I
b.W. P
Contents I'RI I'.V I ANI) A( KNOWII IhMI 1'1\
\lit
"JTlS'JN 11/1 (""I~lUl'''I~.l
X
' P-I I ~(}f'Lf IIf IN
., he I'fIIl>lema!l4: I'ab t All A utpur fJ ore4:led by History
1
ERIC REP-ITSCHLER
1. I'at!crn~ of {J 1>~5 Ion and (lppmttlOn In lhe Treasure( 1921)
24
BERNHARD RIFF
2 . him Ccn.,,,r.,h,p and the f-emale Spectator lhe Jfly/en 5 1reel (1 925)
30
PATRICE PETRO
3. An UnhPlmli, h Maneuver between I'liychoanalym and the C inema .~f'( r ell 'If a S'r;u /( I 'J26)
41
ANNE FRIEDBERG
4. Melodrama, II nory. and Dickens. The W H' of JeatUIL Nq (1m, DAVID BATHRICK
5, 1 he
LIl)tIC
Barter Pandora ' f B r;x ( 1929)
MARY ANN DOANE
.,£8
6. 'I he Brothel as an Arcadian Space? DIIITJ III HEIDE SCHLOPIIANN
7. The Battleground of Modeamty. W..... MICHAEL GEISLI!"
Copyngh! IW) "'. Rotgtn Th AI nchU r """ed ....,foct cd n!he l n ~ S~
l
,~
8. Transparen! Duplicitiea: TM 771N11...
1_ KII_"
THOIIAS ELSAI!SS."
1\,,=,--,,-,
9. A SolidarityofRepi RUSSELL
1 ~ //Jegr_ph
A.
a ... IIA.
10. The Primal Scene of die 0"1e' The Misrress of (1932)
"',/mrtU
KARL SleR.K
11. The Stairway to EXIle: Hi,I!
"amt
Tbr f ...... 0((, Yo' an eWaten' .",.. '1>CmlI cd,~ by [riC IleMJchIc:r p m fiImopaphy p ""'.... btbhollaph,<., reference ISB 0-813~ 1~3J ~ Idnlh) '\8 ,.. f.1 l~ 1'14 . Ipbt ' Ibol G W I(~, W,lhelml 1~~5 1%7 ' nt 'm lind • pi I kenhchler ....nt
GERTRUD KOCH
12. I'ab, t In Holl ywood : A Modufl Hrro (I~ JAN-CHRISTOPHER HOIIAK
13. C hin" and Yel Nf l!
19 4 02
om
14. Ma\()( h,
..... ca. I .....,·Pubbc.lIon mforrnauon avilll~bLc
hona Shanghai Drama (1938)
ffI
and Wanlme Melodrama: KomiJdiontDl (1"1)
ANKE GLEBER
IWI de 211
(
.KARSTEN W,TTE
.'Oft
,"1991 3 P34f5
_1£1_
K'J,3'132 7 (II'
15. l. u,' IIIKI' lIIum I ~utlJnlcum ParQ('rlslU (1943) REQINE MIHAL FRIEDMAN
52
TE TS Sh.IId<"" and a Pale \ .,1('('\
fR ,
flu:
T~
ARL P RO • •
_ I
19~
TN L..::' T, Dtn. I 55 MARC S .LBERIIAN
IIhe m PaI>sr. 0.: HANS-MICHAEL
nnllb .I l I an..! 4 B ock
,Pin
E f TED B/
I
DE
fF
,
IE
r=~
Preface and Acknowledgments G \\ Pa ,[',blC>gruph} confus and~ounds"'IO
eI llf~. wbo labc'reJ In a he't llf, uotnc,., nt and genen \ In Add to that !he problem of numcmu, muulated. mb. mg. nd aU bul f~otteo film' and 1/ becomes Ie. bow '.l:-t tht? ,..-hallenge, :Ire In earl) :\0\cmberofI9.6. .,oumbeTof -boJ.m;and.:ntl gatbcrf G \\. Polb,t ~ IDlCfll3Uc>n.>.I ymp: IUrn. sponsoraI by !he Ge,eU"h ft fur Filmthc, ne. lla, .:.:omp,uuedb) anearl) pklerctrospccn~of Pab't', film, In the __ t~Jt inC> am -,hll.uzrnbc-rgplatz The blmd of ch _ \le\\ ing' \\ a, ~ rn: rIt1,'u, C>De f r nl311) f us. During the;e da. IIImemeJ the 13,-\.. 01 'enllU, \\OrJ,. on the chrectoc an error-nddcn mil 'MlIo; Iliacr:lph) ID Engh,h. nol ,mgle ,rod) Ln Gennan. and nexl 10 DOb led F fi . . . key Pab'l te\b .'\1 the . .lIne time" d, ,-.:red • scnes of bIi-.I • image, elf Pab,t 3, \\ e "at hed films like Doll Qoti.IIIIIt, Har>.SlranglrmDram .anJother" rvelYII"M , _ .... ~_ one talks "t'out him. The four-da) ronfcn:ace be time to rethinl; Pabst. DO( just as a diiecIui the \\eimar era. but indeed as aD "iIl~_ invohed a ariety of difrea«* . . The dosing pancI mg .. We had broached die ~ ofu had u&g! sled .... _ other films. 1be lion ofbolb up and chided \IS of !he: ici IUIIe5
500_
'IS.
"'"'wuty
H. _'-.
unerglibO~~n:MMM~,;:~~::
on Itll great and said that this
an e erclsc In and run !he IdJ"5J'O:1I hape;l! a case rudy. noc a th e~plorallon of a penpatellc career ... It. appropnal... that an mtema~ cast of thlllllg\ to rec lO Ider Pat., t. -1101.". from !he rnam. u ma,.mJ I ra I !he: \ Iume PpinlOllIln_1d pan,ed !he: proJ' t B lib the Pabst reImIpOCb n:hl\ • I all a It, I .hang".th KanIa! WI_,...._ • ad tud nt It r a reeDIng of HIp _''''_1.. I an Film dJId 'Ii I \ I I n A adem) \dftblm 19() 19~ panelal!he: .eryforC.-S."
2
"EFACE _Ined Weimar Cinema and, in Ihe pmcess. focused especially on Pa!>s!. More ~.
I was pleased 10 learn Ihal Iwo films part,cularl) ravaged b} censo". and Tht' )m'lt'ss Strut and Pandnr<1 .> 80\. are l>cmg reslored, Fmal_ Iy. I would hke 10 menlion an eXlenslVe conferenCl' held m Luxemburg dunng June 1989 devoted 10 Weimar film hI 10,), an evenl anended b) "'hola,,. an:h'''''ls. and crtbC5. once 11881n where Pabsl played a slgnificanl role m rhe d"cu",on" Allhough this book anempls [0 ,I-' ,'areer as a filmmaker and 10 analyze seminal wolis. ,I cannor a count for Ihe enl,rely of his oUlpu!. Ccnain cho,ce were Inevitable and. as a result. some films do n,'1 receive Iheir due in 1111 collection. In a number of eases, thIS IS because films Slmpl) no longer exis!. 0Ihcrs are qUlle dlfficulllo come 1» and stili olhers Ie" mlngumg as obJecls of sludy. In a few Inslances. I regrellhal planned conmbullon, In Ihc' end d,d nOl prove possi. ble. especially a hoped. for anll'le on Don QULtott'. I abo could nOI lind anyone who shares my admlUedl) obscure mlere I In Pabst', melodrama, of the lifties; in general. few people know hI po Iwar woli e,cepl for a handful of I,tles All of the conmbution to Ih,s lolleclton appear here for the tirsl lime in English eJlCCpl Pamce Petro's essay on The )0"1,,£5 treel (repnnted courtesy of Princelon Unlvers,ly Pres" and Jan-Omslopher Horak's p,ece onA Modt'Tn Hero. which was pubhshed in the Inaugural, ue of FIlm HIS/on m 19 7 and appears with Ihe pennis. SKIll of Taylor & FranI.'I ,. Ii l'nJe olherwlSe nored.1 am responSIble for Ihe Iran latIons of foreIgn· language manuscnpls The sltJls mcluded throughoulthe volume were proVIded by CIne-graph, Hamburg), the George Eastman House (Rocheslet), the Suftung Deulsche Kmemarhek (\\esl Berhn" and the private archive of Karsten W,ne. Pertraps the mo,1 grauf, mg a peel (If my work as edilor on this volume was Ihe opponumty il proVIded for excbang • debate. and cooperat,on With a large number of indiVIdual , Certam people offered me cruCial asslSlance In Ih" endeavor. I would like to mgle OUt Han Helmut Pnnzler and h,s colleagues allhe Stiftung Deulsche Kinemathek as well a Renale Wilhelmy and her eo-woliers in Ihe library of the dffb 18 West Berlin. Both m IIIUUons a1lo"'ed eas) access 10 document,. stills. and films. hi al unknown 10 me and my collaborators . '_• •IUIDIII me m many m lance to malen ......M,chael Bock. the enlerpnsmg ed,lor of Cmegraph, the most comprehensive . . 1111011 German film m any language. frequenlly hared h,s expert,se and rich dala .... I would like to thank Gaia Banks. Gero Gandert, and Wolfgang Jacobsen for ..... .sdi1lOll5 to the blbhography. LI a Fluor was a conlmumg source of encourage_lad ialjlll1ition dlUlng thi proJecl. accompan)mg II al evef)' level from ils inE iii Ibroup its completion. Tlmoth) Comgan and Stuan Mitchner read the cnplm its enbrety and made useful sugge lIons I was able 10 mcorporate in Ihe ~ fiDIII YCnIOll. Fmally. I am grateful 10 I.e he Mllchner, Humanilies Edilor al • i UDlva5Jty Press, for her steady uppon of thl undenaking and her shared - " i a die . . for. book on Pabst. She ha been pallenl and persevering. construc~ d,stnbulon;.
ow,
MIl ympelbetlC. I IIIfIIIIa from the Umverslly orCaljfornla allrvine Commlllee on Faculty • I IIId die Sc:bool of Humanities Focused Research Projecl on Gender Sludies L:=::~· dIe'IIcAleaIllCler - Hwnboldt-SUftung enabled variou sojourns in Wesl I; ... duec yellS which proved absolulely e senlial for my work on Ihi 7
.. -
ERI(
RENTS( HLER
Irvint'. July 1989
Notes on the Contributors ... * C
OH'D BA THRlrK is ProfessorofGennan Studies and CommUDic: __ Adl.V _ UDlve"ily. Co·editor of New Guman Crilique, he has publiabed widely .. It cnticallheory. and the lileralure and culture of the German Demoulllic: Ke ..... , RUSSEt LA. BERMAN is Professor in the Depanment of German Studieu, St nji Universily. He is the author of TM Ris~ of tM Motkm Gemtllll N_I (1916)'" Betll'een Fontane and Tucholsky: Literary Criticism and 1M Public Sp/IeIY ",1. , ,'Ial German,' ( 1983). HANS-MIC~AEL BOCK is a film hislorian who lives in Hamburg, WestOea..., Ihe editor of Cinegraph: Lexikon zum d~Ulschsprachigt!" Film (l984If.) II1II ..... thor of Palll Leni. Grafik Theatt'r Film (1986). MARY ANN DoANE is Associate Professor of Film IJId S"",ir 4ic n-y Universily. She has written on feminism. psydroualysia,lIIII recent book is The Desire to Desir~: TM W_',f Fila THOMAS ELSA ESSER is Senior Lecturer in IEnallilb ...... sity of Easl Anglia. In addition to many utic:Iea_ aUlhor of New German CifU!ma: A History anthology on early cinema. AN NE FRIEDBERG is Asu_tll of California. Irvine. psychoanalysis, ...... UUI REGtNE MIHAL I'I:IEDIC has wrinen many articlll juif(1983), a study MtCHAELGEm ER the author of articles study devoted to ANKE GUIl£l. is Literatwes at Pri__ cinema and on the JAN-CHRISTOPHER has written nuOleIOUl FI uchlpunkt H ,}I/.l'w£ood' (2ndedlldllll; man film emigrants in the Third Reida, GlR .RUD KOCH is a film theoristllld c:ridI Gennany, She co-edil the journal F _ _....I. tch abell/.. , SInd Bild~r": ZlunDiItItn_ PA TRI( E PETRO is waukee, where she also oeec:W P'1Im Womt'n and M t'lodramtJtic
lie.,
... DiJeclUr ofFtim SIUdies at the Uni~ He 15 ......... ofWe.lf Film in rhe Course ofTiIne I11III UkratIin (1986) and Wen Gmnan Fibn-
aer-
I."
iii a IImIlllaill who lives in Vienna. He has been instrumental in
..
h.c....dllftliirIFibiIllb~ie. His publications include articles on Pas-
~:::!:~;:~~.~~=Im Main.1beauthorofmanystudiesdevotedtoGer. bisIUry and theory at the Johann Wolfgang von
;
a latgtby investigation of early silent cinema. , . . . . . tile HocbscbuIe fUr Musilc und darslellende Kunst in adicIcs 011 Max Opbiils. Pabst. and film theory.
·.ee Ptofessor of German at the University of Wisconsin. ;:"::~15~.:~:'91:11C BiI UM • • • • IIICIude snwljc:s on CODlemporary East and West German
•*
• well. _ Gc:nuaa film history. He is currently writing a social history of
-:~::~.~a~wria'" film critic wbo lives in West Berlin. He is the editor of
iii
Km M I N ' " the author of numerous publications on film and _KiIIo:T_ _ Sellen d: HOren. a collection of his film criticism. ap-
...,
THE FILMS OF Q , W, PABST
_.. ... •
, , ..
.. "
s
1
---..
:,.:.-.-
, ,.
-~
,
fllC RENT.CHLER
a pI r r ... ,th regulanly III....... ci I • C,n The 1< r of J unn they real .IM ol -- wonI IN 1 menl II hu nd y an /(o",nduurutl' orld ftX hIll' /1 hI d frame an reflect"",.n Sltatt,lwM ~ r II lion Ilk Pa I onllnu,lJ ar punou OlIn an k P.... willi. c.erna ,f f ticnl,' nd unlalro borden • plac.e ... hen: lpccIaIOn -laDy feci al home Pa I 100. I d homel JlCT'OIl con. ned by tno\l hIm h.aonana to die IcMcr lod In of lho who ha\'c lost lhear onu: con ,der.bJc fortune In the c:.rty lbiro. Paul ROlha pok of Paml U • JlI:rh~P' the IInc greal c:m~ of the film ouIsidc 50Yid Ru "a ~pproochcd, lhough 10 an cnurely different manner. by Cart Dreyer. a.pIiB und Re~ (iJIf " •• III~ ~arCCT Interrupted and Idcuackc4 by el.le. ultnllllCly beua)'cd Il)" rccmlrralJon Pa "ould r1C1Ier find f.rm footlDg or regaan hIS directorial hand after fir II aVI11 (,crmwy I He I LOn .~ a 5eI1I.nal filure In We..- C1Jt. ClUJ "ho. unfonunateJy. conunuc4 maltn f.lm after 19 I Tbe maJOr lIlUda oldie dlfCClOr con<entrate on !he pn> 1932 "ark a. !he only eumple ... OI1hy of .IIf • .,U' dl~u iOn a~.f!he ubI" &>Ily (DC'ier a IJIhIc one at IhaH we auoclllC with die Ig"" r ~Pah r broke down. bc:comlO an.11I: mgly mooIand antheClld aII_ Ind, hncl cnuly Ibe lalcr film de: troyc4 Pab51 rc:putatlOll cau&uII ... to ..bGwta Ihe lmponance of C\'en hi rJ1( I rC\'crc4 ellon PalKl appc:an _ 1 0 haww _ _ _ _
!hey"'.-
conl/num ca r Tr a u,,) a man Oi dream ~e reI I lugll" In a lal,lIm "rn He"" m"I'ld "'"
all then: a director w,thOUI LOnva lion. meonc bound by C::::::i;:::~ texl Had he died afler compldlD Kamt'Tad chDft he -W, _tit 2 • more o.enlrally In our nollon of IDtcmatlonal film hi_DIY
If)
/( ImMlanlrn and P Throu h Ih, f or I thr reall m and I I aluth,enll. IIp,,n borders I ad
indeed ~lrale In an .Ie th ublcrr. w~ one: o.eaJrc/w" KMt,rada Iaa t and M ThrlAJ tT nD ..... ~ Slaan Iaa Drumu - Ripper and M... the Kn I lope f e~lraIemlor aI .. Id COler film h. a
n the formal ape "I Pab I film .. well I borde: r Illuid d.lm whu wnlltlully cUIIIIf - ... 8IICI UlJng a Ie: !WII rr nd p /1.11 dcmarrallUn . un.euhn. ~ "'_"'II1Ia1denr:r~ on enuon I d !hal n Iran 1I.0n unnotlLeable and af die ~ pn "egc:d a . t n I,on ,n JlI:r..u~c: The knife lierve a> die
liRa down
tbrou~~:~1 th locI I, ur a a con plCUOU and contJlIII :::::~: IIUIId ntc:rnlc:d wor1 a mouf an ob .on. an objCdlVC: 1CIItJ5I ~ gmenl," and rea mbllO!! d. dang and undod'c'PCC and sadl !he dJr tor apt h. audlence.n. ell 1ft and fbe JlI:n d. pa ICm IlIJd lde:nu/acaUOO a . fix idc:nu~·on Blade er IlOk and create new bOua6~~ and confound the If II I finan. 1M! PrbI' rrt of a Soul Inrroduc both pmps mID die Iijl .,
*.' '-IIC
THE UNCERTAINTY PRINCIPLE Alone lime an ambasudor for Iiba . . .u~uenlly
peR:elved • •
Declared penona non
anra. lie
flopped In France. f.ded "' " many. and never I"CCOvend Ie. • unrelenting obIaYcr die much concern. bewild ••
failed reahlt" IU Wi'" ~ fiflle " With die I1Ie eI me ... ure Pabit now ~ mall mcanderialllld Ilia 0 • .rna of the: alii'''' _ _ "1I_JIIi IhlO peak throu&h appfOiKh I~ More vU'UlcaI,... .,..., iOUlbonal incapacity Few careen . . . . . mol ,bm. In Iy lhalo PaJ>o.t Even . . . . . . .. , red from .mpc nallly nl nil m and ....lCI1ki1l11ir; I nil r: ill do not I nd lhem Iv well 10 ICIIdIa far . . . . I Oddly CIlOU h. I 01". ally ",umbered UIIIIa •
hi: -" ..
