noise and music.
Quotations from Weimarer Kino neu gesehen brochure.
Today I saw my first film outside the retrospective Programme, at the Haus de Berliner Festspiele. This is some way from Potsdamer Platz but close to Kurfürstendamm where my hotel is situated. It is a Festival complex started in the 1960s. The cinema has a fine auditorium with a large and curved screen with drapes and proper masking. A fine place to watch a film.
Das Scheigende Klassenzimmer (The Silent Revolution), is adapted from a book by Dietrich Gartstka by the director Lars Kraume. The English-language title of the book gives a more accurate sense, ‘The Silent Classroom’. Dietrich was a part of the actual story which he recounts. A graduating class at a German Democratic Republic (GDR) school in 1956 decide to stage a ‘silent protest’ when they hear about the suppression of the Hungarian uprising. The response of the authorities is draconian and the group are faced with both collective and individual moral choices.
The film opens in fine style as two young students cross into West Berlin to experience western-style cinema. But they also see the newsreels of the initial fighting in Hungary. Coming back to East Berlin they report to their 17 fellow-students. A group then listen illicitly to RIAS, a West German ‘propaganda’ radio station. The protest commences and the conflicts begin. The group is deliberately varied. One student’s father died as a member of the Red Front-Fighters (Roter Frontkämpferbund) fighting Fascism. Several are religious and attend a Lutheran Church. Another’s father is still paying the price of his involvement in the 1953 uprising in the GDR. And one of the ring-leader’s father is a Council Member.
The spread of students and their families provides for debates from different standpoints. The authorities are more uniform, either hard-faced apparatchiks or professionals whose resistance has been beaten down. The treatment of character and plot tends to the conventional. But it is effectively dramatised. The audience responded with warm applause at the end.
It was filmed in colour and widescreen and screened with English subtitles. The production is very well done and the cast, especially the young members, are very good. The complexities of the politics of 1956 are not really engaged. The justification offered by adults for the Soviet invasion of Hungary merely defend what is mistakenly called ‘socialism’. And the radio propaganda does not give any sense of the actions of the Trans-Atlantic Alliance. It is in many ways a melodrama of protest. And the finale is that common trope of the genre, resistance but also departure. I was glad to see this film and I realised that it is the first new German film production I have seen in a year: Britain is not a great place to see their offerings.
The Weimar day started with Ihre Majestät die Liebe (Her Majesty, Love 1931). This was sound film starring Franz Lederer as Fred, the younger brother in a family combine who possesses fatal charm but little ready capital. Lederer, a Czech-born actor, was a popular lead in German film in this period. One of his most notable appearances was in G. W. Pabst’s Pandora’s Box (Die Büchse der Pandora, 1929). To annoy his family Fred spurns a union with a wealthy investor and marries the barmaid at a night club he frequents. Lia (Käthe von Nagy) is already smitten with charming but feckless Fred. The family opposition mean that their romance has to surmount a series of obstacles. On the way the film satirises the attitudes of the snobbish bourgeoisie.
The film was directed by Joe May, a successful director and producer in German Cinema. He gave Fritz Lang his start in films and like him ended up in Hollywood. In fact, Hollywood quickly made a copy of this films with the same English-language title, also 1931. The film has delightful humour and some fine witty lines. Much of it due to
“The supporting actors [who] are the stars in this tempestuous film operetta. In a mad dash to a surprise ending, a colourful chorus of song numbers, sketches and artistic tomfoolery put those minor roles at the centre of attention – “
One of these being Szöke Szakall, later S. Z. Sakall, amongst whose Hollywood films is Casablanca (1942, as carl at the famous club).
Sprenbagger 1010 (1929) had its title translated to the memorable Blast Excavator 1010. This is a new invention by young engineer Karl (Ivan Kobal-Samborsky). It will increase production at the mining company dramatically. I did wonder if the technology actually made sense, but in the film managers and colleagues find his design brilliant. And, indeed, later in the film it does work.
“Set against the background of the Leuna Works complex and the coal fields of central Germany, first tie director Acház-Duisberg (son of the head of I. G. Farben) made an apologia for the age of the machine.”
Building the machine near a rich seam of coal means disrupting the tranquillity and livelihoods of a quiet pastoral setting. Predictability there is opposition, including in Karl’s own family. And the conflict is dramatised romantically as Karl is desired both by fellow engineer Olga (Viola Garden) and local land-owner Camilla (Ilse Stobrawa).