find •
rc pI.on amon, aul"lCI:un~~.;';.!IIIr~::= I.. I d I bl~lanl pollUcal II d R f n tabl would CftJOY _ __ I all I f II out ( IgIIt
• w II pr
yrl pal I
It
the:
ble dl oune of,.. ••'_
I Th harshne" 01 reccnl reckonings ex tcnds n II I ' hon y to Ih POst· Welm t had lrou bl cd I'.. h~t ', ('onICmporunc, and cause(1 " er t"h I ato ulPut Ir rh tlerce taklll!! lit stock excn, "rctruspeCtlv f i e c hamPlo e orce 3S W II ns to A nil o'Pu, rene/enng the tlgurc a Ic ser h .. ht C , neutral "". e ' a surve"or f /lIng th rt I I • mao W 10 C la ent, "'ere ones of or<>anuatlo d J 0 DC lal sUrl' e e O an Instrum' accs nile l v nOIIllIS,' ('II ccn stacked agamst him to be , hen till", fhe joyl,'", Sln"'I, The Lo~e ofJran;I'> \' "ure I:ven hIS mo st uncOOl sunll"nllal rev"'''n, al the hands ofc • r), Dwr\' of LOJt Clrl_ d estCd ensor, line/ forcl"n d' 'b un erwe , " I\ln uto r\ , makin nt IlIlw, all bUI incomprehenSible A dUet,to I, IllS ,ardully crafted "ork recut IOdeed r ,~Udcd for h"IOvl\ lble editing ~ t~em at DI/d ,'an only he dl~cussed on Ih' b mutl ated, Other lilm\ ,i mpl y no I' e oUnd e aSls of COntem ' onger e ' , porary reviews . In the United S Xlst only a bare dOlen ot Pabst's thllty.thre til present I} available. all ot them elihe W ms ",Jany 10 que'tlo nable versio tates, of Pabst accord 10 a very limlled aC:e el~ror, azllilm, 22 1n thiS way ~urns-are hi, career as d whole, a entl al rnethodol: Ilsh~tork, a qUite clrcumsCri~d n~t:~g~~ allty, and a l'urrcnt lIuatlOn thai b d I gy a poslt\ hIS lack o f dlreClori I te I Ihesc notHlOS on Ihe basi 'f hY no argc, docs not allow us ready oppoartpe~on. /', n ' 0 IS enllre work Wh' unity to hast' presencc, but the presence of Iu til ' at IS uncertain here is not onl I . ~ll'uvre which denve from partJal eVI~eln m~, ·and presen t-day images of him no~ I h" pr scnt coli cellOn of e say Cc and superannuated paradi ms to rcwn~lder hiS career 8 a wh~~esecks to relhlOk Pabst's Ii lms as a teXIJ~al b~ exa""nat"'l/ ot how Pab t h be An Imponant element in these ap h ~ nod as en unaged b ,' proac es IS no , , I nan, ,/1/, 111l' wa} hlcb th y contemporanes and subse h' utors hel" haY(' a varl ty of ese POrtraits IOvolve IOsight a nd oversight i~enl IS~o "aost In e'iabll,h Ilnh betwe;~~va~/Ons and clearly differe nt agendas 'So~ conll?~ WlllCht heyarcelllhedd d Olh e ISCOur es of the film, and the sociai d' erevl~lt r nt tie hate ' about sucb matter ers use hiS hlms to actualize or dramaliz ISCO~S m IOstlinces w fi d as Spectatorshlp , d e cenam curresearch (ln~n~n appreCiations of works Obscur~~e~ er, and subjectivity, In several ter the hrst ub,gt,'"lss,lOg InfOrmallon. And 10 th" c' y the Phassage of time as well as antla allempi ' . a,c 0 f t e Naz' ii I prublcllI""l' 'I he lollow to engage (but not IOdul ,. . ;1 m s, we encoun· scUing the IIldlVldual Ing Comments prOVide a baekd ge~ P~bSl s output at Us most dIsplaced persons essays wltrun the hfe's cnpt ot ~~p. Or the vol~me as a whole, ne of film hi sto ry 's premier
Ar' Auteuf 0 reeled by H s ory
5
a,
"t·
In"
SHAKY FOUNDATIONS T he first shnt of P~b'I 's hrs t hIm ' fo under Some where in South , hxcs on an edllice a h ture: it has once bef(,re burne~rn Styna, Pabst's hOIJ)~lan~u~c, the d welling of a bell· of Ihe tilm, The film expl Iho lhe grOund and will, h., "~ precarious struc". ore, I e lound . COme crah space S Inten or tOpography alll"'s 01 the h si ng do wn al the end Ibrough d on a map re ' "I "Use ark COrridors and labyrlnlh' \ca Ing hidden sec' cnng g limpses of !he . - of apparent domestic ' stab ' I· · s meaPit° ' h'a b lIants ' -eg,c . ,I he ' rets ~s its 10 skulk WId! one f I I/y (a ('ralr Inl/lal SC4 so wandering, The linal , '~Ian, hIS Wit" ue nce contrasts imdlMp'l(:e the' scene", II e and d' h , If goal uncertain , at besl an I Picture a Cou I aug tcr, an assistant) undch ned away-tr"P ehdlSapJlCaring into !he 111, ere' tl ' h ' Ig t from a site
0'" '
,
Disappeari ng Into the unc ertainties ot the d istance Beale and Amo. Pabst s tlrst ex Ies In The Treasure
o f greed and calamity, escape from a home that no longer exists . Beate and Amo move down a road into the receding spaces before !hem, away from Ihe camera in a deep-focus composition, from a full foreground into Ihe uncertainties of a vanishing point. If Pabst 's cinema is one of extraterritoriality, The Treasure ( 1923) stands as a compelling founding text, a debut film Ihat points ahead in various direction . Be rnhard Riff does much to rethink popular notions of !he film as simple fantasUc indulgence couched in a fairy-tale world , insisting Ihat !he studio-boond prodUdJOG involves constructive energies from different directions, a curious mix of cxprcss10111>01 , impressionism , and naturalism which makes the film hard to place. As Rift" poi nts o ut, crilics , oddly enough, tend to locate the film in a medieval sening, despite clear marke rs that fix il in a much later period. Riff initially clarifies our understanding o f the film's own relation to its textual basis, the egregious blood-and-sod fusUan of Rudo lf lIans Banseh, as well as the manner in which it addee ses a contemporary co",ext of inflation and anti· Semitism . Seen in Ihis light, The TreQ.
ERIC RENTSCHLER "" 10 P,lhst 's dl'vclopmcnl. SUg~l"t' RI fT, II ha, 10 do IHth a n rna "hreh dcml" us ea,y (j"tle, and collap es lim) f lund movement tow ....
(
all(}n~.
.... ...s
WOMEN WAITING
An Auleur D,lected by H story
THE UNEXPLORED SPACES OF DREAM ANALYSIS o'a Soul (1926) is bOlh symptomatIc and lromc, a text that reflects the double . '" . '1 ~"n(e m of many I~l?'lrtant »elmar fl ?,.. It mterrogates male subjectivity and,like. "'1
Thr JOI/"I.I .\Ircrl( 1925lcxplores an equallv tenuou, space < I I . ,'-IocacwHh IHln. a Site of almlessncss and anxlet.' the s[rcet In Pahst's film b" . oUlorienta_ not ofkl ,uclOr to the f1ancur and serve a, semllltl plavgrou g elly .avcnues do enc' and dream-Imag s !4 Here onc docs not walk o;c" n 'UV.hICh Inspire rev"H d" h ' "all,. nhkc K "art,n e. ,,"ever, spmts III'tnt; In .bevan,e d"I' lId f' I ' racauer's • • ... ( 0 r~ IglOU . plagued b) k IIOgs (If ahenatlon. bereft of hope and (lrientatlon Pabs .' Sustenance, ,eem frantIC'. possessed, and angry}< It tS not horror I'a(t . ' . t, protagonists "orlnll!'I",) . h . but rather the urgenc), 01 the most Immcdiatc malerial cone 'rn Th ,rl, t ey face, Caligan /0 !filler v.ould dllde the wrcl'tor for hts Insuflic c t'd' . e author of From . len cp,ct'on f h . tlon era and Its amb,cnce of ewnomK chao and moral b O t e IOftaam IgUi tv Many . contemporanes ncvertheless vIewed the 111m as a stlmn "morai' . progressIve clahst mamfestatlOn .. Pahst, ac.:orJing to Kracauer. dllnOI '0 fa::~~est, If not ~ soclearl~ grasped the social dimenSIons 01 the predicament gH 'r ugh, even Ifhe mined by hoth thc film's melodramalJc schematl~s and hIS '1' l'S rca ISm was under. . In a uatlOn WIth hIS female players.'"
d
Patnce Petro's d,SCUSSIon of The JO\'/C.I·S Street pan f h I h' WeImar cinema and photolournahsm. stre'5es an ext;'" te 0 • er engt ler study on and explanalJon the place 01 \\ omen !' PctnJsu" , t mt01.worthy of exploralJon female figure, are poSItIOned III thIS 111m amI ho:;,.ge, 5 a 'Iml anty between the way matlC institutIOn 111 the mId-twentIes Put an h th~) \lere positIOned by the cinetween the women who walt and th ot er way. Wc find a convergence beand dramatIc potentIal. an exccss ~h:;~m~~ wh~ watch. both har~oran intense anger offiCIals fcared -actIvates latent e p. O\cr Into the hlmlc fictIon and-censor melodrama hcre, accord 111 to Pet~e~,:s averse to patnarchy. Pabst's recourse to the value of The 101'le,'s Slr~el as a d~u':::;n~ot \,tlate Ih7 him s reahsm; It heIghtens non-'Imuitanelty between male 11 d I' al telling multiple >lones and reftecting the 1"0 drama" Ihat of Grele R mrn cm he responses to modernity. The film features d i 'IS a lale 0 f vmuc re" arded Ihe second uone ort Ian I at of Mana Lcc'h ncr.•..... lie f Jrst ,. IS e,s reassunng R t h ' ,. . . a er. It exudes ' gUilt, deSIre, and repreSSIOn," IIlcorporallllg a woman's f (111 a shot taken from behmd a pall d nghtful re~~gmtlOn of hcrJover's betrayal IDdow wh,ch evokes a SImilar scene in S"Tel, oj a Soul) and her murdero userne npu lemale anger, an anger that returns t"h se and deed Mana acts out a repressed '" aG vengeance f'l .s closing sequence, . the seemmg neatness WIth whh d espUe ' 'n th elm The denouement betrays SIgns of ed""t rcl'tc S dcstlny has JUM been resolved. ..' lona Interventh h . . IDCOherent and yet stnkmglv emphatl P Ion" Ie render It seemingly an· . c. etro sees the pa .. . ssage as Ihe mantlcstatlOn of uncontamed female Ire draw mo· tt . d ' . th . . ' .. a enllon to a SIn' I .. . ynamlcs. e Images of Maria's friend h gu ar motIf 10 e"entlahze the demands entry, "knocking, then pound' w ~ 'lands outSIde the butcher's shop and deSire and anger. ",. The final version ofm~, the as fil If to cxpre SS It' Ie foree of'an.meffable poICnuai (the butcher's bloodied face) ev f' n I depIcts the result of this unleashed c:iIcd I en I ttIe actual • apparent y by the censors. In thIS read murder scene has been ex.....-. eSIte ' and reveals Us . different r .mg. . - __~s ! h same I Pabst becomes a filmmaker who a flIItacNtgrstrUtrn class as well as acknowle: Ules. cngaglOg bOlh the male anxiety . , nfl'lt"'OIIS one ". gmg temale rag • com.onmg m Us patnarch' I I e. supplYIng in the end : lOa of repressed female desire.'" a ogle. the other transgressive in its
7
In"
.1 "
, the nature of cmema uself, provldlOg a scmtdlatlOg melafilmic mquiry. Focus. h h fI d I . . "ng on a troubled psyc c, tel m ISC oses an unacceptable Idenllty, an alternative 'f'l1l1 and unbearable ,elf, a man "ho can no !onger d,rect hIS Own aCllons. The ~otagonist slip' from the symbolic IOto the ImaglOary: re~res'ing from the head of a household to a dependenl chdd and mother s boy. The film s dynamiCs will alloll. him to reas>ume, 10 a hyperbohc and overdctcnnmed way, a poSItIOn of authority and control over hImself, hIS hou,ehold, and h,s WIfe. ClOema. hkewise. appears here as a medium whose task it is to order Images, to provide pleasing self-images. to harness the seemingly Irrational and arburary. The Impetus of film and psychoanalysis i, a common one: both involve a med,um, both have to do with a quest for narrative, both also employ similar mechanisms , acting as insututlOns. dream factorie" indeed texlual apparatuses, as Anne Friedberg points out in her contribution. Pabst. argues Friedberg, succeeded-despite Freud's own mISgIvings and hostilities-in translatmg a talking cure into a silent film. In '0 doing, Pabst created a dynamiCS wherein the analyst in the text corresponds to the analysl outside the lext. placing the spectator in a discursive relation to the onscreen exchange. In Friedberg's discussion of the suggested equation "between dream analysis and film analysis." it becomes apparent that Secrets oja Soul presents much that remains. in the end, unanalyzed and left out of the psychoanalyst', closing slatement. In essence. we find an element of repre"ion in the doctor's account. What results is an Ironic tension between the exclusions of the inscribed explanation and our knowledge as onlookers of what it leaves out. '" A, Friedberg puts it: "The spectator of Secrels oj a Soul is positioned as a more astute psychoanalyst than the fictional surrogate." It would seem, then. that Pabst's cinema calls into question the power of simple answer.; and straightforward solutions. The psychoanalytical treatment will exorcise the impossible self, banish the man's feelings of in sufficiency and trace them back to a childhood trauma, and enable him once again to wield the phallUS. Nonetheles ,cenain excess baggage remains: we can never really dispel the possibility of a liaison between the cousin and the wife. He lurks offscreen with the wife when the husband returns home, suggesting another scene in keeping with the patient's wor.;t dreams. And, to be sure. the wish-fulfilling final sequence proVIdes an all too neat bIt of closure; the resolution is overly emphatic, almost hysterically thorough. The doctor urges hIS subject at one juncture to tell him everything that passes before his mental eye. Later, he prompts the troubled man in no uncertain tenns: "Do not repress a Single thought, even if you think it is unimportant or absurd." In thIS way, the film e,tabhshes certain standards that are not fully met by the would-be pracbtloner. 1be hIm analyst is challenged to do b e t t e r . . " Se('/'e/.\' oj a Soul, from its very first shots, proVIdes the speClato~ WIth an~ lIon not to be deluded by initial impressions, not to be fooled by spunous conncct1ons. The opening image shows a strip of material being used. to sh~n a blade. '''81 11IIlg a strip of celluloid and the hand and tool that c~ts It. The lD~uctory P"MF makes it clear just how convlncmgly edIting can mampulate and distort. A ......... 01 shots lead us to believe the husband and wife are in the same room; eyeIiae m 2 l_ and directionals deceive, though, for the two inhabit separate Intimate as it would seem: a wall stands between them. in false image that we come to recognize as such after we repm __ ,,",C.
r.c.. n.
ER I C RENTSCHLER
An Auteur O](eCled by HISle
" ~,thc p') ,'hnanal) ,I edIts a ,IOJ), derived fmm hIS pali' I' s me ntal ...Ct:'Ol'(Oe d'f I). If t h e,r"'Yc h oanaJystemc redthe"nman\ _ Image \ .a i! le\, U " "gmfkanllhallhe oOJecI !lolh opens and ell'" , , hIe b) relum _ . . "s .J uslaslh I ' ~planallon pm'IIege, eenaln momem, and memorie, \\ hile blod,,10 ' e U Ilmale pllogut', wh"'h othem'i,e wouJd be superfluou" pnwides a funhe; OUI Olhers , The ",nJ the Imllal cIo,ure. vne bolh Iron,,' and un,enlmg " perspeCllve herhe final ,equence comaln' a faIr b,l of reSIdue from Ihe ma' hod see Ihe no" \'/gorou, man pulhn~... /i,h OUI "f a 'tre"m re _all ,n h ) of Ihe lilm: we '"' • ( 109 t e dr am . hIS" tic pulling a doll from the ,,'aler. Dunne ana" 'I' Ih" d~ 1 - .. Image of , ' , " , or read Ih ' ,me "u,!!'gc'lIng "an (mnllnem (1r dCSlred blnh .. The m o ' e Image as me n! "pregna I . " hIIuy, bUlthe undemable hnk bel ween the IWo "'e'ne .. " . , n WIth pos" s ", mmedlalel ' d ' a, the man dumps the buckel of fish hack mto the Waler Ih ' b ,) IsavOwed graph ,,'ally depre'"ng an) recall ('fthe dl,turbmg premontti'on ~;h~' onm~, meaning, The en,ulng handheld ,hoI of hIm bounding up the incline to his W'f \\lfe s mfidehty, shOI' \\ uh an OUhldt> perspt.'CtlvC- dunp,c, of onloo ' 'e d' I' I e recalls the first • • IS an po Ice runnt th e hou,e 01'urd m cr· ,echOIng a"am m a: the " o~ I be ng tOward , - ~ ,~pp~,n ex u ra nee auoth ' , er prevIOUS ,"stanc'c of dl'qUlet What about hIS fears of a "oman " ' Ih an mdepe d ( orne th mg the film confirms a, Dot hIS prolt"Cllon alone) a d ' n ent gaze blm" dqhelr chIld also hI chdd-or hI COU!fl' ') Th fi7 ~ sexuahly that excludes soul. II alS(1 ,uggests th.: h,s" Ife t:";.l\ have "ne, ~f t>, m eals wHh secrets of his on the hIlltop and lifts therr chIld .. e' ~membe"' herlo" n · As he reJoms h,s spouse ." . , r an ear ler fanta" f Th' "- Image 0 logelherness and tenillt\ .l~am t a "~te creen t-acld that dlsturbmg l.lcWr bas depaned The prop, t> re IS no trace now of the cousin; [hmkmg. a dreamSlape Once ag:o ert~r ~XISIS m a no-place , a utopia of wishful and here the film ends "-l . ' , am DOtmg gIves way to precarious ground ·~.1al,:ul "lh at
.7
STORY OUTSIDE OF HISTORY In Pab t's rendenng of II) a Ehrenbur \ nove: h . " denle over the force of re\ol l.t gd h • t e lo\e of Jeanne /lie\ takes prece· uon an "tOI) The adapn .d h h "oprotestedthatlfahaddepol"t d. d ' . a JO n enrage t e author. IdillC' do Ihey latch onto I"rel £Il ~ m\lahzed hIS book' " W'lh whal moving If non ense "Ith the be.t of ~; ha end~,r;'f; tn order 10 fabn cale yel another bil affirmall\e dvnanllcs of Th_ , __ .• ~PJY tv Do the happy e nd a nd the overaJl P , " < LU', OJ eanne n' '19'7) b ' , ab ! compromIsed Ehrenburg hu kl d - su tantlate the claIms that desI re III emulale Hollv"ood'to c a:.ngu~ erstudlopressurelofulfillBabelsberg's Amencan 't\le' Davld'Bathri~k rem e a 1m about Sovlel expenence, but in the II tnherentl\ contradlcto') Prolt"Ct ~ams sensUl\e to Ihe film's ma ny determinants. 109 dlsco~ of SOVlel and -\me a an alii emptIO negollate precIsely Ihe conflict. - A ' ncan stye as th"" fl ' ' , ema progre I\ e film antS! "(,IX t -J tn uenccd 'WeImar etn· pohtic . Pab t teered a ctnemallC cours'en~h or a stud,o hardly sympathetic to his of monlage and di\ ergenl approaches to th:lrem~euvered bet" cc n diftenng notions document and a melodrama the film d p esentallOn of h" to,)', Both a ,oeial time . yet I(keWlse pnvilege,. a character ProVI e a Slnktng sen f I a d se 0 011 leux. place, and die film ' understanding of itself as an h~loan a~Slhellcs workmg tn opposHion to century hfe ," Pabst empo"ers Jeanne 's gaze an~~11 or SOCIal document of twentieth· IDIDe bow die narrallve WIll unfold : namel " .. her foc us ulumalelv 10 deter......, wbicIJ bord" J' a, an tnexo, ra bl y forward-moving . J SU lOated hlsto') 10 the ovemdin love 11trJ k Strut. Pabst studies a histoncal sen g Imperaltves of melodrama , As in ng 1liiie pIacei . Jeanne stands as a curiou e: and supphe, multiple ~fixes" on a pres Ion o f eXlralemlon'al I'Iy. a vana"
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I'S cine ma o f life in Ihe el ; ewhere : her perspective freely dispenses I'
on pausbsacces ' (h fl hb k d ' , lme. .. to the past t ree as ac s ) an dlsposmg over the future ([wo
liOn,
granllng 'ard,)" She admlm slers sto ry- and yet .. he embodies a force whose personal IlJshfo"'mi ittateS aga msl hi slo ry at large , In a manner similar to the epilogue of \"ohllon if a 50111, he r happmess comes at Ihe cost of the film 's ultimate retreat from Sl'crets l~ of social reality and hi slorical process , a private triumph in a s""- ,,__. Ihe wor . d' "'-.. ~u:;r' above all by genenc Ic tales. mine d
THE STAKES OF SEXUALITY, SEXUALITY AT STAKE woma n's position in The Love oj Jeanne Ney at once activales story and enervates history. A circumscribed frame of reference, Jeanne. like other female protagonists in Pabst's narratives , IS a source of control and d,sturbance, The dominion of Louise Brooks exerts an even more compelling power; her fascination as a screen presence and a fiClional character threalens the very authority of the director himself, Critics have repeatedly suggested that the ultimate energy fueling Pandora's Box (1929) comes fro m an actress's sterling performance and persona rather than Pabst's directorial intelligence, in essence recasting the auteur in a secondary role as recorder; if he showed any talent here , it was above all his aplomb with a found subject" JJ 1be IWO essays in this volume devoled to Pabst's films with Louise Brooks, Pandora's Box and Diary oj a Lost Girl (1929), remain much more skeptical about the ostensible sovereIgnty ascribed to women in Pabst's films and Weimar cinema as a wbole. Mary Ann Doane and Heide Schliipmann both agree with 1bomas El5'--_ d..a Pabst represenls "sexuality in the cinema as the sexuality oldie cinema. "34 Sexuality stands out as a remarkable zone of disturbance both in Pabst's worts and die discussions o f them, In his reading of Pandora's Box. Els .... _ stresses Lulu's androgyny and indelerminacy. seeing her as image incarnate. as an embodimctlt of cinema aad ils Imaginary arsenal; if Lulu, as he claims "is forever image." sbe lepC1C11t5 the hopes vesled in filmic modernism." Doane scrutinizes die same image and.liIrewirc. recognizes how Lulu's countenance intenuplS nanmve flow in an ocberwise c:bIssical conlinuily and fragments space by dint of its erocicism. In fKt: ~In her most desirous (and dIsruptive) stale. Lulu is oU/side oldie IfIiK t!II~. 1br:re is Blollle,,_ fm. l"lic hallucinatory quality attached to her image," This image .... ·I' II1II friPten... existing above all in the space of male projectioa. bodJ fur the .-Iy _ . FIle [exI and for sminen male critics outside the film. 16 IfLulueDsIs IS lID m ...k utf male lack, she bears a Pabstian inftcction: dcspWalizrwl and IIbisIoricizIcd a - noaHng "gnifier. circulaling in asphere of desire and 011 session. subjcct~ the an endangered subjectivity. Contrary to Els .... _. Doane sees the SClI'!I'tty of....,. cinema. at least in the case of Pandora's Box. as a JetbaI one. Lulu ~ .... : capllvate, and scintillate; in the end, sbe-and ~ otbc:r~ mtlle Ii Im _ .. conslitutes a danger which must be systemaIicallyeradicated.1.IIIIl BIdern"m of disjunctive cuts and disturbed identifications places .. - .. ntory governed nonetheless by conventional nocions of SClIuaJ dHfaence Heide Schliipmann 'urucle on D/GI)' 0/a . . of woman in cinema is that of male proJCCbon. ~ 811 I.......... WeImar Gennany.c.-naserwdlOlISlIiSlin patriarchy. parricipdill m a Jar&a' pro~ _iliA ..... This, in SchIilpnIIIiII'I c:Jt~ the padicnIIIIJ position wiIbin ...... narnbft 85 well. acuesa belen dIII..-. aad!be female 1IF t , . . . .
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LOuise Brooks involves a Ioat girl v d • "llh ary source nOl incorporakld in Ibe ....... we iller . ' I d' In Ihe film (It sImp y IsappeBI'I h:';rnian IS cast out of her home,. separated fioat :,rm school. Distraught and disaft"eeted, ..... t( rehal would seem to be a mod'Icurn of .. - ..a.:I:.... ....~ ~appJOc" and succor. Throughoul il all, aad _ • die dell o . Thymian is the object of an eUil* tell n..' . . . . would-be kind madame with her eyeghsn. n:pI. die paralU S as a w~ole; just as she ov~!be JL'" I . . . .' . enunciator behmd the camera exen:ue a offers the male spectator a positioolimilar to his objects. Female suffering COilespoadl to absent-present male viewer "can always ment of this erotic longing. " Male with which the male spectator can Ie8lIi1y thority. The female spectator retains at character, an alignment with a 2
A REALISM OF THE HYlIERBOI.
Claims=:::!
No matter the gender, () 931), identification does trary to what previous critics promise Brecht's antli-i1hJ!j"ifIl>; undermining the play's Bathrick's, ElsaesllCl'vie. well-known director on a Brecht's
ER I C RENTSCHLER
\\ ""x !lIm, awareness oflhe "Ia,,'mallon of Ihe I"Ise," a','Uml ng (how could J(
•
..:' rcn!"') a cun,'u, slalUs and eccentnc P')SIlIOn a, pure surlace. 'ho w value . ICIJ'~ ~ ,n and "rslUre whIch control Ihe naITaIJ\'r and vel become Ihe uhlmal~ ')~" . "",,~, ~ ' . ''',ecI, of "n "nd olhereen s""clalors as "ell The nWsI Ielhng space 01 Ihe lilnl . v . u . t·_. " • aVcr\ E ,aesser lS a no-man's-land 01 Imagmal} eliecls "h,ch reveal, symbolic fUncllon, ", kmd of mela- or hyper-space of representallon cO",lrucled In Ihe form of a~ mfinlle regress. en-abyme, 10 "hleh a sho" appears "lIhm a show. a frame framing a trame " EIsa""er" conclUSIOns dluslrale a bask variance 10 recent diSC USSIOns of gender in \\"mlar cinema"" Tht' Threef'e1mr 0Pl'rll revol,es aro und illUSIOnary appearance, and Imaginal} spaces. dISclOSIng the appeal and dominio n of sham orgaOlZalJons (beggar.,. pohce. cnmmals. bank,. entenammem apparatuses) 10 a play of props. dumnHe.,. and doubles. Machealh. accord 109 10 Elsae"er. bears OUI Ihe facI Ihar in maUers of gender "the po"er of fascmallOn is ambivalem." The characler assumes a poslllon redolem of Lulu, both cemer of allemion and producerl product of Ihe narrallYe actIon (Doane would stress. however. Ihe dllferem ways in which the IWo narratIve, uhimalel) dispose o,er Ihese Images) Pabsl's film grams Polly alone point the definillve enabhng power 10 German film. thaI of invisibdHy. She stands as an unseen authonty 10 wh,ch Ihieves-Iurned-bankers defer If the ill USIOn of Ihe image tnumphs 10 Th,' Thr,>ef'enm' Opera. II appear, here 10 the guise of a woman Who assume, Ihe power of the Mage defined in male lerms
BREAKING DOWN BORDERS Polly's sovereIgnty mlghl, 01 course. be read differentl). as a mIrror reflection of a precanous subJecIJ\'it)' that eXIsts as a shell and an emply SIgnifier. or as Ihe appearance of an ill usion, evel) bit as much of a VOId as her male counterpan, Macheal h. fo r whom ,he aCIs as a sland-in dunng Ihe bank scene. Her reIgn is of shan duration, al any rale: the final sequence w ill show her looking al Ihe relurned Mackie In mpl ure as he performs With hIS old war comrade. Tiger Brown. Viewed as a whole. Pabst's films feature men with defiCIent egos and indelerminale ide ntilies governed by frenzy, anxlely. irresolutIOn. CaddIsh bon \'I\'anls and avuncu lar lechers abound. fmm KhaJib,ev and Raymond /Soey 10 Memen and Henning Wiarv ofa Lost Gir{). Ihe forsaken and belrayed lover 10 SIzanlghui Drama, PhiJine's would- be rapisl in /(omodlanTt'Il, or Ihe effele abductor of Through rhe F oreJls. through th e Fields. "esr(ront 19 H (1910) and Kwneradscha(r (193 I). quile conspIcuously de monslrale the dy namICs of Ihe male bond and. as ,ocial documents, anlCulale Ihe fluidlly beIween men's 'elf-images and theIr images of women." I MIchael GeIsler shows how West/ronT breaks down borders, spalla I and lemporal ones Perhaps because Ihe fi lm deslroyed boundaries 10 such a Ihoroughgomg way. II was c n tlclzed for iI, lack of "conSlstenl e/fccI' and a "gUIding idea" (Herben Iher109) amount 109 to, al besl , "3 noncommlllal survey of War horrors" (Kracauer). As a paclli st exciamallOn . II "Iuales sold Iers, regardless of homeland. as mherenl allies. as brOlhers under Ihe uniform The viclss nudes on Ihe nall/clield eX lend 10 Ihe home from where MarvaHon and desperalion also bke Ihelr loll Gehler explores how Pabst's war film displaces Ihe bewildern,e nt and chaos 01 laIC I"entles We Imar onto the hIstorical sile of World War I, replaCing Ihc cny 01 Ne\'. ObJeCllvlly wllh Ihe horrors o f modem warfare and suggesling a perceIved afhnlly bet\'.een melropo hs, modernlly. and apocalypse . A tunher Iran sgressed border as Banht'lemy Amengual mdlcales, IS thaI bel"een Ihe reah sm o f the Irenches and combal and Pabsl's VI sual
Pabst's premIer cad , Khallblev (Flltz Ra sp). In a decelv, ngly ,;ubd utg,:;r~~~X: 'c Gabriele (BrigJlte Helm) In The Love of Jeanne Ney. Photo cou .esyo
. much of ae,lhellc z~al as of a expressionism of markers and sIgns. a fhUncllOn nOI I to'0mere fa" mat~rial Ihe human will 10 caplure dynamics Ihal reduce I ~ ~al~~~ in Geisler's account. 'i, an Idyllic shape 10 abSlracl form .42 Al the center 0 ht e . . c "hara~'-Ierizes Ihe neusachliche . b i d 'cape w IC h In nu t c _ . momenl of repose In a arren an S h d f a bomb craler and make themcondilion . Karl and Ihe sludenlrecli~:n~::utf~ei~ Brussels. a Joyful relurn home, selves comfonable. They speak of p. C . 'sine wom~n The mtimale momenl h II d . f Ihe r mUlual deme .or mlS - ' I back and laughler. 'We then cuI 10 a large an and . 10 be cenaln. a ends 10 a shared gaze. a pat on the . ' , whose first offering IS a song by MISS walch a lively audience panake al, a res u~ on her legs and h~r performance. not for Forgel-Me-Not." The camera fixe, ~n~~~~) lace of "~men. even In the revell}' of the p a moment allowing one 10 forgel Ihe pc
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male bond , ' . I k I' Ilnrfront and can. as Geisler says. be seen Kameradscllll/t contains mani In h" ~ 'OI~g agonislic struggle belween t"o boys as a continual ion of the earher h nl. I ""pe'l,on~ overcome by lI'estfront. The dOSing heopp" . . . b uI a' PaVe r marbles reassens as puen!cl . celebrale, Intemauonal worker sohdantysequence of KlIllleraJ.lcllll/r. I' lh' )ment IS undermined by a scene whIch pea mnees deceive. The JubJiaHon °be " m, Fran .; and GermanY-Ihe -Fronliere ' d border ~t\\'C'en l;... ' . reinslales Ihe undergroun h I r 'nder 1n0peraHve. The old arrangement IS put back 19 19 " Ihe narraUve had "jlUj! ,I ~'''~k on a docum~nt passes from on~ side of the barriIn place as gos ernmenl 01 Ina' l • d" I For Russell Berman. this i no! just ~ . • faU\'c.~s sIgn an stamp 1 . . ~. er 10 Ihe ()Iher. represen d I) the hollowness 01 Ihe film s overall message, , '1 uc It corn:spon . . l I borde I 10 c=t an ImOlc. epl OJ! ' h"h Ih,' I"xl breaks down natlona rs on y h' Janner 10" Il - - . . aI __"'_ . e"enHahllng I c II I' h' .. 'rid In Berman', provoocative a1legonc .~g, Th' worker.; 0 t " n l , the. truggle against management or ptllitical oppression. but ra r In a
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ERIC RE
TSCHlER
A.-d encaged film and a larrCTr~mbercf ~_ e
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!locally corrl:Ct. mlelll:Ctu ) - IU ~er had fallen pre) [0011 Ide pre sures and run f .mtt I'lm~ S.erek·s anal} I of selected fragments fnm!he re ' ..~ ~ • 'lOVon '" I as a document of am lie am 19u1l} lacKing au - , -.enh I[ no -' th !he ~ _ • If but ramer as 3 "0,,; a[ IDterrogate<; c .emauc appar~J r_. ___ .~ pa;se;"'e ,e, of representauon, enUIXtalJoD. and pectalCrsh.;- I-!he _ rh man', relrospecll\e tale of =.h and desire Saml.A\11 , nan realm InIO the "orld cf An: and At/anUs. IC\ hes... find an Imagl 0 friend "-00 mere In'S =k·. ). The At J _,,' hl ,ID1" me '.. f nd , ,_ Un!, 10 a ,ublerranean fantas). an all-;; :!'i a ...ne, I eed al!_, "' < amo ." .. ho,e n arra[l\"e •2aps open up !he fullCUo:: -c cf dJrec: cO-stn:"d break, 10 panemed Idenuficallor (~_'lh,D; C)e.mes..:-oJ . 1l.!.'1 I\~o' ~ and dllferen[ 'lies, a/lo"lng!he lII3leJ \"",er ~~ 11U I lud~ ~ l • .::0 'paces and recogmze !he pathoIoglca. l)llStJn:~ n 'the so b'~ n' ,urro2ate " \ . r( • ~ .' mech:;m,m. Treading a nether "'orld cf dream and f=. T~ I :rc s I\I ar. offer-.. a modern!>1 experimenl Here !he ~recn DC "ef pr=n' !he.. ~ J of bUI ralherlhe world of c ~ema.~ a pnmaJ re~~'" L"" h ~~ ::.. rre be<. _ Il" caledwithlhelrnageofa\\oman.bulaOO,eallre<:~. ~se 'asa p·el!·.~ as ,ubJecI ",hose uillmale object I the L."age of It> 0"", -!f
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EXPEomON INTO THE IMAGINARY " ' . '-=fr~nae r ( = 0 cmerna promptJ hy [he s"i',hover to sound Pabsi .areet txxame an lIIC-ea5mg.y mternauonaJ '>De "lth a "ogle pro_ Til Thraoenn. Opera e~ > ~ .ng I,.,c language \m,ons WIth dIffer. ard anan! r~ru:.r.J [~~ C'lLC\ g....- [0 VOILe U p'Clons!ha[ Pal> [, hke peer .. escaplTlJ 10[0 a "O~ . of elaborate 5(' , high productIOn val. il1ld an effc;:' IThomas El."" =r 1:_ ~rc: d ho.... e mlgh[ come !O ,Jtl U or. Whde conserv.l!l\~ and Da[lOnallst !>Cn J",i:r,es cxeILlsed a np )fJ IJ m production IT; the Germany ')f the earl) thllfle . one found fewer
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conclu~lOn (hat replicate~ Kracaucr\ priVileged Weimar scenario. wherein a th"'arted son takes refuge 10 a maternal lap. As Horak observes. Paul Rader IS a problemauc figure. a quesllonable focu, for 'pectator Identification. The precariOUs happy end Involve~ an ovenJctcrmmcu regrc~\lon. an Oedipal fixatIOn with IOCCMuou'j underpinnings . More than Just a cntlque of capllalism. a d"illuSJoned rendering of the American dream, a him about the '1gO!fymg chain love. sex, and money, Pahst's sole Hollywood film IS a dlStmctly perverse text that despite differences of place and produCllon can be read WllhlO the foglc of hIS prevlOus·-and sub,equent work.
THE EMIGRATION TRILOGY The hero of Pabsf's American ';111' tPaul Rader played by Richard Barthelmess) replicates the pi V'leged scenario of 'earfUl Weimar males, a traJec~ory whose man, IIesl deStiry IS a 'et!.rn to the Mother (MarjorIe Rambeau). Pho. to courtesy of Eastmar >-louse
HERR PABST GOES TO HOLLYWOOD A Modern Hero. so runs common consensus, marks the downfall of the once modernIst filmmaker/hero. the director repeatedly celebrated in the journal Close Up and lauded as late as 1933 as Europe's "strongest director" and a source of continuing hope In the words of Harry Alan Potamkln: "To find in the bourgeois cinema, within Its commercial realm. as socially conscientious an artISt as Pabst is indeed a discovery'"'' Unlike Lubltsch or Murnau, Pabst did not travel well. Contrary to Lang, he lacked the will to a"en himself. "the arrogant, hard-nosed tenacity and ruthlessness tv survive 10 the Hollywood studio. "., The sojourn in the United States (Pabst's second one) would prove traumatic. resultlOg in what seems to have been a compromised film by a filmmaker who would never recover from the experience This IS a narrative shared by a wide spectrum of commentators .. from leO! Riefenstahl46 to Lee At"ell" Jan-Chnstopher Hurak has done thorough detectIVe work, track 109 down correspondence. documents, and press refeases. oflenng a more exact account of what tmnsprred dunng thiS penod. In fooklOg through Pabst" correspondence with Warner Bros. officlafs about A Mudern Hero. we indeed bear Wltne" to a tense exchange: the dlfector received repeated admOnitIOns to respect the script. to heed edltlOg conventions, to proVide more close-ups and backup fOotage It IS IOdeed an instance of a foreigner being foreed to toe the line; as Hal B Wallis IOsistcd to hIS employee. "You wJlI have to get used to our way of shootlOg pictures." Horak goes on to scrutinize the final product and recognIZes much that would suggest a not utterly compromised endeavor. We hnd a traJe('(ory quite 10 keeping with odJer Pabst films. an ever-want 109 male subject nse, In tho> "()rl" tl h I f' . . . . . . ..."' u on lC'-l Irt tal so women, ultimately capnulatmg m the wake of hnan"lal rUin and d ) . . ... pbe. retreatmg 10 a dommeermg mother and contemplating a retu { IllC:MIC t L l.'atastro. rn 0 ,-urope, m a
The pre-I 933 films of Pabst have a consIStent cast and an i",,,tent dynamics They feature the obse!>sed, the d"posses>ed, the displaced. the placele", ligures Without shelter, mdividuals orphaned, women walling and men on the run, a ClOema of extraterritorial uncenainty in which characte" exist on dangerous ground. "here hlStol)' provides the most uncommodious sanctual). "here utopian dreams betray above all a will to renounce the real. Pabst respected. confronted, and reflected upon the constructive potential of a machinery anchored 10 a harsh realuy and cireum,cnbed by mhospllable constellations. Despite Imposing clreUmstances, he gained world renown and wide admiration during the Weimar years, standmg as a rofe model for a cinema of the future, an IOdividual admired for hIS courage and convlc{Jon. He" auld pay the price of these convictions. leavlOg Germany", the nation journeyed mto night, recognizing that the country had no place for his like. An exile by choice. Pabst once agam (he had been imprisoned m a P.O. W. camp during World War I) became an extraterritorial cllizen. crafung films that turned on this dilemma. One might call Don QIILwte (1933). HI~IJ and Low 119331, and Shanghai Drama (1938) his "Emigration Trilogy." films that. despite their differences of time and place, explore the problematics of exile. A tn-lingual production 10 Pabst's rendering, DOll Quixote offers a tale of a man who takes flight from mereenary contemporaries and Changing conditions into a realm of enchantment and adventure. It is likewise a tale of male desire for an idealized image of woman: if any obseSSIOn sustains the hero's readings, it is an unrequited erotic energy. The drdffia unfolds as an epiSOdic. indeed epic. construclion's The film's opening sequence shows the printed words of the Cervantes novel, leafing through the volume as words give rise to moving images. the animated figures of Lotte Reiniger. We then see the tra",fixed reader as he dec/aims an epic romance and "e watch a film ponmying the mental Images that come of these enl'ounters. The final shots picture a broken man, IOcareerated and disenfranchised. his treasured tomes burning in a public square. (Pabst finished the film late in 1932 priorto Similar demonslrdtions in Nazi Germany.) We hear the knight's funeral dirge and watch the apparatus reconstitute his stOf) from the IJames, the reverse-motion photography reclaiming, in an acl of discursive reSistance, the pages with which the film began. IlI/i h lIlld Loll', the trilogy's second leg. is not just a failed comedy of manners. a Jejune example of French Poetic Realism. as is commonly maintained. Does illllllke scnse to read this film within the contexts of generic convention or a nati<mai cinema' ash Genrud Koch. Is there not something inherently eccentric and inguJ.r about • Gennan-Ianguage crew filming a Hungarian play aboul a Viennese 1pIIi1UGil _ _ in a Paris studio with a cast of French players and German emigrant at:IIIn . . . . reevaluation of High and Low. Koch discovers a documenl aboutl ~ ... :".: ... ~. : : ; . displacement," a work that lacks local color and foUdoric detml Jlft'l ly
ERIC RENTSCHLER
mJlh~sl~ lIe ... ('I .. ~whcrl' High alld Lou", the proJ'U(,1 01 an c:xde cn'cmhlc. POrtrayS the dcs(lm of l~mlgr;.JOh. ",tranucd "'(lub, n'lng J.~d dC:"'ic.:endln~. lndJ\'ldulJls Whose '--.1rJs ha\ tx~n rc ... hufficd. Whl) lal.:k the ~ccunry of ~oclaJ fi \ It)'., A Comedy ahoul an unhalanced 'hJrIJ. II de,tahilllc,· "Ithoul puttln~ thing, hack Into place In the end. E\l.'n (he mJle icon. Jean Gabtn. undcrg1..lc\ a tran,fonnallon. an edUcation at th~ h3nds of a "oman f:.manClpatlon Jnd -.c\uallty. It would 'ccrn. do nOI have to be mutually exdu'I\'c The pen 'il'hooltcachcr and thc. ,cn . . ltlzed "ioccer player escape (pm"CnrillO clnd J c1o . .ed cOmmUml). although the hIm dCOIe . . U:-, easy confirmation that parad"c: I, near: a ... KllCh conclude ... _ ",,'helher they have amvcd in a lovers' sev. enrh hC3\ en remains anyone·" gue"s." Shallghm Drama ,cems to "sue frum an opium den It supphes a hyperbohc ex len_ 'IOn of the Pab,llan topography; more Imaginal) than Tilt· Tirreepl'lll1Y Opera or The l.,/Hlrl'H oIAI/antz,t;. a sultI} 'pace of mtrjgue and e\cc~s. which ri\:als The Lm'e 0/ It'G/lIlt'Sel. a haJJuclnatoI}' dream",cape sImilar m Ih pun HIve surrealIsm to SecrelJ 0/ u S()/(!~ J 'phen: of melodrama, nOlf. and 'PIC' whose pnme locations are streets, a nlchl club, and a tonure chamber. who,e leading players are both conspirators and Cmtempor3f) critic, laughed II off as a crude spy thriller. an absurd genre film Ihal demonslrales "the ex'genele, or eXIle and the stupIdity of producers," whu'e director ""n't really here at all. except lor a fo" seconds in a neat knifing." as 09 Graham Greene wrote In 1939 A film who,e plot" confused. indeed obscure, this would ,"em to be. "' James Agee opmed, Andre .'-lalraux·, Human Condition ··redone for the pulp' "<0
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In KaNen Witte\ anaJYSls, the film makes conceptual and narrati\'e sense if one dl,cem., the hisloncallnscnptlOns and grasp, Ihe text as not just pure escapism or a romanrrc potbOIler. bUI takes tts neon-hghl promise as its premise. The film. quite hterally, portrays "Ie reve de Shanghai," a Speclacle of estrangement and displacement, thematlzing exile as a COntinent and a conditIon. Shanglrai Drama unfolds as a melodrama aboul d"locatJon where exiles seek escape 10 yel another S1arion, where local inhabitants breathe uneasIly In an ambience of foreign Opponunism and imponed cahal, where all Involved remalO subject to a conSlantly shlfllng and arbilrary Law. Shanghai ;rands as an emblem for the exotiC, a Cipher of the emigrant's uncenainty; Shanglrm Dramu , observes Witte, proVIdes an rnlereSilng starion in a directorial career increasingly on the run trom history, eVIdence thaI the filmmaker was quite conSCIOUS of hIS fugitive stalus and its precanous terms.