“The violent clash of rural idyll and industry, machinery and romanticism is matched by the cinematic collision of industrial reportage and melodrama.”
What stands out in the film is the cinematography by Helmer Lerski and the editing. There are extensive sequences of montage, especially when we reach the dramatic climax. The film has an early sound track of music. The score by Walter Gronostay has been recreated for the 35mm print we saw. However, it was mainly in the C19th orchestral tradition and I did not find that it matched the images. In the credits was the young Fred Zinnemann as an assistant cameraman.
Das Abenteuer einer Schönen Frau (The Adventure of Thea Roland, 1932) starred Lil Dagover in the title role. She is an independently-minded woman and a successful sculptor. A new commission sends her looking for a suitable male model. She finds him at a local boxing gymnasium: boxers were a popular film type in this period. However, her chosen subject is Jerry (Hans Rehmann) and English policeman and police boxing champion visiting Berlin for a fight. Inevitably romance, or at least desire evolves. Dagover convinces as the independent woman but Rehmann has his work cut out as the English Bobby. We do see him in one scene directing traffic in London.
The film works hard at generating humour. But what stands out is in the latter part Thea has a child whilst unmarried. Despite the social contempt she receives Thea sticks to her child and independent living. The conclusion is rather more in keeping with the then current mores but in the course of the narrative it seems that Thea is a ‘new woman’ and Jerry is a ‘new man’. There is a sense of equality in their relationship including in the care of their child.
We enjoyed a another good 35mm print. It is a film with some excellent production design including quite distinctive props as in the nursery. The film was directed by Hermann Kosterlitz, later Henry Koster, whose films in Hollywood include several of generic similarity such as My Man Godfrey (1957),
By this stage of the retrospective I was getting a sense of the variety of Weimar Cinema, which is in little over a decade produced a range of genres, styles and themes that were notable. I was also watching the transition from Silent to Sound era, which seem to be handled fairly adroitly.
Quotations from the Weimar Kino neu gesehen Brochure.
The Festival appears to get busier day-by-day. All the screenings have queues beforehand, sometimes forming nearly an hour before the scheduled time. By the point at which doors open the queue for CinemaxX 6 is down the stairs and curling round a corner. And there is a second queue for people with out tickets hoping there are places left. Then we all file in and look for favoured seats.
Die Carmen von St Paul (Docks of Hamburg, 1928) is another late silent that I have seen before on film. Here it is a digital transfer, but the standard of these is good. Like so many other films it enjoys a variation on the famous heroine of Prosper Mérimée and Georges Bizet. This version uses recognisable character alternatives and some of the plot. But it avoids the final tragedy of the opera.
As the alternative title suggests the film make extensive use of the harbour and port at Hamburg. There is an amount of location footage of ships, machines and workers and these create a bustling sense of the port, whilst outside of the working hours it becomes quieter but closer to noir settings.
Klaus (Willy Fritsch) works for a shipping company and finds himself on night duty. Thus he meets Jenny (Jenny Jugo). She is involved with a gang of smugglers, though they are as much involved in theft as contraband. Poor Klaus is smitten. However, Jenny is younger and less cynical than the original. Even so Klaus loses his job and becomes involved in the gang. Jenny is flirts on the edge of crime. She also performs at a local night club. One number is a mock cycling race by women in sparse ‘sportswear’. Later, when a rival for Klaus appears, a motor racing driver, Jenny coolly claims to be a ‘fellow sportsman’. The plot develops parallel to those in the opera but this is a seedy underworld of a [then] modern urban industrial area.
St Pauli is the red light district and the gang are what was then called ”harbour rats’. So we watch criminal acts and innocents branded as guilty. Some of this is quite conventional. But the club, like the harbour sequences, has a distinctive atmosphere which is convincing.
“[the film] imbues putative everyday scenario with the mythical aura of of a Brechtian ‘Jenny the Pirate’. Travelling shots along the waterfront lend the film an almost neo-realist character….”
The cast are generally good. But is Jenny Jugo who stands out. She has an on-screen charisma from the moment she emerges from a wet male attire on Klaus’ ship. Another of her films worth seeing is Looping the Loop (Die Todesschleife, 1928).