ANOTHER KIND OF FUGITIVE CINEMA For complex reasons, the prodigal Pabst VIsited Austna and, as World War 11 broke oUI. found hImself a captive of circumstance, as rn 1'114, in Ihe wrong place at an unpropitIOus moment. 'I He would laler deny he had collaborated or conformed in his return to the German him rndu'lry, now under the tUlelage of NatIonal Social"m. He IS reputed ~o have kepI a dIal)' du~~ng Ihese years, although il has Ihus far nOI been made available for pubhc scrutrny. fhe completed fIlms Pabsl dId leave behind have done irreparable damage to his image. Dependrng on one's perspecllve, they amount to aesthetIC bankruptcy, redeemed at best by hints of a funner maslery, on Ihe one hand, or SIgns of opponunlsm and accommodation. prool of Ihe director's inherent lack of volition; Anke Gleber's contnbution on KomfJdWllten (1'141) and Regine Mihal Friedman s analySIS of ParacelsuJ (1943, do not .eek 10 POInt fingers and condemn Pabst, nordo they skin difficultquestions catal)/ed by prohlematlC films. Eludmg sweeprng Judgments and aVOldrng neat cubbyhole,. Ihe Iwo look at Pabst's
Work og n the shadows Pabst next 'a came-aman Bruno Stephan or the set 01 Komodlanten Photo cou'lesy 01 Karsten Wine
costume dramas in Ihe discursive context out of whICh they arose and in which the) functioned. Pabst's NS-films involve misundeNood geniuses. Indlnduals whose great contribution, to German Culture receive retrospect,,·e lribute by a modem state film machinery. Caroline Neuber. actress and activisi. em·isions the Gennan drama of the future and a more malure national audience. although she will see neither within her lifetime. Komddiantell offers a monument to a failed genius, a woman whose triumph would consist of having given binh to a national theater. According to Anke Gleber, Ihe film ponrays Neuber as a self-denYing and masochi tic facilitator, a matema/ figure who relinqUIShes her Own de"re for the sake of a larger Calling. Quite Iilerally, we WIll see how a dying woman becomes the material for the edifice celebrated in the closing sequence: the camera di"o"., from a shot of Caroline's mid-body 10 the exterior of the National Theater where young Lessrng's play is to premiere. With its cast of Kilthe Dorsch, Hilde Krahl. and Henny Ponen, an actresses' film for a female audIence, Kom;;dilintcII might at tiN glance be mistaken for an anomaly, a Nazi film Ihat empowers "omen. An exchange between Neuber's surrogate daughter, Philinc, and her protector.", the Duchess, is crucial. Philine describes Caroline as Ma grQt WOman" ho had the slulI to he a great man!" The Duchess protests: MSlop! Neuberia should remarn a woman and prove what we women are capable of!" The: idrJo!oIicaI m""on of the lilm. claims Gleber. lay in addressing women left on the "'-f..... 1<)41 whrle their husbands were away at war. KomOdiCUll~" i • Nazi .... ...
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IJI(I tragic intrigues. WIer !l'I1ItJ.. of (among other f111111) ftiIz ........ as 8/ChiteclS. Pabst derived the .. ubI! n...... short story with the same tide '" the Hans Bartsch. 3 TIre Tr_ _• iDc...... Love Stories (BinersilRe '1rIw,erct' _" nineteenth century. at a lime wbca film. by and large. remaiDJ r.ill~" 10 Bartsch's story. the pareuII f _ tbIir must depart. alone and penniIea. 1'be en and gold attract each other"' ..... I Pabst and Willy Henoinga: and its greedy iobabiIanta to ~endlessness of 118!1Jre," above the world I live in the throes of (IIJId film. made in ...~ c:umbcred iIIIlI
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en 101 teasions and drives 13) and impressioni I miu t'll ~1It' (detailed ": : fI ..... wboIe fIIciaI and physical gesnues are used by PabsllO embody 0 ... 1 'es I4) 85 wdI 85 that belween a oalW'alistica/ly presenled exterior r tile • • viaeyard. and ion) and !be labyrinthine and dreamlike interior _boule. 'I1Iis houae c:onsIitutes-excep! for !be sIIon sequences in the inn and !be y.nI-tbe prinwy setting for !be Mancienl drama of gold and love. "15 nom ........ y iD !be basetneallo !be ground floor. up 10 the master bedroom. a ","""etjgn-pilJar strctcbes like a migJlty tree-bUok. Round and bulging Sllajpea ~.. DIIe. IOrtUoUI; corridors and curved ceiling. bulbous jugs. Even the bed COl_ tend I1185SiveJy inlO space and !be mother. in her round dress. looks like a bell. The ICbi by Herlth and ROIuig are redolent of the ornamental and docXlnIli,. prcuionism found in Han PoeJzig's uchileClW'e for TM Golt'm. How He 1M WOI'Id (Der Gokm. wit' t'r jll d~ Wt'lt tam. 1920). or Ernsl Stein's for WGtaI CDtu WtIC~III"IIkabUtm. 1923). These squat. clay-modelled subteraonean b8ve lillie in COtnDIOII with !be schizoid and askew worlds of Roben Wiene's (II1II and bIIcqround paiD'"'''' by Hermann Warm. Waller ROIuig. and wallar, - ) oc~ (1923. set5 by AndRy AndRyev) with lbeiir s11l1UpcdJ~ CUiIIlUli. and diIIOiltd qIe5. whidJ in !be manner of abstract an stress
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1IIIRce.17 The boule iD TAlt'T,...., r. willi its Mmassive ptoportions." 18 its IUbuIar n_.aw.iIb •• '· ....... si~ ceilingl, exudes an ,ovc:rwhelIlliJJg (:WIS1I1DJ a fDeIm, dill cca • ., '" 10 !be rqresaive leI+ncy of Ibese romantic films . . albell. JO 10 lIB away from iality and !be emotionaJ turbuJence of Ibo • WI. II It ..-.. ..._. ..... . - r -~ • - 7 - . . . . . - ...., ptaIUere of The TreQSllTe IOoIt ......... 01'0 ..... Iife." !be Prinzess Theater in Dresden. 22 NOiIll • 4 I do fiad!heir W&J iato!be film. The first sboIa II1II& 1" feIh ad lIT - • Iidt:: "R.....lib in !be year I 68:3--after dilc ... fI", 'lib " 1', ...... clelcripcive phrase had distinct COld.. I . .h_ .. dIe..ty hIl eft. CMboIic and anti-Semitic circles iD ...at I •• die • '''' "pI",ae o(!be Thrb" of an earlier era ("-
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Pabsl proceeds in a similar fashion later wben ?be YCJUIII ...... vineyards. contrasting the pair kissiq each otber with ?be Irio sure . the father's bands greedily tbroup ?be cbeIt fuU one hand. Pabsl maintains ?be ?bematic youth. thereby isolating a ?be .. defusion of instincts").l4 On and code. Pabsl weaves ?be two pain IOj n.. 7IIiuaab '1s sion ultimately briDgs !be total defeat of!be . . 'Ittic Even when !be camera reJIIIins wi7IIiD on para/lellJlOll7IF, 1I7l'eIIina in tbIl wr element of simultueily. RIr skulks duough !be "mta, Amo between diffetaJt ftoan., 1IDCIiII, cumbrous aboIt it. It ...... ... in general static impIeaalOII. PIt...:Ii era duriDg tile ICIIIII. . . . . . . . .
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which is opened; we _die the new loeabOll,dIe watch Beate and Amo reIIIm fftIID till couple stands outside and Joob iDro image, the parents and There is a cnacial momeat . . . between pure love and daJt .IIItlnrtl, IIIIII~"'" dynamic montage and a leN feaaed cawL nates images of the ~ diIcovery father's greedy hands clutcbin& at die pIaada flunering bunerflies, as they ItaDd fntat III I refusing to follow Arno into die hut (which remains ofJscreen; only denly, a cut, and the entire image JOCIdlit. and Beale enler the cabin. 1be " ' _ awaiting their arrival, skefcbina ID ill pography of love's paradise. Wbea ~ patch of light within darlmeas Icft ill tile whose black doorway DOW c:1_ This scene providea a I1IRi ,Iunpoe montage, a moment wbic:b baa capes the film's imaginary of the 0Iha.1iu
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tours from die end-a path ia~~=~ points in anotber
2 Film Censorship and the Female Spectator: The Joyless Street (1925) ON THE SUBJECT OF WEIMAR FILM HISTORY For all the continuing interest In the cla"ical GernMn cmema, and despite Consider. ahle de hate about subjectivlI), m the .,,'ent him, there has been vll1ually no attempt to acc<)unt for the addres> to female vIewers In the WeImar cinema. Indeed, the mOst th'1rough aHempts to formulate large·scale clalnlS about representatIon and s(lee. laIorship dunng the WeImar penod ellher Ignore questions of ,gendered spectatorship altogether, or else assume a male aud,ence lor Weimar hlms The now familiar reading of "~risis" In WeImar society-a crisis culminating in iasclSm and commonly descnbed In terms of a breakdown of male authontY-in fact proVIdes the "master plot" for analyses of representation and spectatorship in the WeImar film. Siegfried Kracauer's From Ca//gari WHit/er remains the essential poinl of reference for th" approach. and its most systematIc fonnu/ation: The Oedipal logic of Weimar narrallves. he claims, reflects German SOCIal h,stOry, because it refers 10 the disturbed development of male subjectivity, which is In turn made evident by the OedIpal logIc of WeImar narratIves. Kracauer gives the following example from the film SY/I·e.\t/'r fLupu PIck, 1923): Unable to make his deciSIon. the man break.!» down, and while hl~ mother caresses himu If he were a chIld. he rests hIS head helple"ly upon her bo;om. This gesture, tolioo/llll land corroboraled) by the SUICIde of the man. betrays his intense desire to return to maternal womb. . It IS nOleworthy Ihat, far from being repudiated, his singular ture of capitulatIOn reap~ared. almO\l unchanged. in vanou\ German films. inclicilliai thC1t his In~tlnctive reluctance to attempt emanCipation might be considered a typical man atlltude It IS an atlllude which resull> from the prolonged dependence of the mans upon a feudal or half- feudal mihtary regIme· --not to menllon the current social economic motives enforcing the perpetuation of thiS attitude Within the middle class. 2
. In hts reading of S.h·ester. Kracauer suggests that the instability of masculine identIty. so pronounced In the gesture of the male figure's regression to the maternal womb, serves to dISplace Issues of class and national identity in the film. He then replaces thIS relatIOnshIp by drawing a homology betwe fi I' I h dna t'ona/' d' h f h en IC lona c aracter an I au lence, eac 0 w Ich is said to occupy an unstable. de ndent or rbapll more preCIsely, powerless poSlllon, one without m' ste . pe ,pe WhIle most writing on the " , . a. ry. protection or control. vvelmarClnemahastendedt ' there has recently been an atte tb . orecyc ICSlmt. larconc IUSlonl, , mp Y cntles to get bey d th bl Kracauer S approach. In conlr"'t to KraC' . . ' on e pro ems posed .by stabilityofWeimarnarrativesforconst aucr, these cntlcs celebrate the fonnallDfixed within the terms of Oed,pal log' ructlng a Subject position which can no 101Igc:rDf. . (feminine) thlssubJ Ie Or-Igcndered . cu, me) . nor passIve '. .spec. tators h'IP: nelt heraCllve ity regarding genderdefinitio~ and ~exu:~ :~ltI.on IS s.,d to mark the siteof an amtbll~ Meter Man," for instance, Thomas Eb.. entatton In hIS 1983 essay. "Lulu dU'U u" ser decoo&tructionof a masculine visu~' pie' aaes apnalYles the construction and appal'llll D __ - ' . ' B . f sure In abst'sp d r_ra 5 O.lralses undamentalissuesabo an ura'sB()x,3furE/sales:~ Ut gender and identification, where
CensorSh,p and the Femate Spectator
31
,e "IO"" rcprc"cd homm.cxuaIJty. sado~ma~ochism " an urge te) pos-._-' _no capture, Itn)lt and hx- - conlront feminine androgyny and femlmne Idenllty.'" But. he can. tends , tim pantcular repre'entallon 01 sexual dlilerence servC'i meetly to reveal the ia,ctnallO n exerted by the cinema 1l,c1f. "The achievementofPa"-t', him," he writes, "is to have presented sexualllY rn the cmema", the ,exualtty "fthe Cinema, and to have merely used", his startlOg POInt the cml~ In the ,cif.undemandlOg of male and female sexuabty that characlerised h" own penod'" HaVing opened hIS analysis by ""'lOg questions of hIstory and sexual dlllerence, EIsae"er concludes by asklOg what he be. lieves to be a far more urgent questIon. namely, "What IS deSire, ,exualtty and fa.\Cina. lion 10 the film?"" It seems to me, however, that thl\ question-particularly 10 hght of Elsae"er's own remarks about "male obse"ions" and "femtnlOe Identity" -hegs the inti\' urgent question : desire, sexuailly, and fascinatIon for whom') To begin to answer this question. 1 would like to analyze Pabst's The Joy/ess Street (Die freudlose Gasse , 1925) 10 relation to I"ues of film censorship, show 109 how the institutional as well as psychic operations of censorshIp on the film provide us with a different view of the Weimar cinema-one thai illuminates something other than male symbolic defeat, and somelhing qUlle speCIfic about the textual address to a female spectator. I am particularly Interested 10 looking at how The Joyless Street antiCIpates a female audience, and how its melodramatIc conventions enable us to see the multiple crises of the Weimar years (political. economic. psychic) as they came 10 figure differently for women-those speclators whose experience of modernity was in no way equivalent to the experience of Ihe male spectator so often analyzed by historians and critics of the Weimar period . As I will suggest, The German film cen. sorship board (Filmoberprufstelle) fully recognized that the film melodrama ad· dressed issues of primary concern to women and encouraged a particular kind of spectator identification. The censors' attempt to control this identification may perhaps shed light on the existence of at least two different versions of The Joy/ess Sireet still in circulation today. Before turning to queslions of female spectatorship as they were raised in the censors' report. however, I would like to see how these questions are taken up in the film's narrative and visual style. Indeed: to fully understand w~ was at stake in the censors' report, it is necessary to recogntze how the me/odnmabc impulse of The Joyless Streer opens up mUltiple spaces for ~ i~tificatioo and, at the same time, invokes relationships whose presence remuned bidden from the censors, and thus untouched by their revisions, rccommendations. and 1IIempIS.a control. I o'}
THE WEIMAR CINEMA AND THE MELODRAMAnC IIIAGINATlON In the scenes of mISery in The JOI'/n5 Street the c1icbo! is dominInl-evcry1ltiD& is 100 studied , too arranged. too emphatic. The back·aIleys ate too di&nepdlb!e. the.wn:.c too enigmatic. the counterpoints of shadow and Iigbl5 too discordaDIlIId too obv.... The face of Werner Krauss (the butcher with the twirly moustache) is toopn-n' parting of his hairtoo oily and his brul8lityexcessivc.1beprollintINClDdIe·1'ey the nobly fallen bourgeois, and the insinuating madam all loot tooaJdt lib. V* .... print entitled" Poveny and Human Depravity."7
'=-,I.
empha.s~'S~and;§i~~;'~[~riiii
Employing the critical vocabulary of as a perfect description of The Joy/ess St,,,,,t of the butcher and 10 the sive her assessment thai everythina
TM Joyless Street IlICb Ibo by its subject matter, German inlIation. "The • &be writes, "and this is why many pel'• •
• •"1 eslinuWOlm,
wi1b an aesthetic of excess and starlc ediical
a- wbIt P'eIa' Brooks describes in The MeJ/odrIllllllrtic; J JefusaI of censorship and repression: ilS desire .mspeakable. As Brooks poinlS out, the recourse to
... _",,!hasjs is not accidental but actually intrinsic to , .;,;. "De melodramatic utterance," he contends, "breaks !be 'reality principle,' all its censorships, aCCODmlllQdij Desire cries aloud its language in identification with • DeIin: triumpbs over !be world of substitute-formations "9
itiiauciallOunderscore that The Joyless Street stnllctllll dramas: !be drama of Grete Rumfort (Greta GBlOO) • RlCXIpitioo and reward of virtue, and the drama oUma ... wIIidI ,If *ly fuactions 10 expose a social order. Critics ,: : reveals the inlIuence G " ' _ wIaeas Maria's story highlights 1be 10 What I o
•
If
willlllllM
~::=:::! between _ _
IIpIIII 'jgnsboth the American relationship
'::=
dramas, it fon:es, and states of being "
c;... between the two
• ....u: tableau-a sketch of a -1CIItolII • eoovenation-which is then
w.1IfteIonly scenenow is rendereda:~in~:= it is iii
In an extreme Jonll-sbnt, ~.. street; he is foUowed by a WOll,,' u they walk IOgether. Another wi1b a peg leg. Suddenly she turns ~=:::::~~..t="':hehiod a wall on the s~. On ......·.....v .. I figures u they walk along the street. and the second wonman perliS!:S ill "I'hIn is anothet cut, time CBlDCia again returns 10 a staIic slow, dreamlike faaliliOlll IIeIlODd WOIDIo passes by.
. ..
"ght of charactet action aad '''!III'IIIIIIaII.lltiifil weI ' h'· the-II% dI . . ._ identities and reIallons. Ips. " chological complexity. What we .rellliD 1_.1 r:ierplay between highly ~vIlDliOll.JjJecI"'" rganize the rest of the IlIIIJ1divc. o R>lIowing the tablesu, we are illbC....., . 10 Krauss). whom the title identifies in DO _liii0 Street." After this: ~e double focus of the _iJIiw taposition of two dlsllnct cllll apartment, where the Lechner family liVCI, tional scene from nineteenth-ceacury wash board, the father hobbles infO the physically threatens his daughter Maria There is then a cut to the first-Ooor II(MlIIiiiU9 ....... at a table are Grete, her young sistec, stead of meat, the father's expression Despite the pathos surrounding this and dramatic intensity: brightly lit and contrast to the shadowy and below. "The fundamental us to the fact that further analyBia and their presentation. "II ized conOicts and violent series of shots, for followed by However, since mode
has ceeds 10 While the (OulSide 1IJe.j1i(i IIIII11Itivc
",TRICI PITRO nd alth he urges Grete to go to Frau Greifer'l 10 buy I .... his newfou : am ~f the local brothel, entices Grete to buy an A.- ~Ifer, IheWhem Grete shows off her new purchase al work Ihe nexl, -on n · .. f shos, t· h b he ...- credll.IIsherrohisoffice.lnarapldseneso eg~ s rand bois agam ca free fi his grip. With nghteous anger, she resigns. He IO~1OI1I111 gles 10 break androan~ou~ces to the entire slaff Ihat Grete is fired, ince he down the Slalrs pennI! • whore in his office. These scenes offer a vivid demonstralion of how The Joyless Strrrt .I/ow, " 1 ed knowledge Ihal Ihe characters do nol have; we know that raror pnVI . . conlmua . II yo bsc ured or mliscDIII. VI!1UOUS bUIegwe musl witness how her vU1ue IS The remainder of the narralive Iherefore works 10 c1anfy and 10 as~~n Grete', identity, yet the complex Sb1lClUring of rccognltlo~ and mlsrec~gmllon pel'lul1l~ te ded 10 include a number of characlers whose mlereslS mltlal/y do not :m~ide. When Grete learns that her father~s gamble O? the stock ~ baa for example, she lies to him in order to alleViate hiS anxiety. ~he remmds still has a job and then suggests that they rent out a room In the aplutn-.t.. Davy, American Red Cross worker, agrees to take the .room in the Rv~=: the threat of abject poveny seems avened. He gives her sixty dol/an, v immediately payout on her father's overdrawn account, but the promiae paymenl5, as well as Davy's presence in the house, alleviates Grete's BPlII'IIIIi about financial and family matters . Grete's father's sense of inadequacy. becomes heightened with another man in the house. And when one III:e1IICI Gme's sister of stealing, the father's b8l'Cly cOlnlnJI/edjC:a!(,us:yau.. onIen Davy out of the house. Grete discovers that her sister is indl~ gu~1It'4 but it is 100 late: Davy has gathered his things and her father has collapsed 1tIICk. Fmm thil point on, Grete's innocence is made even more apparent to lba I pnICiaeIy becaUIC Gt-e!e remains unaw8I'C of the threat to her vinue. Wllm I_ iIIDeu, Gme is left with DO cboice but to seek help from Frau an,ifcr•. ONi!er'I8Ugges!ion, she agrees to meet a wealthy man, who turns _.••••_ .._.... . ., DOW cftucd in his SlIIIday best. The scene of their meeting i's, pn'SClJtecllsi elliptical fashion, 10 thai the spectator is allOwed to experience the slow lime and tense exchange of glances which render the seduction imlJXllIfIIj o &:raplalel herdiaappointment that things did not work out and invileJlQI •-_binbday" pany, wber'C JII08jIec:Is might be beller. While Frau Greifer goca r, wbicb will inaureGt-e!e', prelCnce at the party, a manservatJl aPl)l'OlICllleli of Frau Greifer's generosity. But Grete accepII of ~ qpIOIa the manservant's Wamings. ~ party, the play of recognilion and milll'C(:ogniliil ,*1'_ -. . at :!.~ DlOII theatrical expression. Grete arrivea .. I - C room. behind a stage, where she is asked to and ~and ~sing, relayed from nr.."",'.. . ·.There IS a cut to an audience mtheII.... ,,__ _ by a follOWed -.....,. Frau Greifer'l a::;n, and fOR:el her to wear I I receivea a letter from ... - ...1CCOunt. He 0I1CIG1eaJ, ... - -1liiy be ' 010___ ::-: __ ....- ....~.:---. Wilb St
e:::
an
the
~
.=;:-:"::Ibout;:;;:the ~
h:e
~icb
~~::1;~~~=~
ea::
I""" --10"-0£1''''.
Grete (Greta Garbo) and Davy (Einar Hanlon). the ,CCIIr'*' • .,•••"".... at Ihe close at The Joyless Street: IheAmencan:::~::::::::= be an enactment of the Dawes Plan. Photo COUIteIy
p~Ii~IIC~b~3i~aiiiii
rains Frau Greifer has IIIIJIOUIII:CI the ..... dience anticipatioo reacbeddill I fever the ~rformance that follows iI not afact, see pan of later) but raIMr Ibu,r*t reward of her vinue. Dressed in the mreaIlDa PlIo triples her I .lIbmJlM . , . identify him Grete through backstage contempt, innocent, he ani • yet: on his way out, menl. Sbowina Davy the ends with all du'II _ the room where IitI aIoae .. coal, and die ... and tbeIII~1J'! followa:1 In In
011111".1.
a.
_t_"'"
• . . . .om, where she wn1es a Jeaerto • •.., hope for the future. She loob at a willllIIl elllIChIe: an imIIF of Eaoa's - . ofbeepassioo. Maria's may and implores bee to blD'r)' to die "ill to leave, bee IIIOIber disJlaoeJed the doorway. Situaled prccllrioiillllJ, the ipIIbidJt, the mo«ber is fiamDd by llerbddnside. lbisimageofMaJu.... aspiI'IIIioos for escape from ..... ,c:QI . . . apnaJly clear wbeo we are iDtroduced to sbows him to '::=Iess;.n;iz;er;c:;aod;;a~S1;l)r:ill
1IIIIII1¥m1llllllFS to meet her at to,...,.,.u., that Maria bas _0 Cl!1eI • F , doc •• ed. • . . . . . ." .."lII sene to ongg It de MaL beaelf for £p. Soon after the be........ her friead IIIat II all: R _ lie . . . ., IIer father. The friead jnj d, the ~iD Ibis way. AlthoUgh die iaiIiaI hesitation, from the be ........'s .aa1li·;'OOllll to the
""y
, _*
::::::!dIC:!':Io:z "a -")Cd
;;;it;.;;Q foUows!be ~~co.::: lleolfas
IIowIy likes her leave, the .... IIId flees. We DCXt see MaIiUIt!
IIer ill. A11bougb be expIains:~3 dollars for an be ~ Iiuaociany soIvau• ....... .., Inu Greifer's aod willingl ~_ ""!'''-~IIa,flIIIft with Egon. y left St wi;. 011 !be bed abe wih Lia Leid. The "'!be earlier 0IIe in her.1lI
MomeorarJ
liliiii. ~e J:::r:::;
;;=:;
...
.......
....... -- ...
- """""!Clly
"'fCE PETRO . . . . CllCII"" on 10 the street. the butcher's dog seems to chase he.: 'Ir bloody facc briefty appears in the window. a crowd of ~ a ."'" 10 gaze at his demise. The frenzied pace of these images COInea
,
t.
!lilt IR die final shots. we see the empty rooms of the brothel and !be .... _ _ limned street. .,
FILM CENSORSHIP AND THE FEMALE SPECTATOR In its movement toward this apocalyptic conclusion •. The Joyless Street IJIIIbble illustration of the melodramatic refusal of censorship and~::~ desire t~ ~press all. to get past the barriers establis~ed by a censoring reason. It IS hardly surpnsmg that the film was subjected to intense sion by the German Film Censorship BOard. by that "agency" which recDIII the film melodrama addressed issues of primary concern to women particular kind of spectator identification. In their repon of March 29 SOlS explain why they demand revisions in the film. and why they are 'COIICCIIIJ its poICDtiaily detrimental effects on a female spectator:
and
The esoential content of the film consists of showing how Vic~DIII~girlllIlIl their moral honor and to cam their bread in brothels as a result of need inflation. In the center of the plot stands • butcher. who seduces girls by rabons of meat . .. . At the end of the film. according to thecuslOmary &OOd are rewarded and the evil are punished. since the butcher's skulJ is own ax. ' .' . The entile motif of this film and the way this motifis p1alyeclclll~ however, IS demoralizing and partially brutalizing. In the whole film ont'.... daughter of Commissioner Rumfon-resists the temptation to sell D·... _. ._ or meat . .But.even this girl ends up in Ihe brothel, because the colnmiui. after havlDg Invested ID wonhless slocks . . . . Through this fon:cd situ_ the girls,are ~ghl WIthout exception inlo depravily. the impression the girls acbon IS the necessary consequence of mIsery and need. moralizing effect on the fentale viewer, I>
~
AIdIough the censors do not expl ' 'II
ICI Y re,erlo The Joyless Street as a and . monstrate theIr falmhanly wilh melodrama 's ~~~=: tis recourse to theconventional .. moral recipe." Quite demorallzmg for the ~ al . "t cut)!hatthefilms' dete " , em eVlewerandcontend VJewcn to emulate rmmlstlC attllude toward social pnJb'1IIII 4id the hehavlOr on the screen DOt rewJke the entire film h . cW"lIlding their dec" ' owever. and therefore much ,. 1Sion to release a . ed . f P""tion of the Control BOard .. th revl s . V:rsIOD o. ifit can be .._~ . ey ~xplaJn. a film d _ _ of' -""'mlned With fl\F.rcalChingjprolrl -' II Worsening the :' " PoiuIing moral feelings out that much of The brutaI effect .. the Joyless Street the f,-•• -· · censors maintain dull lII.uII ..... NQC vIeWer' ItUDe the fallen ssympathy but it ww. ":~~~~and women ." Grete Ru• •
..., Dell eathelcss
de
I.
as
ill
Orem llII:c:urnbs neither 10 die
~r cia.... : · . .. Even in die ilion • • !oro Iiuaa liar bod," ...B ...
CenaorshlPandtheFraIIIs.,wI'l1ll • • 10 "fIer incontestable proof of the film'l moral value. theCClIlOi 1III:Opize. . :e,",;;,~:'e viewer may ~ympathize with Maria'II!oty and: they note,"MIlia "•• ,. ,table character. In order to ac~unt .f~ the multiple IJI8CCI for idealift~ 1". all"rded by the film and .to defe~d theIr dect~lon to release a reviled venioaofll, die ccn'"'' provide a readmg whIch emphasizes how all the female c1aiCfal . . b oughl to depravity out of their abundance of love: Grete out of love for ber,.... ~aria out of her love for Egon. ~nd Maria's .friend out of love forber I!arViJII cbiId' While the censors fall to menlton that Mana and her friend act as much OUI of ...... a' Ihey do out of love, the specific amendments they make to the film suJlPll_the representation ,of ,~his anger lurked behind their concerns W!th female 'P"'""'OII "over-idenllfymg WIth the film. In fact. of the IICCIICS they revised. twodcahpeci8cally with the representation and effects of female aggrelsion: the scene whae Maria strangles the millionaire and the shot of the butcher's bloody face . With ~ rcri: ,ions , the censors imply that Grete's obvious virtue will offset Maria's "ul'lllblemoral character. And yet, what emerges from the contradictory mesllges oflban. port is the lingering suspicion that female spectators would identify witb boda femIIe protagonists. The censors' attempt to contain some of the more obvious -ces= of 1M lfliiStreet may shed light on the reasons for the dilfcrcld _ _ of the film elllation today. 13 Although the censors did not call for any • J.V- ID tbe . . . II which Maria strangles Lia Leid. this scene was reeditailD the AmericaD.ea 1=" the fi 1m and the effect of the reediting is to stabilize .. the German version. the strangulation scene oc:cun __ dJc after Maria has prostituted benclfto the American version, by contralt, the IIrIapIIIiaa film and is relayed in a ft8lbbackwbea the German version thua of desire and repression, the AnM' order to obfuscate the ~::.:~~ The existence of two difference between German version inwardness and plausible. it is crucial lit Joyless Street with the American and the CJo;ijIG veal the marks of film completely the types of melodrama. Rtr....1IIIIl'It in the this triumpb concludes wtlll and Street. in and
Ie"
as
1IiD".
iIIn Dnds outside a locked or closed door and be,' i S S , · if 10 express Ihe force of an ineffable desire and angc:.~ • e of frustration and defiance reappeared, almost unc:~ III $
r
'*
of !he 1920s-from BackstairslHintenrepI" (LeOPold -Datiny Dermiide Tod (Fritz Lang, 1921) to Tragedy of the ;:~;=~ , . . (8l1III0 RaM, 1927)-indicates that the Contours of femaJ; "'o!lel:li1ll *'ft were markedly different from those typiCally associated with !he • Y' !lIlT, We should recall that Kracauer draws attention to "~~~~~;;:~ Ibc motif of male regression-to establish the central obsess~n of I11aq lin:a in Weimar. As Kracauer suggests, the desire to return to the IIlIItcntaI IC\Ie8Jed m!he gesture of Ihe male figure resting his head on the woman's lip, IDmIIic of an "instinctive reluctance to allempt emancipation" which be be Ma typical German attitude." In direct conlrastto this assessment dUlinction between male and female subjectivity in the I 920s, I ha~eWhicb. The Joyless Street compels us 10 acknowledge a more complex notion lIOn," since !he existence of a patriarchal power structure rendered the ICbellion or submis ion highly problematic for women, and ne.ces~ily ,di8li1 IlIIIUIt have been for men. The Joyless Strut. in other words, invites us barb IIIOIber spectaIor and.1 different subject for the cinema that inspired 4i'CUSS1OO about ldeoufication, natJonalldentity, and desire.
ANN.
~ Unheimlich Maneuver between
I.
psychoanalysis and the Cinema: Secrets of a Soul (1926) "\1a ... s ,ulture is p\ychoanaJy5il in revenc."
. . ncident birthdates of psychoanaly.u and !he cinema have !requeadybeea. 'rhccOl . !"_M ...... . 'J', "no accident. .. Freud's thcory 0 f'!'u,", UIICODICiOUI, lID ICIeIIee . . .V I_ chrate a. tlr.-. . - - t : of ... v_ . . ' che (di<' See/e),' was, from the start, a U~7 m._"u lIII.ijijIW _ py ma an apparatus which could reproduce and JIIOJCCt c mcbegmnings, , . search 0 f a tlr.-. U,_--'_ an apparatus In U~7' • _ _ 't'c,pience birth, parturition, and infancy for !he IWOtplllue. . . . m 'and . choanalysis cinema-one a Ih . eoreticaI• u ......... -3' die adler • wh,ch only developed its theorehcal parallleI wbaI wei.., al \l, want to chart a further history oflheaefisma. Albada . .. were moments of mutual attraction, _ l 0.I I I of'I ..... has remained a frequently ambi~aIent ~ larJeIy. ,. \Ired and literally engendered hiJ lbeoIa, _ ....... 11. . . . The cinema, polymorphoully COIKleMItI..""Imj_ strategies on an intematioaaJ .. In this context, G. W. _III ...,", See/e), is one such IIIOIIIDIIC theorized metahistory of birthday celebration in ~~~'" collaboration between die' .... J analysis. In woritin. on carefully-guarded realm members of Freud', cultural world of . . _ provides a unique e.•••
.'' .,.der"........
A CASE STUDY The production own attitude not Freud'. . . master of Samuel any 10
lIi MlIII
FRIEDBERG " PsychoanalysIs and lhe Cinema 43 Il) hi' hed .1U,1 after hIS 'ISlllrom Han, Neumann f a\ I f 1he film id ,- ouoht were th agent of fal I' ea,fnOI 'the bronchllts 1,, , , o n h" lecture , lour 10 Holland , e dIed Ihat year on Chnslma, Day, and the dl'aoree h a m ceUon Abraham l matter .. IFilm,lache) were " neme' nt, e Ihad "'th Freud , panlCU· larh. ahoul the"rh'n . ,\ie r re ...o ved B t h Ihe letters , eem, eVident : Ihe ,truclure of the dISagree be U one t 109 from ment I"een Freud nd ham "a, no t new, to" Ihem , The " film aflalr' " a', Ab ra ham caI led It w, a ndAbrarepetI tI o n 0 f earhe r mteractIons, of prevlOu, dISpute, abo d ,as, oed a Abra ham had bee n Ihe firsl to label Jung and Rank a' "d ut Isc~ple\hlp, Whereas , eVlant, , Freud had be ",n, mced 10 dlStru511hem The " film affair" rever<.ed th " to _ ' dA h " ,tructure , Freud was ur'elOU' an bra am reas,urlng , The cmema proJecl was t Fr d S hie helmyal of hiS theories , A bnef prec;, of Ihelr exchan'g ' e°be eu h ' an unquestlOna. an. [ 1\ out On June 7, 1925 , A, braham wrole a long letter 10 Freud expl N' , ammg. eumann s pro'th h' d WI po,al. Lace IS 0" n doubl' aboul the pro)'eCI Abraham' I II' d r , Fre d ' . \ e er e en,,,elyan· tIclpate, u s sense of protecu,e cu"ady I need hardly mention that thi !> kind of thmg IS nOI really up my su-ee[; nor thai thiS ' of project IS t) plcai of our lime, and thaI il b .. ure to be earned out . 1f n01 \\il h us, thel)pe D\\lth othe r people \.\ ho kno" nothmg about u '"
Abraham oUllines the offer:
rg o' two apparatuses Photo cour-
The ddference bet\\~n (hl~ ~~raJghtfof\A, ani offer \""Ompared \\ Ith the Amencan Goldwyn I~ obvIOUS. The plan tor the him h a.. foll0y. ... : the: first part ." to sen:e as an mtroducuon and Will ~l\'e impre .. .,i\e exarnple .. llIustnlting repre ion. the UncOnsciOUS. tbedrum. p~prax I!). anxiety. etc. The director of tbe" ('ompan~ \to ho k110\\ some of) our papen I!.. for m~lance. very enthUSiastic about the analOg) of the 10' ader used In me lectures 10 lllusll':nC repre .. sion and resistance _ TIle second pan 'AlII present a life hl\IOI) from the \ lewpomt of p.. ychoanal) sis and ",ill !abo", the tn:atment and cure of neurotic )mp[O m ...
nfronllllJon yrn, , DOl frum H Ih\:"POSUIOO ,am fru m Hans. euI E:.: 'f - 000 Whether Or DOl the oncinal "elmer a "eumam 1lpJ;>m;o; bed K poml ob ured In mO'1 BCtI Abraham, the f under of Ihe a de' I Pre Idem f lhe Imemallonal midpro I for a /tIm aboul p \ cho-
CI«:::
cill~~ien~ 'I-~'U';I=
n;lInl) engaged m thc.:camart , a pradu I of high culture,
'l4
the Kullurtilm_ blcllung ,) \ '- au enthu 1;"15, rs,,-hoof the un o n 10~ In be auld g' \ e allbe Berlin 1&1 recogmll n o f PS), June and D.:c mber I Freud' \ bemenl nW AlYalwnl
lJ
"The analogy of the ;D\lIder" was laken from Ibe IectIRs thaI fTeud gave at Clark lJni verstt~ in 1909. lecture thaI were intended 10 explain Ibe theo!y of Ibe
uncon-
in \lmple language to an American audience. fTeud metapboriz.cd Ibe uncoo'cIOU, a, 3 lecture hall and illustrated repre 100 as Ibe need 10 bele out an ...dlNlN' member \\ ho makes a di "turbance , If eurnann .. as -entbusiasbc" about this anaJo. g~, II \\ a, becau,e II had pro,cd so succes ful 10 trarWaung fTeud' theorIeS 10 an ea'tl) under tood , 3l'1:e"lble le\el. If the Oarllectures helped establish fTeud' repUUlIo n In Am nca. Seumann musl ha'e calculated thallbe ~WorcesIcr- imiJe,- as II 'ame 10 be I-no"n ... ould .. ad for an equall} Imple-mlnded film audience, In addItIon 10 the film. eumann proposed an accompanying pampbIct, -eMily mpre h n"ble and non- lennli.:. - to be sold through the /lIUnIIJlIONJI~, Psw:Itoana/w , h r\'~r/a~ , De plteht a .. cdhnll3llC1 , AbnlhamscemcdsomcwMIsedu ed b) the Idea , He includes /II o .. n plam for Ibe film 'ClOU,
~" Ida I DOl 10 dcscnb< ... ~'CboanaI~ I ~>ImYlicaIIy'" 10 IIlIe e " .... c ~da hfe and 10 ~Iop the Iheor} around them Oar. .... ..... utto C\'Cf} d<WIlD onkflO III aR)1Iung !hot ....,. disaedIl . . . .., ..,.
.h he does not agree that be ill m
Ui~~"ICIII_"'. AL-L
h' I ' - rrc UJ 1"l,.tln =,3hhoug ...... U.·liatory in what was IS ast~lI)numu
han1,
"'==:::
on It lille'" nl11 make a deep . impression . ...... _me ...... '*BIt a_. . . . . . . .. he lilm affair IFllmsaclu). "",", arc a&QOd - , ......, ....... \IC\\ 10 I . d dge differently. . . . With that let USc:JOIelbeq_.I. . . . . . . . •yOu n ..... JU' dcscribe as a trifle. I. L: lf •
soogbt topological mctapbors to
describe and IIIIIte
he never appeaQlellld"~ ~.- • • •!og. -A NoIr: U~ the 'M~stic ~riting Pad' " (written in the feU nF ICM • rile l,*f"rIIlIiortak uUschri/t for PsychOfllUllyse in 1925) IS . . . .... 00DCepl of the unconsciou • but
..
i
~§S~tbeseddl!Jtes about a film project .• 21n this shon'~;;",:= -Mystic-Writing-Pad" (tier WlUlderbiock), ,_ willi a Ibin Ieyer of celluloid over a waxed surface, as a ofthepeICep'"al apparatus of the mind. HediSJnislIa'lId to IiUbDtitwe for -the improvement or intensifbliou
Iai, phoIogJapbic cameras, ear trumpets. "13 ,CAy wbicb could include the cinema, are, fteud
. . . . . . . . IN
a·
for oew perceptions and De\rertlilek. IWJ!!ItenbIe-memory traces of them. "
dill.
"A Nolle u,.1he 'Mystic Writing Pad' " &eelns II) .... bllllilable COOCTete illustrations. bdaeealTeud and Abraham continued, the I*ogaess IqlOItS in july. By then it was clear V.s luNd -wya, was as involved as Abraham.
ii§§g~"'~"~_~bavc~ PMicuIar.
l
Ie
..-
every guarantee thatsuoo'eded the matterinwill be canried -1binJc we have principle in .. Each of us bad an idea COOCeming these aDd fortunale way. I,
,=::':'::::. I
well. Sachs is devoting himlelf to il and is .,..lDdo my share. I.