A programme of experimental film opened with two short films by Hans Richter,
“a pioneer of Germany’s absolute film movement,”
The movement also included Walter Ruttmann, Oskar Fischinger and the Swede Viking Eggeling.
Dedicated to abstract art they had particular interests in light, time and imagery that suggested musical analogues. Filmstudie 1(928) offered a five minute film with a montage of bodies, faces, glass eyes and geometric shapes. Inflation (1928) ran for just three minutes with a combination of numbers and images.
“Within seconds, a wealthy man reading a newspaper becomes a beggar, the zeros on the banknotes multiply – right up until the stock physically collapses.”
Das Lied vom Leben (The Song of Life, 1931) ran for 55 minutes. The film was directed by Alexis Granowsky. It uses surrealist imagery and music by Walter Mehring and Hans Eisler. The film has a narrative but uses montage and extensive superimposition. A young woman, Erika, lives with her mother in poverty. She agrees to marry a rich baron. The wedding reception is a kaleidoscope of privileged but corrupt members of the groom’s class. Finally Erika flees and is tempted to ‘end it all’. She is saved by a young man and later they have a child. However, Erika has to undergo a caesarean to enable the birth. Audiences found the operation sequence shocking. Unsurprisingly the film sparked a battle with the German censors and the film was at first banned outright.
“Originally only approved for viewing by ‘doctors and medical professionals’.”
Abwege (The Devious Path, 1928) was a second film directed by G. W. Pabst. We enjoyed an introduction by Stefan Drößler who provided a context for the film. It seems that in a parallel to the ‘Quota Quickies’ in Britain following the 1927 Film Act, cheaper German productions were made in this period to fulfil requirements for indigenous film screenings. The cinemas, like Britain, were dominated by the Hollywood product. I think this showed as the narrative of the film was stretched to fill out the 98 minutes of running time. But it looks good and the main part of Irene, the bored wife of a busy and successful lawyer, is played by Brigitte Helm. She looks superb. And the supporting cast play out their characters extremely well. Deprived of her husbands attentions Irene embarks on alternative pleasures. These includes exotic night clubs, a possible affair and illicit substances. These exploits, especially a long sequence in a night club, are extremely well done.
“…the great realist of the Weimar-era cinema, uses a marital crisis to paint a shimmering portrait of society. Camerawork [by Theodor Sparkul] that is as unchained as Irene herself delves into a whirling world of luxury and vice.”
These sequences are more about visual pleasure than plot development, but they do entrance. The film ends up more moral than many of Pabst other films, with a light touch almost worthy of Ernst Lubitsch. The film was screened from a DCP which looked really good. And Richard Siedhoff, a young pianist from Weimar, provided a deft score.
My final film was not part of the Weimar retrospective but from the Berlinale Classics, Az én XX, Századom (My 20th Century, Hungary/Bundesrepublik Deutschland 1989). I had seen the film before when it was screened at the Leeds International Film Festival. [on that occasion the venue had problems with the aspect ratio, 1.37:1, lacking the correct plates for 35mm]. Now I saw it in a fine 4K DCP. We also had an introduction from the director Ildikó Enyedi, winner of the Berlin Golden Bear award in 2017 for her film On Body and Soul (Teströl és lélekröl). Only now with a Academy Award Nomination in the Best Foreign Language category does the film appear to be screening in Britain. We also heard from the cinematographer Tibor Máthé who was responsible for the luminous black and white images of My 20th Century.
The film was the director’s first project after Film School. It is in some ways a celebration of early cinema. But it also shows the influence of Eastern European classics. Some images are surreal and I thought that Vera Chytilová’s work found echoes here.
The film opens and closes with Thomas Edison and light is a central motif throughout them film. The protagonists are twin sisters, Dorá and Lili (both played by Dorotha Segda as well as their mother). Dorá becomes independent, amorous and a confidence trickster. Lili is more hesitant and becomes involved in oppositional activities, I think of the anarchist type. Separated as children they only meet again late in them film in dazzling recreation of the ‘hall of mirrors’ from The Lady from Shanghai (1947), one of numerous cinematic references.
This is a film by a young adventurous filmmaker. Not all the themes are realised and the film almost over-balances with homages. But it looks wonderful and sounds really good. A cinematic treat.