. ., •••1&41'•• in October and NOVember,
. lh C d' tlerences between Abraham and mud wae DOt """'''''b~fII'~~=~ II h ,I d Abraham as co-scenarists, SacbsaIsowasdislrluptbJ anlhe director of the Verlag, which bed critic:ized die • sSac (Oroe,re' red that Storfer and Siegfried Bemfeld, ......... d I'L • •_ ......... _ _ . lIen a film script that they were tryIng ........... _ _ wn . . ·th AbnbIm and Bemfeld discussed the.r proJ,~ ~ fficial: with l rI a cUfa . stipulated that no19ou",r 0 within a penod of three years. .
r'
The opening titles of Secrets of a SoIII::CJ1:e.~iIit:~~:~ Iween two film-world talents, Hans NelllblDD from two psychoanalysts, Dr. Karl AbrabamlllllDl:. monograph to the film. 1be 1biI1\Y-I.....F
~'~~:=;;=;;;
,wdy in the film and it attempts to illustrate. ]be II/ligen ("slips" oq>RflIpl1W:1S); sian (Zwangsimpuls); aud dream interpretation. In his cia. . . lions and admits:
lation wbm ._. . film ponrayaLlO
N/CHT FRI:UD'LOIIJ~1 the first II) atII!IIIFIt~~! was the first ftbD
etlO.IOgy of
In me: atIlT
46
ANNE FRIEDBERG
'The cIoc1oI'to-patienttransference in Krauss's filmography seems furthe ' 1M hoi of actor who was to play the analyst2~ in the film: an r I~ II)
M lIS
~
An Theatre, Pavel Pavlov: 2h Pabst's assistant director, M':=~C: ~ IbI from Sachs on psychoanalysIs so that he could tutor Pavlov 27 Th rkin, took In die oviet Uni~m, Vscvold Pudovkin was at work o.n a film th~t alsoa~:neYear, straightforward cmematlC appropnatlOn of Psychological theOries. Yet Pu~. film, Mt'chanin of the Bram, was about the work of Freud's mightiest th vlc!n'. opponent, the physiologist I van Pav lov. eorelicaJ Abraham and Sachs's script had to contend with the essential problem of Iran I a "talking cure" into a silcm series of images. Secrets presents a case Stud:~ origins of a knife phobia and lis treatment through analysIs. Pabst's Own relatiOll knives also seems to demand somc ~nalysls. Instead of ~ phobia of knives, .,.: seems to have had an obseSSive fixallon on th.em, a genume Messerzwang. ~ play significant roles not only m Secrets, but m a number of Pabst films, inc11ldhia Pandora's Box, The Threepenny Opera, and Paraee/sus. St'crt'ts of a Soul is a film narrative with the structure of a detective film, choanalyst as a son-of Sherlock Jr. who witnesses each image as the: ~~:~ the events leading up to his nightmare and his resulting phobia. The 8J deduce and decode the origins of the client's phobia. Geheimnisse uses dre. . is as the central hermeneutical tool of its narrative; the dreBJm is a cinematic at direct pictorial transcription of psychic mechanisms, a key to the locked the unconscious. A quick comparison with Buster Keaton's 1924 film, Sherlock Junior, how such analytic narratives entail the skills of film analysis. In the diegetic Sht'rlock Junior, Sherlock is an actual film spectator, a movie projectionist ies to become a detective. He falls asleep and "dreams" the solution to his ton, more directly, dreams a film in which he projects himself as the heroic is!. The film he views is a wish-fulfillment, from which he could conduct deductions about behavior. The dream in Sherlock Junior is structured like a palial discontinuities of each abrupt shot change become the source OfCOlmeoliy, cut displaces the hero from one selling to another. He sits on a park bench, changes, Keaton is suddenly in a landscape withoul a bench and falls to the Secrets ofQ Soul, unlike the Keaton film, makes no direct reference to the aPIJ>lll''8111 construction of the cinema. But bolh films use the dream as a key to unlock the rative mysteries. Just as Keaton doubles for the film Speclalor who deduces a .... from a series ofimages, the psychoanalyst in Secrets doubles for the role or .11111 "')'11 who I1!I'CIIds and hence interprets the film-dream image. A brief description of the film's narrative and its construction demonstrates st' 111 its spectator in a quite sophisticated fashion. 20 Secrets can be sel,ar8Jled U . . H1awma IIIctions: events that lead up to the nillhtllll II, PoIt-dream-the senes of parapraxes which demonstrate the phobia Z Usn, TIle ADalysis; and The Epilogue/cure.
"Drs
Pre~-coincident
Oem'n print~ is of Werner Krauss's face distOned in a
laa ..cut fubion, a spatial separation is established beI:wt . ' I lie Ibaves the Window, and the wife's belnlll
After some crosscutting and
II1II.
~ exits his room and llllten and IS rebuffed by !he IlblIViD
Psychoanalys;s hi !he CInana • , hows him a straggly tuft of hair on her neck, jM' MI. . . . . h" facc. She Smed. As he applies shaving cream and begins 10 1IJawe .. .... o~cd' III toyare be tnmrruPled. The interruption occurs literally as thia c:baiD of III • • nocck. (le tnle .....1.• '--_ I wilh an image from ath'Ird spaceofthe lIeI_opa nhrtlptly tnlCrcu This is followed by the first intenitle: "Help!!!"29 Abh! &11II1II aIcr' an d scrcamtng. h cream for help is VI.VI'dl y demonslrated . As the IDID ........ _ _ .., . . dent t e S h' .,' k film" , ' h notices Ihat he ha~ cut IS wlae s nee . apply the razor, ~onlinue to conspire toward the husband's disturbaocc: 011 !iii WIJ
i.__
Circum~tances
owd has gathered across the street. ambu1ances and police iii k he sees acr "Las.tm'ght, WI.ththerazorbladebe 10 wor , are talking, a tille indicates: . 5 ... nClghbors does to his workplace, achemlcaJ laboraIory, andregJSten~'cI.IiIIIII•• The husban g point-of-view shot of his letter opener, the blade Ofwbidl~-: In rcactlon to a d her young daughter visit the laboratory; after be Jell up_ g A woman an d the girl' mother and the female lib • uSlOk · ive the little girl some can y, . s..... ~ . wbeulleRilllnll ..... des to g . I es as if to laugh at him. • lOa eveomg exchangeknowmgg anc . 'I . th ewsn....... wbicbwclJllllcblllodowilla* . h him an anlC e men r-r--' ......fire IllS Wife sows h' and he throws the DeWIIpIIpCIIIIID_ • crime next door. It upsets 1m. to" Iboutthec:riJae.Tbe_ . . A police inspector comes to ~elr ho~ beard~Mbdp" aydlllta-+ I AIIIr swers that he only learned .abouht It wherhenhUSbandlDemiI:.nA .... iIIIIIr ....,. . . inspector leaves, th wlfes ows 'val 1bec:ooliD.silllllr._ _. ... ... the . ~. ....... ...,...... cousin to announce hiS mlnu~ent ~....;. _--' ......... - o f... ~. .. . lOS and another gift, a sa~r-~ 1 ~I ?,slanding qUIte erect. ":eann~fi:b apoillt-ef~"af.:&l$ .... ;
.;:-.:,.u;:;:;-;..;:;;-;
9 t
I I Lw. bi~s;'f~-iiiiii~5eiii
Ihe sword briefly and then putSlt the saber lenlion Whentothey retire ISformtensl bed that. band bids her good night at dID series of crosscut shots of~ wilh images of a stonn that 11 "The Drearn. "31 In lerms of Freudian dni"'~ up until this dream, ~~~:: band's disturbance. Each his wife's neck, the place, the visit by ~ the gifts of the fenibty staIUC The images from the,~
lightning Ihe storm flashes and theo~v~er::biI~;; or 10 those famiJllE dream to the 1Dl1l)'l1t.~ was a bad 8ton11 easily CO~lft"_'''l
48
ANNE FRIEDBERG
but follows a purely associative sequence. aSSO<.'iations that are not im . plrent Lotte Eisner maintains that the dre~~ sequence would not have :::::;a ...,. tel y It not forthe lessons of expressmmsm. In thIS style Pabst dIscovered Poss,ble giving a luminous and unreal rehet to obJet'ts orpeople. of deforming ~IlleanaOf perspective, and of distorting the relatIve proportIon of objects. ""4 arc 'Ieetur;j While only a shot-by-shot breakdown of the seVentY-.fiv shots in the dre e completely describe its structure. It can be reduced to Its basic elements: : : wOuld ciative sequences IOterrupted by ShOls of the husband sleeping fitfUlly. In quence, all of the images have dark backgrounds. We will see many of these i IS seagain later in the film when the dream IS retold to the .analyst. but they are re::= with a whitened background. the actmns made more vISIble.
w=
~.asso
t:
The first eighteen shots of the dream establish. through crosscutting, an ima the cousin sitting in a tree wearing his pith helmet. The husband lOOks up to him the patIo to hIS house and frantIcally tnes to get back mSlde the house. The cous' aims an imaginary gun at the husband and. through stop-action diss.ol , a reaJ ve appears. The husband then Jumps IOtO the black space of the aIr. and, In poinl-of-view shots. we see the patio getting smaller as the husband floats upward. The cousin aims and shoots and in point-of-view shots the patio gets larger as the husband falls 10 !he ground. Shot 19 shows the husband in bed fitfully tossing and turning. The dream resumes (shots with a crosscut of three images: a ca\'l\o.lj space filled with a large version of the cousin's fertility statue gift; Ihe nUSoBIOO IIglIIIj a black background as a crossing gate comes down. preventing him from forward: and a sUperimposition of two electric trains. crossing in pelrpendiicu.lar'diJ! lions. with. in another layer of superimposition. the cousin waving of a moving train. This sequence concludes as the crossing gate goes up and walks toward us dressed in a bowler hat with a cane. An expressionistic cm:ua town pops up from an empty black space. A tower spirals upward in fronl of The tower is shaped as a phallus. With its top resembling the cousin's helmet. husband looks up to the top of the tower where bells are ringing. The become superimposed with the heads of the three women-his wife. his lab and the woman Who visited with her child. "
gu~
~O-43)
This second dream segment is interrupted with shots (44-47) of the husband ing and turning: Ihe wife asleep and then v.aking: the husband tossing and IWUII" The dream resumes with an intercut sequence (shots 48-64) of another complex superimpoSition (a cOUrtroom-like trial supenmposing a shadow of drums. the wife sbowing the cut-mark on her neck. a group 01 men) with shot; 01 the husband hanging from the bars gate which prevents him Irom moving forward. 1be dream IS Interrupted agam (shots 65-67 show the husband in bed) and !hell ....'mcs (shots with its final segment. The hUsband, in a laboratory-like room. Pltoabigh Window 10 look out. In counter-shot. the hUsband sees a dark pool wilb . , pads. 1ben, In reverse angle. we see the husband lOOking through barred wiD. . . Ia die counter-shot. a small boat with the wile and the cousin floats into tho • 'c pool. pulls a baby doll out of the Water_a unnatural ' ....... Ule illS of the Water in reverse motion. The husband watchdie barred Window. The Wife and COUSIQ then embrace and the wife die doll. the Iab.the husband runs for a knife. flails about and thai
~f ~other ~8-76)
~
Th~ ~ife
so~ewhat
pull~out ~ ·=d~~e of h,s wife. He repeats the rutting ge15tuJ_:
PsYchoanalYSIS and the CInema
•
I post-Dream h 'b" f The the husband begins to ex I It a vanety 0 panJpraxes. neu Aller the begIns to shave he "accidentally" drops his razor on the floor and min 1l1 g whend c 0 to the barber. Then. while he is at the d" to g t tube the phone rings. H"IS .emaI ' . and""'"ecldcs I lstea l. e asSIstant answen It w ..... WIth a l e s . . h h . has sornethlllg . t h a t hIS. wife wants hIm to know t at er COusm am'-" ..... he I ms hIm she III or . s the test tube and it shalters on the floor.. . abruptly drop . h me that evening. the wife and cousm show hIm some old plio. When he °t to one of the photographs. of the three of them as children. the I reactIOn s o . '. h h' knifl askin h (Os. n a '. isibl troubled . As they dme. he IS afraId to touc IS . e. g IS husband IS v h Y t Disturbed by the knives, he suddenly excuses hunself,leavc:s wife to carve t e roas 'h's club After several drinks. he exits without his key. He IS the house and goes to 'h foliowshimhome and in front of his gate tells him: observed by the doctor wh 0g to enter your hou:SC." And as if to explain how he knows have a reason for not WIS ,In. "36 When the husband returns home. his wife gm:I5 . rt of my prolesslOn. the bact this: .. It IS embraces her he staresrepeatedly at the knife on does he hIm but as k e H' hand reaches out for the knife. and only WIth great e on e pick it up. Quite distraught. he again leaves the house. t that. the evYdence of his disturbance wife.1U his dream. the husband has a fearofkn~es an cemed mothcrasb: ~Doo'tyouknow refuge. he goes to his mother:~.h~u~ .. ~sC;:se hcrquestioo is followed by an Unanybody who could help y~u. s I ~n )re'. Afia'Jocariogthe~~ age of the smihng doctor WIth a supenm~ compulsion to kill his wife. The his club. the man goes to the doctor to co es:......,;,..,.... maladyand that there isa . It ..IS on Iya symptom of a more ~'"I'_ doctor tells hIm this kind of dlR8SC'. . method-Psychoanalyse-. that can. treat husband is told be must mcm: out ofbis Before the a~alysis offiCIally ~t bewmes ....." that the busband bas house and in WIth hIS .mother. (As a hotel.) WIa die film _first sbowD. the left his wife. the COUSin a1~m?v~ of ...... zu p..... bialbday m May Berlin Psychoanalytic SOCI~ty sobjecPed to ibis .,-t.1k film (iiIItId 1926. a member of the SOCIety mustleavebis . . . . . hwilb ....... , Ito analytic treatment. If ~very mando the....,. _ ' . . . _ ..... . character in the film IS told to • . 37 psychoana IYSls.
II .
drca~:
laboratory~
r~turnSh
~you
~a
~tablem;:at
ofhert~:~r' t~
="his
res:~
accumul~~s~~=
8m
.Is
be=:
of!*::
a
IV. The AnalysIs the scene in tile ......... aIIca,' ; The hundred or so shots that .com:::' childhood me_. II1II tile .:....." : . .
repre~n::"n:;OII ~ anaIysr~'~';'~1ana~cn~IYIII!:""E'~=$.i
everyday events. with ~ee~ "inVJllbie editIDgw dream. symbolic the that bad tage strategy qUIte unl.ikaI?erltiOll bePween CCJUCh:bued TI", lovless Street. This aad _ , c:JeIteI for the
tions of the husb~ s. . i1h11l11i~~ pIe x character subJCCtiVU)l the retold dreIm A briefanalYSisOfibDm::E_Of~ •• employing ooe ofbilll1Olt _Ia ideoIosk:al~:;; been appltllMkd JeIDId II?
.
d' dream
---
of
:;;;;; S: u:wu~
51
I
Stil~ling tr e 'e"old drearr against tho whit Sou/ Photo cc,urtery of
Stl~'ung DelJtscheeKscreen from the production of Secrets ala Inemathek,
~xample . as if to symbol.ze theIr marr ', , ' and wIfe agalOst a whI te back g ro und .ag~ and de>J re fo r children. we see the husband
~~Ot~~~;)~hr()ugh stop-aclion dISS()I~~~af~ltt'J :~t~all tree, A dark and empty room hare " lInag lOlOg h.s wIfe 10 compromislO ,nu"ery furniture, The husband ke place, rech ning With the he/me'tedg posHlOns and we see shots of her in a ChJl:h-1'od o memnfJes th e h COUSIO . smoking I ' he hC bnbstmb as toc h usband , .. l er a y doll h , c a " o n wh h' , dream , but altere" s to t e COUl ln 3) Retold drea en IS w.fe, as a young ro events nr IOter"ct ' hghtl y In se4 Uence 4) Retold narr' t .mages; repelltlOns of the .. .ons repeated th a Ive eve nts' ' , ' e cry fo r hel p, the nc. h ' some of the earher faughmg 10 the lab, arc In the se4UenclOg of t~~~)~n ?o~ ISolated aga lOst a Wh~t:~~s talklOg, the woman ldtors "see" '1'1 . e Images. th e analys t be ackground , le analyst. ' ' ' " ' lOg" Id " Who performs an .nte reta~ PO' HlOned as a fi ctional surro a to what we as speclint apparent unt.lth • rp 'h IOn o f th e log.c o f each Ulla . g te for the him spectator e pSyc oanalYllc s' gc and Hs seq , ' be tween dream an "I"s.s' d ,' I . eSSlOns beglIIthat th " uence , But.t IS .....' an I III analy ' . ere 1\ an I" , and lrurn otherWISe yuot.d.an eVen ' SI S lIIth" repetition o f I '. .mp .c.t equatIOn ages , TillS analyt.c repet.t.'(. t"s, As f.irn spect,"tors w . hmages from the dream nJ rere", In ' . . Cave . of film anal"", .n '''h I g, IS not unl.k e the " Just seen these 'Jll' " ' n Ie 1 one Inlcrpf't . Crltlcal -tl . quence Yel th' . e S .mages and th . , leoret.cal activity c.; e4uallOn remainS impi' S ', ,t.: a S~o('· latjv· I . . ll I.VJly of Idm anal,'''' at all ex I' 't h' !. . l'( n ',1I ()j " ,S()u!" c og.c of their scJ P 1(,;1 to ( C Vlcw'r h oe~ nOI k Images and lIJust recontextual./" d i e " (>reVIew, th . ,,' Illa 'e the ace an rcana }'/ . th , C rcanl d . ,I.: elr Slull.f ' .. an narrative
g'~idhg~:v"'!
'wHhPa:~!~~~~ ~~::nUPtsheel
tngge~~ h~s :::'egr!:;~;~
~
ICanl:C
s mos t stn k JO g abo ul thIS .mplicit equation ,s how m' f h What seem " any 0 t e lln;,g nalyled and unlnterpreted . Thi S overload of Slgnificat.'on es "n un a I'k ' , cre-dlesacunous re·]ICC~S In the film. perh aps more • e a sem.otlc undenow than an. t U I h h ' , n e ectua over e' ' Wh.le it suggests t at t e vIewer m, ust, resee what has been be' .one . ' f f h ' seen .ore the e of ana lYS IS a some a I e .mages also becomes a 'tnklOg re " absenc d I" ' h ' preSSIOn, ...Iany " nts lhat are ,rn a, e qUlte exp 'CltlO I e vIsual language of the fil h h eleme , • hid h m~l e p at"c of the COUSI n s e mel an t e shattered test-tube the shadow of th ' e r natu 'f ' b • e COUSlO. phal"C helmet o n the w. e s worn ~ are not analyzed in lhe verbal eXChange belween nalYS l and analysand , But these elements ar , e apparent 10 lhe film 'pe Lat 'h t he a ' h d h . .' C oro. OIS also ded ucing the logIC be In t e man s phob.a The spectator of Secret, of a Sou! IS than the li,ctlOnal ' surrogate . . The narrCtll\'e pos.'tloned as a more astute .psychoanalyst pleasure offered by lhe film IS In the act of hermeneutIcal detection. the act of psychoanalysIS, In shan •• t IS a film wh.ch equates the boons of psychoanalytic treatment and cure wi th the skIlls of film analys.s , Cenai nl y, Secrets did not attempt to contend w.th some of Ihe more controve " I foundalio ns of Freud's theories of JOfantlle psycho-sexual development. and c : : ,"stead to depIct the concept of lhe unconscious and me therapeut.c power> of p )_ choanalys ls to treat mdd neuroses such as thIS case of phob.a and compu",on The analys is demonstrated is classically Freudian; the film embod.es the structure (If dream analysis as Freud intended ilto be performed, Yet here the "talking cure' I' successfully reduced to silent .mages, An analySIS lS conducted, not on the speech of the analysand bulan .mages that Pabst provides, Iromca/ly. me American cntlc. Harry Alan Potamkin. would write of Pabst's "psychologlSm" that "hIS own 'suppressed desire' was more social than Freudian,"3'
V. Epilogue/Cure The " cure" achieved at lhe end of the film. IS not unlike the cure supplied by other film narrative endings-a final frame 10 which the family unu , here wuh the addItion of a child. embraces happily, The epilogue is idylhcall} >et 10 a countf)"de more reminiscent of a tranquil landscape in GemJan romanUcl>m man the twisted chIarosc uro of expressionism, The ending functions as straightforward wI>h-fulfillmcnl. not unlike the tacked-on conclusion of F. W, Mumau's The Last Laugh tOa le,:te Jla"lJ. 1924) a compensation for all that has been suffered JO the course of the narrat,ve, Here the endangered marriage has been repaired, consummated~and. IOdeed. blessed w ith a child , If Secrets ofa SOli! was to be an advemslOg film for psychoanaly",. th', fin al image of the happy family unu was the product bemg sold,
SECRETS MADE PUBLIC For Ilanns Sachs and Karl Abraham. the amb.tlon behmd Seen'lS of a SOli/ \\ a, to make public the scereb of psychoanaly",.to exwl Us curative "nues, For Hans Neumann an" G W, Pabst. the lilm proVIded an eKcaSlon to use a psychoanalytic case \ tutly a~ a Cinematic narrative. to exploit the hemlcneulic :-.inllianlies bel\\CCn the work 01 psychoanalySIS and the al't ofnncma spectawr>h.p, While Freud's reaclion to S('crl'f.\
of a Soul remains unknown
(It
was not re ...·ordcd by Jones. nor mentloned In
any of houd's own papers). hI> he"ti"ty te",ard the cmematlc appropnauon of his
theories suggesh a vigorous, almost Ludolh!. rCMstance to the toob of modernity. Ncycnhcle". S",Il'''' ofa Sou! remains the lirst film to use psychoanalysis as a narrallvL" dcvil't.~ and It was, jf not Fn:ud\ lirsl. ('crtamly his last unht'imli<'h maneuver with the (merna.
hood. gulped binli dol. 001 ooly in his CII(llaae4 130eous. childlib iea O cinema, wbIcb audience.] Eisenstein'.
o BATHRICK
Melodrama H,Slcry ana D ckens
55
rt"ilhl\ . (h lhl" ,,,~Clll' 111 "llIdl ."'::tl1IIl" .lI1d l1l'f lo\t."r Andre) first race to find c3,h other In 11ll' ""l'l" " 01 P.lIl~ I"l'I,.'oIIl" III thF: fr.mtll.: p'Il'C of Ih montage edltmg a styltl...atlon of mb.llllh)lhlll\ and clll:rl!)' 'lOlIl'lr tn \'l'n(l\" S dl'ph.:tlOn of \h)sco\\ In Alan wuh a ,\t,II '" ( ~""h " tl IhH \\ hill" al,\) , : k.1I " Ihal thl' signifier "Ru,slan," r.uht:r than bemg used as a IlW ;11I11l~ 1111 ;Ina I~ Ill' .1I dl"lgIl31IoT1 lor M) 1i,t1r.: horrowmg, or "'pc.:clflc camera or edit. II1g h,,'dllllqlll", dl· ... I~niltl·' a 111(\((' gCIll'rJ,llcml of rcicfcncc for thl! hlm's epic or real. I ,lit' (h;II"'II.: II.'1 .1 ... 1.:0111 ra"It.'d 10 carl) (ierman 1- 'prc"lom,t or "Ilolly" ood ,. film • In 1111'" Il'gald. "r;ICllIl'l hOI ... 'l'( 11ll' 10m' lor mOM of Ihe ... uh ... cqucnt treatmcnts of Pabst
;llld 1m, him h~ 1I'l1lg The JO\'/( H SlIe '(' ( and Jeanne \'~\'.1'" promlnenl e\.ampl~ of a r;ldlc;11 IUrn 111 \\,,'ill1;l1 film In\\,lrd \\hal he call~ "The ~("\\ Reali ... m" "'The most 111lpnl'l;\1l1 tiltH ... (If Ilw. !!rtlUP," "r~h.:.IU,,·r \\nte programm3tkan~, ""cre am mated 11\ Ill<' 'I"nl "I .~"" Ohl"CI"·II)· (\"/10 .\achl"lJk~jll "hlCh dunng Ihe ,tablhzed 1'k.'I'Il,d IlWllll,,' ... k'd 'I ... e..' I 1 III Ih(" "'phl'n,' of real hfe Ii \\cll a... In the 'pheI"C of an 9'10 "l'a~'.lu,,·r\ ~'\'nl1at\("l (11' Ihe "Ru""IJn ,t~ Ic ' \\Jth 6. em nutic rcah,m -animated h\ .. 11ll' 'I'tnt u(' Sel('lrliclr~( 11m hi, di'~'u"''''I(\n of leanne .!\'n help, u, ~~on~truct I Icadm!-! \llllll' 111111 111 \\hh,:h It-. hl ... tonl,::tI and docum ntar) quahtie,. ,uch a.... its l'\xi1ng.b an "e..'pl~·~n.'alblll.:" film. :trl' I('rl'ground d In sut2h.l ron ... tructlon, 1\\0 em-9
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I r III" ,II Clt'Clll'l'l~'t_
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I, I ,m.I" ruthllh n '" • III Ih \mcneal
1'11;,,,,, afL' 11Ighhgh«'" "hi,h hdr ~\rlaln \\h~ the film" ''>0 often described as gi\lT\£ "the..' Il1tpn~"wn (,fht.'mg l'lh.'I1CJ fnlm hfl" ltx-tf .... l l but "hlCh also sene as JMr.llhgl11atl(, markcr... hlr the..' n~3h .. t ge..'nn.- lib It mCq!ed In th (,ultural cros~urrents of Ihe lat,' I <120s. t,\llll th,,~ n'r) tlutsl't \'1' thl' t1lm ,'nC' nt)te ... an ob ..e. ~Ion \\ Ith d ,elopmg h3.l'3Ck1' willull ,st~'lall.~t)ntl.. \t III a \\ i\~ that rendl'''' mdl\ IJuab a I1le'ton~ IDIC xpre. ions of u l:trge..'r l~n\'IIOnl1ll'l\t. Thl~ e..'n11'\'1'h.: \,.'h.h)' In the ('nmea of I' il "ar or the decadent P.lr\S t,r the..' n";tnn~ t\\ l'nlie.." an~ n,ll Ju,t th mH ~n $c{-nl" fllf an Indi\lduaJ story. lhl' .lr~Unll'nt ~\\t''', hUI an,' I..'l)l\,tnll.'l('d "lit ,)1 and 60\\ bat.:"k mh.' the ob' and hi • h"h.\11 p.ul\wam;1 "f lh,,' a~e..'. 11K' n,)" fatTh)u, \)pemng . h\.)( _tabh I1t ln, hi l' he..'I\\l'e..'n dl:l.r;.\I.'te..~r and \"',)nt(,\.1 "hlt2h 1~ mamtained throughout, ~ film lx'glll'" \\ 11 It .1 \,:I\)Sl"UP "I' Kh.\hhle..'\ \ ~""t' a, he=- h ~ on a a and pans along his I""" hI n')!"I,'r 11lL' s,'.IIt,'n,,1 "".1 'Is amun.! the room, ~'spapeI'S 01\ Ihe ftoor, apn'lt bllll, ,''' Ih"I~hk, ,I ~nll'mll hand m. an:h, fa "Ig_, MId finallylhetaceof th, '1IIIhtlf",m,lrr\lIl,1Il \\1l.1t" ha, fn'Clltheoutsel' Ihe of_ • • •" IIn"'I,hn~ 1;\\111 \\ uhm anJ a, an \pre IIlI'I f _ ~'II'ONI EIt ... ftiIz " \\ 3~n~r" ,anlrf3 ,I, ',n,'! .m.! ,'ann,II ,1('1' lhe~, ~lr the DeXt CUI IiO '1aqIir . . . or,un,1 III Ih,' ,am, h,,! I, hnl. 1 hI the fi ,I ") anocbet-, ... a.Ie, btIl.. ,
u' ',,1\ hm~ 1'10 hI ,l",,"~rdan"tlf, s'an'tl"118 Wbt~ R~oIicas 1MCIIhed • • ,1nn~m' "1)\' III ':"'ntr.lllhc:m' 'I 'I~·a
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Bue drspitc tuaI , -___
TMttICK
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RClUmlnll10 Ihe opemn, cenaJn1, llIcaad rcah OJ on Jt'<mn~ N.. ~ can be found 1/1 the IliipceMIoal the .'.Io,umcnlary look". lhe ACnse that II wu "reconIiIIaIn whICh the acllon nceun. In the lint IOC:IIOII of the fIIIII it II hclng rccurded love as lhe would-be parallel narra!ive 10 l'Or In,lancC, Wllh the onVUlon of the town by the Red AnrJ)'. the _ _ f,)Cu'. muvong in dIfferent dlrccuon • no 1000ael'leeklnaor_ ... :=~:= ,on' or cuherenl acllon. catchon,l/IlIIeIId the jJIUIOilina of the wb. . revolullonary tribunal again provides an ICOII of the -autiaII 'l'1li reprc,cnling Ihe old order fade out ODIO. piC:bft of LIIIiD.1IDIIIr widell revolulionary council meting out revolullOIIIi')' juIlkle III brieI. leaux. Pabst gives U5 a pictorial montaaeof doaalllClllldNWIIIldoNlJ ry.' emblem. In a ftuhback. we are 1Uddenl,1/I MoIcow.lathe"d'" slration whieh funclions u emblem apin of the -"'" .I.e .... which thc story will unfold. Finall,. ~ is the ...... - -.. hack to Paris. The loverl have mel In the run. 109 figures. the historical evenlilweepin, herlOthe cal ,truggle. The tary" value. Filmed OOIoc:IIII011 and Ibot ID IIIIInI by Kracauer U • callqlllft. two these all but forgell background. . . ....... which is
=::::::::::.,erlCOlIm,an &
I
Khal blev (FrIlZ Raap)
~a hJeroglyph of transparenl evil out of the phy leal pI'UjleI1iea 1II1l_ ) fwK:tIOlllll g pollllCally III the crowd ......illlO.lbe: evil KballblCY but • 5
journal Clole crusted able to wasnOlthe en. apache 411" .. suddenl, WQ6 PaaU II.~ Secn from the Ney is a city of .ocial decadence and eI.nicalion and traIIIc: of raIlroad 1CIdoaI. lei Halla. . . 1MB
oramalbola
I,no: (Berlin.
tandy• •, _ . of.
+ - Pd.
-
. . . .,...fI.CIC Melodrama
I _Ok']. • filtll>~
Ihemalicmomentsoflove.and~lutl~81twoCOlllp.lIIl1p1ol&...rt] J va. ling goals and mollval.ons Will provide the engine for willi wiD 10 I ",., . . come a da~'ica1 Hollywood melodrama. Moreover, while dIis ......... ~ . . .
remains intact almost to the cod of the film, tbeR II also 110 !pi . . . . _ . . . , beCause of the I.tle, thallted't I~.ththe Itheovenlloryhbacwhk~ is to be 1IIe ... " i!Is I one. This " even signa WI In 81 Itself. AI1houchthe Iotas . . . . . . m.d dle of a demonstration with Andrey pcn:hed upon a IantppOOt ddl-'Iy his list. the following sequence shows Jeanne racing out of the frame (••• revolutionary cily) into Ihe nexl image set in the bucolic c:oJIIIbyIide. Andrey, where the two will have a brief romantic interlude. Similmy. larger narrative strategy, Andrey will follow Jeanne out of the Crimea 10 Paris, oslensibly to continue his work for "the revolution by orpmzlIII ors, but ultimately to consummate their relationship. The Moscow Hashback serves an importanl poiDt-of-_ f'"....jon • are five subjective vision sequences in the film, IhRe ftnhhacJrs ... two wards, all of them Jeanne '5, and all of them demonIUlIIia& to .. dIe •• centrality of her view of things in shaping the IIDry • a wboIe Tbe iniIIII flashback is the most important one, coming wilen: d doa • accomplishes. Looking back through the crouedsOUI 01 windowpane to the postcard pictorial iDlCriptioa of die of the narrative by shifting the axis of namtIioD from tale in two cities, from MOKOW to Paris willi low Tbe . . . things is a love story, not an hiItoriI:aI CYCIIl "Six yean in this country aad notOlle pll ther, but that remains wx:eI1ain), JI .... ' II memory that i8 of signifiema!. JIIIIIIIIy die history, is thua narratively IIWrllJdh ? lUre
.'#
S
Iaak 01 The Love of Jeanne Ney Photo courtesy 01 C:inooo,..
· P-
7
her OIdIidc of In . pan oblivious to, and at times even • :::~.the IIlm'llIIIdencand' ~::::-! life Ing of llielf as an historical or social _ _ III IelJIIeIK:eI can a110 be read . . • • • • JIIIIIIIe. Our initial intr~Cluslvely In the light of the love .......... iIIitiaI CIpJI: drinkin UCllon to Jeanne comes in a IelIUI lCene I. I e II1II - . willgbe , when the diplomat Alfred to "-- - 7 retunung to P . _ WiDdow and wrilell"p ... ans. In Ob'vvl~'o~u~s:!~ " ' ! _ . I QNllIlly and IlOl ans on the pane. Ii
ra.
one pleasant memory ..... _ . tnscription of .. P '.. ,u,",,,, a uuaae c:ome . ans to a still ,bar 01 IIII11e middle I to bfe as we are ahown and ~ of the revolUlion. Thi.llubbli • ~_IM .N,., or whal that ltory will doidoolq
I'
. . . . . 01. llalrltive strand
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.
' tentative 81 it
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... 81m ~:::uwar, which i. to c .......,io.... ud~t set of causal "I 1IIUrbancet" wbicb "'~Ible for bet 1adI. ned AI IlOl one 01 ua" lad
.111
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story begins, and JeaIIIIC Given the c:enInIity 01is ing that the centralllnlJlle Khalibiev, who remains. chaos and unrest aad fcells .... White Russians .eeking to foreign power. Upon arriVlll iDPIdrt. tive Raymond Ney'. IIIOIIC)' by ~=~:: daughter, Gabriele. In boIb die 4 machinations aad moral depait)' ...11*111" chaos. And what will fIDaIly . , . . . . . worthy of lucb • task iD • Women in this COIIIIeIIadtof IrIInICCIIdcIIt Gf
",,,"1.
*
DAVID BATHRICK
Gat>nel and abscond wlrh rhe .'\") ml)ne) \\ III ,en c a, rhe good angel to Warn her on !>ended knee of rhe Impendmg rr3gcd) . ButJeannc hel>elf pro\'e, rll t>e rhe ultm13re foil . \\'here Gabnde " bhnd finally to Khahble, " enl mrenL Jeanne sce, all . At the engage.men! pan), rhe rurhless Khali_ t>le, ancmp" rll ,edu,'e p,'rh Women ~t once, but IS ":,,,red b) Jeanne \\ho pUlis frorn her purse a pIcture of Andre) It" a lerlSh 01 Jeanne, love \\ hlCh \\ III ,uppon her' thIS momem of ,-halJenge (rhe ,arne fetISh w hleh Khalible, \\ III larer Use ro fra~~ Andre) for the murder). Thus \\ IIh the mcrea'mg preemmence 01 moral ,rruggle and love srol), Jeanne" conillcr wllh Khahble, .become, rh~ dommant narrarivc concern: her defendm!! of rhe helpless Gabriele; hcr lendmg oil Khahblev and rhus giving Witness ro her love for Andrey: her trackmg down Khalibie, as rhe only person who saw them on rhe murder night and who can supply rhe nec'essaf) alibi: and her unwillingly unmasking him as rhe murderer. whose arre,r b) rhe aurhonlJes WIll free her lover. As a narrari,'e coumerforee. Khalible, " lran,fornlarion from a characrer of political intrigue ro one simply of moral decadence panicipares 10 and enhances rhe larger rransfonnalions occurnng within rhe film IIself; namely. rhe transformation of the historical inro the melodramatic . In the dlScu"lOns by Ehrenburg and orhers. the bowd_ lerizarion of the novelJeanne Aev w"' seen as a depohticizing of the film by vinueof changes made in the original stof). More offensive for some than even the happy ending, for example. was the fact that Pabst had his communist hero enter a chun:h and drop to his knees to pray. What I have tried 10 demonstrate is that the process ofpohli_ cal Coding in the film comes not from any superficial textual revision of story evenlB, but emanates precisely as the evolving structure of melodramatic narration itself. And here an imponant irony emerges. When viewed in the light of narrative structure rather than merely thematic story event, G. W. Pabst'; adaptation of lIya Ehren burg's Jeanne N",· reveals itself as absolutely !airhji,110 rhe original. Yes, Ehrenburg's novel had more "epic" matenal; yes, the novel's ending was a tragic one; yes, Ehrenburg's communist revolutional)' made love to Jeanne In rhe chun:h instead of falling to his knees in front of the altar, yes, Jeanne consummated her relarionship with Andrey in the hotel that night and was seduced bv rhe wanton Khalibiev. But central to both novel and film was an inexorably forward-moving love story which subordinated history to the overriding Imperatives of melodrama. "The northeaster may subside: the narrator says in the begmnlng of the novel, "bur it will return again to tear the sh~tters, to contract one's hean. It rnay be cold on the hills of Quarantine, bar sun will shme agam. Jeanne may go to her uncle In Paris, but love-love will aauam. Day or mght, no matter when, whether with a smIle on his face or an ax in his iliad, wbeaever Mhe knocks, Jeanne, breathless, will open to hIm. "17 The linking of 6e1o¥e story.to naturaI processes. of seasonal change Ontologizes the woman who is .. dative on earth, relegatmg the process f h' . • . ' . It. tIIiI MIItd VIeW, namuologlcally afllculatedes 0 .)Story dl to . a secondary domalD, . . . , Gaillirized in the dominanc f th J repc.te y In the novel, cinematboth these e eanne Ney plot· line in the film, which . representalJons. back to DICkens. In his memoirs of 1916 . of JtUIIUU! Ney with . , Ehrenburg reflects upon .. a conSIderably rn "'lIIIIellOlllfentionhereofde~ d' ore cntlcal attitude to=tj,.;:i81~ situations in it e~~ng the. plot of rny novel written in I bar directly h' en Wntmg it I not only drew my .... _ . dri Irn (which at the f I tura1J -T _.'" PPed sentiment "1" Irne, na y -=::::Md:;Bentirnenlaiity its . of Dk:tr I above. Here too IiCIDernatiC Vanant in ' , We ndtbe
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Andrey and Jeanne: a love allalf that wil I. In the end take leave from hlStOtY and Ihe world at large Photo courtesy of StlftUng Deutsche Kinemalhek.
. . . of.M D. W. Griffith and in Ame~can Iilm-~tx:sy.m~W1Ib.kiDd
Ideol~, ~cb
It ......7
~.-nIivePy=:~' ="1111~~.=;;;; rae: c
humanism"of at melodra~a the level of ~d stylistIcally IS dominance byiqM ~ :........ cepr of Griffith, as a pnmanly parallel ~ •.WIIII:S copv of his dualistic picture of the world, nllMUJlgmblo J '1". • "'19 towards some hypothetical 'recoDCIIBbOiI, imponant for our present p~~ !s !be edeiIllD, 7 Nn is also ultimately DickenSian ID Its sulILgy • i SOCIOlogical portraits or its documentary ~, TIle _ conrinuiry editing, occasional.lapses .~lbstandii!l, the Soviet montage films of Elsen telD, Just IS !be action subsumes and subordinates any efforts II cal sta;ement, it effaces, finally, the hi torical coa8ic:ts which it is supposedly an expression. Moreover, wiIb die ,rory-Ioss of diamond, robbery and munierofNey, down of Khalibiev (which takes plal:e in • III f . acceleration of tempo and • tigbtMi." elusion, this is a love and detective...., as "real" to such. tntegy ofnauidiUU. It and impending polilical and
*.
8lrter: Pandora" Sox (1929) LIdu IN!'III' Che mW'der of Dr SchOn In 0 W. PI"'!'I Palfdo", , 1929).' lhe OIlen Ible queilion teeml al IInllO ...... of pili \'mUI IlIIIOCe""e. Yel Che Ir,Umen11 produced by _1IId Che ddenae lawyer dllplace !he ordlnlrY lenni of lepUItio IIJIIC/vltion. alibi. eyewllne... eIc: and Inllead have I'ICOUne ............... Che,.lferofllc:tlon. dnma. myth. Im~nedilfely IIIIre la III abrvpc CUI 10 Lulu'l lawyer who PI'CllClallma, ClllII: 1I ........... ofpicana' have Ihown you I fCirfu/ delltin),"2 .... ofplcllt. ia¥aba. of c:oune. !he Cillelllllic mec:hllliam IIIen 10 die 1I1m'1 OWJIlIII1'IIion of even" ~WI iaaotar aChe dec:laive momenl /IIIrIy coven !he lleld of the IIId • ............ 11 die puff of'mob becw..,
• L:.r PIIIIIIorrz.
""1IIaI
If,.,. .....
'** '**
":~!:~~:=
1¥MIenc:e IS even more II I reference 10 Che Greek myth 01 die WOI_ In thl.lale 'Iii 'ymbollc ""11M pile IIecomea 'lrIYelly alter I fal..... 1. . . . , ., ...... i_ a.. Pi'I!he c:oun'l of the by . rn.. ......y IqII'WIIIIIlYel of.......... ""dllemma il whether. in or /nil! Gill ever IiIIly poled In I way whJch II1IIl1li'
drclllcd women." IIIOIher willi "I".-.d ~:~~=:*:::.:,: lI11e 01 h"",,,,ex ual, .. and the as"collective lUll" which II _
.m
lie IChhlimli,
.. ,
10......
:
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t
If one pUll CI'OIic idealitm 10 _ Iide. vi.ible. The erotic: baJfer_-drIItJ uol enerlY mallei II1II, fall; till native el .. where ldelll what i. already fII1lnJ, ..
II
Macllnilly 10 the Berhn o( !he mid I ....... of law or c:onvenllon Sexual "tc:nI, in OIIIIIICiIiIId by the newly popu"; Acc:ounci of ilertlD,
T
Ih""IIe . (ierlJlany. c:xp,,"ure to the flesh became ~ ~ I III Wellll... Ih the rcal. The penod culllvlled. modem .. p. _ ... W .1 wll h Ihe latH. WI, meant IU know that everything il deception-a Iutotr'p'l....... . ,or ~ ~ ""I I" lI·de,elveu e . t-., lor the I'",sel elfeclCd by modem IZIIliOn NUl., flirt out the neces~ary . period' of ibIS eynicaIIG • • '_11 wlture is Ihe "essen.. al fouodl.n, _ .... ,..... 1Iiff,.,w.. . ... a cymcalltrUl:lUre ......... • .._ _ _._ _ donllnating dimension. ,~_ Ib !be _~.!..,:.::::::= cxhau.ted form) and which provo-. UI WI -...hetter understand Weimar Oennany.' SelIuaI c:ymn.. lel.am as hore.
Jurill1~ecI!on:S~5
-W" .WillI !he lendenc:y of Weim. aoc:iely in . ._ ~: Illy in relation 10 lepl (or moral, juril 1lC1ion '1\ evince I(1IClnllion With .lClI:U~aI~;;;:~ Ibroup !he ellplorllion of p
J
but Ihc defeal of World analysis u the 1,'IImn,• • which i8 thlee:n~~::;~;=: ideals and II: What il the place cynicilm whole tuDlldll inllead, a 1ha~1~=:'; ICioulllOl.? T
problemado velopllllllt
n" """.111 :..~~.=;;;
..
.ARY ANN DOANE
t .... as Pandora' s ~ox puts into. play the. signifiers of sexual Iran- . androgyny. lesbianism. proslllUllon_1I partakes of the 1f ... c,wu Ism of the Weimar period. The .film .erects no counter-values~ ~ wIJicII have been lost and Its closure, In thiS respect. i uncertain ~
c1imate~;f'~cYokiaI:~~§i~ recourse
IIoIIowness or emptiness. It is not Weimar. Swprising that,would in the have IICSS and openness characterizing Pabst
• soun:e. Pandora's Box is an adaptation of two plays by Frank SbtUte the Lulu cycle-Eanh-spirit (D~r Erdg~ist. 1895) and Pandora' IJMcIunkrPandora.I9(4).lnfluencedby
ietzsche.oppose
fir many critics, the film could DOt possibly measure up to the IileJrary..... CIa wbeo the cmema was CODStantly COOIpared, often disdainfuIIy, to the, ...... ~ forms of !beater and the DOVel, Pandora's Box-a silent film-was l1li inadequate attempt to approximate a literaIy worlc with intricate and 1aa&!'1!&C. Cognizant of the ditJen:nt material demands and possibilities media, ~ film '5 most influential criticS-Hany Alan Potamkin and S~g6i '*II:r-disagreed with this criticism but produced others. Kracauer pnlises I'll! . . . be sees .as a realist tendency in his other films (specifically The Love
o~ ~ ~OJ'.less Str....t);
"Pabst arranges real-life material • objeCt •. His IS the S~t of a photographer. "9 Yet, although Pm_ WillI !be relation between SOCIal diSintegration and sexual excesses,to be too due 10 the nature of the play upon which it is based: lIS cbaracters, instead of living on their own, serVCIIIl4
Re1r.1I aectJons
abstJ-:r
p ........... • Wo "Ie. ind's playas a "networlc of negotiations ...;~~ that the film has an ethereal or immaterial p pjwIsurfaeu (Pabst is "an anatomist of swfIK:e8") • - ) !be camera"i:Bress of surfaces, agile eooup rather than realiZed the theme "II -..
h~' herr,ac: its diligence, 'taste and beauty ...Pocemk'D "'ime "continUally
attacks the film lIIIociates it with H!be
lie ~ die I8rified atInoaJlhere of the inelitl
pqJIef in llllriguing waya a _
!be WeuDar 1OCiaI_. . .
Bil
The Erotic EIaIIIr
•
IlOl
. ._ .• analysis of social conditions. they do ay:lD~f=.~r h sustam"" _ ..___ ~ ofPablt' fe P III e """bl \\ It a In be against Lulu is displaced by ~"':"""",?"",?D. ~r Rather. unyd.. • h ique-his penchant for Uchupl~/. his obaealOll wida_ )graphlC tcC n t . " and ~fi nesse. " The puzzle "'or n. ___ _ . neOla I h' his "dehcacy and atmo'p dCfreec' tor such as Pabst, so skilled in the lQIism iOlpiml by dleN_ "ra,auer" ho\\ aId ,become fascinated and held by the Iore 0 fthe.Image ( l1li. .. . . ." Silc"/i'M"i1.CO~1 connotes feminine style versus substance): Pandora: s Boz, . . . . which Increasmg Y 'n sets and lighting, constituted for these cnllcs acapthlilhOllrodle "Ith espre",on"m I. us the referent the decorative versus the su.....aJ 1b demands of the Imaghe vpe~tofaPhotOgra~erinhismoresociailyconsciouam-,. n h· t Pabst has t e s I . . by'IDSI'd:_ poll illl....... iI:II dall t a . ' , stabilize or domesticate the I~ge ..."g u "ra(auer dId. IS to much of Pandora' s Box, the unage (and ~ ~oman wrro ...... relatIOn to the reaLlln d But they are also stabilized and contained ID a way wbic:1I. II are de-rea tze . 'caI than WillI _ _ nates,. COIISCIOUS1IeSS more con ... lstent WI'th modernism and its cym
n.. ,•• --"
'f~'<'
realism, h "modernity" of Pandora·sBoxwouidscemtobe_a . . . At lir;t glance.t e ard sexuality than of its textual S1IIIegi.:s. n.elWillliwellcllllion of Its att!lude t~w d the editin of the film ~...." of. . sicaL legIble. and hnear, an . n'!cularty in its esIlIb!.ohl : the traditional Hollyw ood cmerna, ..-the "biIily
ell;i
!
Constant cutting on movement tends 10 ~ The "':.ou'-:a:r::::~::= geneous space. and develop a linearity of ~on. a OMDI:-
is also used. hnkmg the characters by ~'''Ibey--:-:t== dialogue. Characters are related to !be IIp8CC m rrrrP • scene-the fog of London, the a.- o f _ , scene. the expressionist sb~ws Schon's death scene, an attenIioIlID dile just behind and above ceramic donkey with wbicb ment to another woman.
Iarge;:-::::=;
t_
An unusually ters entering or leaving a cantly from glance/objed lID Hollywood system insureB a combines it with sucb elt11re1_.~ ncous space created by thIIlculBC"'11IiIII describes the impact of the cJc_...,. determine the the luminous mists of Londoa these close-ups, ventionally denote or nificance, tend to close-ups often literally
8
the fiN scene, Ihere is a similar soft-focus shoI of Lulu-again, Just before she duces Schon against hi will. In her most desirous (and dlsrupllve) scare. Lulu {llIt,,,/,- oflhe mist! t!ft scjnt! ~ IS a somewhat fantastic balluc:1IIAIDIy ~ lached to her image. The aspiralJOII of her .cprelentallOll toward !he tuncl and !he the Idea ra!her than !he flCll suggested by an excess the narrative Ibc .. 1CIf~IOU Iy plcturt!d for !he •• id""II)C Ihespcctal«. I i t ......... Ibe huge palntmg of Lulu drl Id in !he lint iIIIIIUI' UDagCl, !he court .........
-
. . . . . DOANE
to ~ize beT. ~ to b!-ckmail Alwa 011 wfJicb Casti-Piam Illes m his ~ (whicb becrllnCs a~ - 8Dd suggests lbat POSsession of Lulu is IIOt SO mUCb-".tIiIity to IooJc at beT.) JTamed in two senses. beT image 7 . ' as a form of curreucy. ..... deady. aIthougb always in motion. !be fiXed textual ceoltec--lIiIll. '!III-' wIIicIJ all !be otber cbaracters cimUate. Their dominant reac::tioa. t fiDed desire 8Dd a desire toeJtploit. foregrounding UJeClCliIli s of1Iedvc:tioo. WbiIe Gescbwitz. Scbon, and Alwa seem to be ,___ t 7 0 t, Rodrigo, 8Dd Casti-Piani perceive her largely in ecollOJDic • 'f,. oIJtivious to class ctisrjDCtions, displaying her sl11ile and her' • ' Bofdlelllmpclljilolefariat (Scbigolcb 8Dd ··Itncaua-'s Al/geJreIlten (!be DICIec man of !be opening t 'w•• (''''Y (Scban, Alwa. Gadiwitz). Sbe is able to InrveICOIlDfi:1dIl aad, 110( """"pi". 01' acbowledging these ) If... iabu~beyoad 1lr00lSide ofsociaJ hieran:hy. wouJd to be CIIIC of sbccr being-Lulu, IIImIl8ll I
CInl_
--et__
COl_
3
RodrigO)'III~~:;t::
~tiDcitioai
-""1pN:es
-maim
-.•
as .. auiciYd CIiItoIogical JIrl"em. BeCBII
1f&UU&fa IIer reJer; .. toexisrs.1u SOiDe ~=::::
• "" ~ = of i...... 7 'ity-she Ibinks, sbe schr: •.., diecoIae ...... iD !be ICaIe ~ abe siWl1i1Di11 all- • ... WiIb his fianc:ie. What IIfriIIBs illDIIdIr *''Did of!bougb7, • blank surface. ofbel'llllile. 19 'Ibea: is DO suggestion 0111 CJeiplllb vanous male characters, in an
S~b~uea~~
willi surface.
*
1IIIIidJ also "" die limits of !be film 1eJtt. "-!!~'1 PfIIIIItHa • Bar exhibits a COmpulsive fascination AmerKa .... who played ber, Louise BnlOks-"',i!I ........., be'_1Ie BCCIIratcly described as a star vehicle
some typical criticall'CSpolJlC8 [IItI~r"''''_il''l key to !be 1eJtt. i.......ri ... 1m
-"'-1InIob: firm lII!Ib
1IId_.
~""",~ &a.cbe, ft'8ac'J'l
~n1(l(}t Ihe
-':~J:5~:!
h mlrTor- I '*-- _1 , _ I'ke todisc beslanling lookingacrosslhe down 81101De ...... __
'ra seems ..., ,, __ ... camca woman ' . -al all? 7s il not rather "'" ............
bclOg[:I ... ncr) .
h e
.een her can never iI ibe~~~.::=: . , forget . L , · her. She rh,,,c• who • I'keavthe stalues of anuqu.ty, .. '" tI ouuide t1Ilime...
bc,au~c.::.
I raphic process, Sn. &,,_ tI . . .u", . . -nlOl1:pn:feclin_IllliIlll'II"..."" of the 'cincmatog Langlois),20
whether consciously lIIICOIIICioualy, ~~==;= The above q uotesr:.ative mechanism, theor proWlIr.er of endI. Lulu happens acts as ar:::oUgh film . or around ber, although Ihe CIIi ..
---IIJ!IJ!
traditional ~rota~ont~;"id sexuality The fatahlY, tern _ associaIed ............ ,'::.:~~==; ...... hat she generally provokes ~ _Mvr--, w , ,the position of the classIC fetllJlle fatale. cuples . . insofar as Iy with Ihis charactenzatton relation to evil wbicb Lu!~ lacks. He: poliDlI, guity that preoccupied cntics ofLuJu, viclim or an agent, wbether ....., .... ~ she is the centre. "21 It is a ~lIIII~!j from the sexual a:l=;~ ish-body is often schwitz seems to Call . . . . the sailor on the play with sexual tant to note associated ... _ ~."" perceiVed as sailor in Lulu's her interaction Geschwitz's lesI~ margins ofa 1DII18CII Lulu is a fU~ldaJDIIII~ of conventional Nevertheless, or innocent, m~ argues that ....... ~ tions and PnI!'8 tion in tho
RY A .,., DOANE ....... _
' _
...
IC~ luJu peru on a Uxno.
--
ha""1) ~_....
.... Tbr spcaaclt of brrpenoa. about lOW WIe COottoh Dodung "'" .....t.... .......",) of 1"""""'" -1w gJ .,.., 10 de..,.. and fasc,nar>on 21 4:e
flslelStt speJJs out all !be -
of
~oces of l..angJ
.
lJItUillO
~ of !be CIOematographIC proces - and I
Q
that louise Btoat.
certamJ) astute io
bia...! Yet. lit
0( laIu 5WUs as. lint and fORmost. linage representatIOn. SJlectacIe. 0( guilt docs IlOl dISappear For !be aJll3ZJng thlDg about feminine
~
... guilt docs IlOl n..=sanly attach llself the "oman through IntentiOOalIly,.,,: IMboa Her 5bm- oistmce-paroculail) m , pectacular C3pacity-is ofiea lit 0( dl'mcr or C3l3SOupbe And Pandora s Box IS a CU3slrophile's filsu. pIiJr a guilt ..iucb is IlOl Iegall.StIc I partlcuJarjy If thIS I \'Iewed as a funcr;..; If iadMduaJ ageDc), bot ima.gJstK She exemphfi the PO.. er accorded 10 wIIidI a1ips tbem ",th a malignaru femuwul} -most s) mplolD3ticaily wben dIe __
~
~ ~
. . -lIOIlinnJy aodJon:d diegeocauy or refereDtJally (recaJl Potamkin's ~. aa1aces- I. Hence. la/u' tnaJ IS a battle m.er images-",ith thai af"'; dou.. IN figure of fcmuune catastrophe. u1tunately "'nning. This is abo toby ....1Ijj: calfliiil! !be aut' .in
JleCtactWa-m;:= oanlllli1~111
by !be fact that, although he might seem 10 be. Indy - p a l cbaraaa-, he is in fauJy subtle ...a) a poim of origin 0( CiOme-tO IbM its demil(' is depc:axiew upon hi lonely figure in Silmuek, -Kaeo(dIe cnme.1n \W-4ekind's pIaY', AI"'a expOCltly situated as !he . . . . . rwIy COI'_I_ 00 !be poIentiallllerary Illlerest of Lulu's life. irs *11) far ........ aad refeniug 10 Pandora', Box as -my play Eanh-Spirit."711 Aid at - ilmlflCCi6es!bar be is a "T1ter. II only IDdlrectJy and impliCitly linb ... ...... M • • • AI",.. IS !be producer of !be III iCaI revue and this scene. ill ..
Ahl-a' An'JVaI
IS fuMed
i"~
-_a""'=-,
- - -. . . . CIA
4ae' 7
exhibiliooism. spectacle, and Image IS most suggelflft
There (I aJ!oO a strong emphasis 00 AJ. .', o(dleclllDactJc lDOmentsof!be l13rTati\'e: standj.., f a.. Ie a,. "I Scboo and Lulu III !heIr backstage embrace (Ihil ' - --1IiJk9-12,; WillI Lulu he looks down aI hu fatberdyiaJ ' - 'r . " lie 11!elf as a Slightly revisal Ie .... af .. - The !hearricaJIIY of thu Oedipal " ' ,.. 011CCDe" baclulage during AI"'a'UftOlC plot !be 100. IlOl guilty of !he IIIIII'IIer ""!be iDOtber (Lulu, in her extmndy 1Ie~. AI",.. lay hiiheadoa/Ja' 01 - Piaa bltU 14, The farber aJIcn de Iriad (lIJll lS, In .. "'isb-fulfiDm, lie faller aad CIpaas !he WIlY
.....
UM" appaYIJS.
,.;,t,
C ...
~\'e ~
loW M.d.
The ErIlIIc BIItar • nt of View. Alwa would exemthplifYfilthe conLufliCl-riddeo male JIIJCbe f1I1I" • ,.u and ~ ' . . . a th"~" . Alwa's twO addictions In e m Gcrman~ m conceptuallzallon of free seXuality With the idea f1I WIiiilllaiucd l harly n at ~he economic level - In both c~. the returns can be either CU I ul~"onrable or unpleasurable. But both ~dlcllons also m:uufCII a dcaft to . . pl"a'u ID move inID the realm ofthe.lnfim~ly re~le Idea or geotun:. Dain: far h"IOf)"des ire for a femininity which IS outside of lime (hence the critic:', dr...... Lu lu" . "a being consecrated to the exaltation of the instant" and the of her as momentary pleasures- she has no memory). HertemporaJityillbltf1lthe - -... I th Lu u ':':t- the glance. the smile that signifies no lastingcOmmitmenl. Itilalloafemi1Il0llltye which is despatialized, a hallucinatory image cbaracterized by dw-:_ leo nlnl . h' hatparad 'caI -PUOOO sistances. Its modernity, t en,. In a somew . ~XI ~er. is~lfCdbyili ahistoricity. Similarly, gambling as Walter BenJamm bas pomted out, II COiiipWIbIe to modem factory work on the ~semb"y line insofar ~ its COIISIaDdy Jql: bI PItures bear no necessary connecllon With each other, W_ 110 COIIIiDuity Ihroap time. Each operation at the machine is like a cOIip in a game of chance .... PIc • • entirely separated from and unrelated to the preceding opaatioo (being its c:uctdauble)28 According to Benjamin, betting is "a device for giving IMIItII the c:bara:Ia f1I a shock. detaching them from the context of expeaiewe."29 With its VIlorizIDIt f1I chance, gambling disallows the cause-effect determiuatioas wbicb support biIfaricm understanding . When Alwa, influenced by Scbigolcb••IIeuiplS tocbeat. andbeocelD Introduce a directionality and a continuity into the game. lalucing the c..."",. f1I chance, the entire fragilely ordered (or disordered) socia1 system of the pmNing IIIip (which Elsaesser specifies as "the fictinoa1l11dapbor' for the .. u-..... cbIos ofllle Weimar Republic"30) is disrupted. As significant as the figure of A1wa iii as a kind of di&c&.", c:vabul.1IiI pel ilipe and his point of view are not, Iboae at dID iIIII.. AIwa' _ ill QIIstrained by the fact that he iI a .. ive, deluded, and innocent one of sexuality, seduction, in the film as an backstage machinations structure of spectacle. In has something of a modemi8t image production. to initiate a elaborate costuming and theme of exhibitionism. ent planes in the image and the look of the spectator is more cIasIIically dir«ItId cuts on movement). the tbeatel'lceoeeft'ecls continually invades the ~e (the c~ters-the diJ",** into the frame at several poIDII). The audience of the _ _ spectators are the other actors or b'C~tage ~lilOl'S. by refusing to go ODItqe and argumg Wltb Scb6n. OIlIer watch. (10 one IboI. they gradually fill the background.) 'lbe abibitionilm of !be revue exbibitioniltllDcl ¥fee versa. producina a kja:nd~of:':=:,= rativo only be continued after the n oUih!dooist In the .. primal . . ....
u:e
-.-;..!...-...
13
14
15
·ilt::~fam:!"~i8:';'C;e. oeof. Z5Jack And . ......... 1,, ___ ' . the m th UllCly. illS h the Ripper. It is alw er w 8
=
0
'
0 IS
punished-
fint lllltance, Lulu. in the second ays someone else who mur- • • 4Jl lila vioJentllDderside. 26 • Jack the Ripper, as Alwa's of whicb the German m ' . ' .....I11III COOItilutes the iiI a1.e In the Weimar cin~:=.~ a desireIDlc Irope of a crisis in III In Krac to ~ to the IIJ8teII. . .lIChlDfolOc:r s analysis. IUbcJF.
MARY ANN DOANE 11Ie backstage machinations.1I work toward the produclion of a spectacle of
.1Cy whICh we observe only marginally, ':-om the Sldehnes. The one we do sec,
...htIou(lh - the. strategy ~., . ;, ,,~.,' "". "'m. ,,=,,~. """ "~ the Scenl' aimed at CYnically unveiling the mechlllll "M"'tt . .
01 IS die show, nothin(l is revealed. Behind the wings at the theater a mOVie scene is p crt OUt, a drama which, In lis tum, stages a pnmal sce~~, prodUCing a mist' '!II ~ S1JUctlU'e of performance. ACl'Ordlng to Sioterdl.lk, Wllhout a theory of blul[ rI show, seduction, and ~ecepllon, modem strul'tures 01 tonsclOusness cannot be'lIII plained at all properly. ," The modernISt Impulse here IS that of a sexual cyniCiaJa which conceptualizes sexualityas thl' seduL,tlon or an image without depth-the fnIe. Iy mobile, referent less Image IS the l'ause 01 deSire. hom thiS perspectiVe, SCChra would operate in the register of seduction ra.th~r than that of perception. '2 At the slIIIe lime, and because the voyeurs are the exhlbllU)nlsts, everyone IS "In the know _ h seduction is simultaneous with mistrust."
Nevenheless, even this type of sexuality would be viewed by the cynic as too pian, too idealistic. Sexual desire for the modem consciousness is never an itself (recall the erotic baner) but the byproduct of the moral ideals which will fully and finally collapse and whose taboos engender its excitement and terror, core of this free-flowing, chaotic backstage scene, where spectacle and sexual ty are paramount, lie the fixity and heaviness of the classical primal scene, quence of the split between ethical behavior and sexuality which begets the characteristic of the class represented by Schon. Schdn belongs to a pn::mIJdeml where sexuality, riddled by contradictions, is nevenheless contained by the lion of morality and secret desire. The cynic's "fact" which the film COlnfr1onltsJl sexual desire always only relies upon the moral boundaries which dictate its tenee as well as its inevitable demise. This is what constitutes its melancholy tion. Within this view, morality is in the realm of sexuality what referentiality is realm of linguistiCS-difficult to demonstrate or rationalize, but impossible to don completely. Still, when one believes in it (morality, rcferenliality) too fully,the OCOIIorny of the system (of sexuality, of signilicatlon) is destroyed. Lulu's allure is I flulction of the illicit, unbounded nature of her sexuality, but the attempt to legalize .... aexuality through marriage is fatal, disastrous. Perhaps it is unnecessary to add .... 1IICb. view leaves the hierarchy of se~ual difference intact. 1bia dialectic of seXuality, the curious dependency of law and desire, subject and GIIjoct.....jectioo and introjection, is registered in the structure of Schon's deadI _ . 1 0 wbicb a minor plays a pivotal role . .14 Lulu, gazing admiringly at her own ..... 10 tbc minor, begins 10 take off her wedding gown (still 16). In a closer shot. (still and as she bends down to set it aside, the ghostly in the minor (stilI 18) to fill the Space she leaves vacant (still 1ben..Ipin, Lulu il startled by the image of Schon , his gaze fixed upon .~.". .......,•• pres~ h,ere 115 a vinual image lends to his figlU'e an even I tbc IIIIITOr 1maae , mark of an illusory identity. II C8II be IOterpreted from a double perspective. The .... I!rUed Lulu seem. to call fonh in response ill of Schon and his problematic of JUilI ~Utres Lulu's image. In Wedekind's IMIIIinur 10 an Cnttrely different way In a con. Lulu says, "When I looked at' myself 10 OWII hUSband~ "" Similarly, in AI'" Lulu: When 11oobd1l mYlIIII
J
idi~;!~'OI;bar~:nec?";,I'CC::
"e
17)
~ychoanalYlJC
preacm:e
f Jack the Ripper. Early in.~~kiDlI:.PG_rttJI.. br:J ce "I used to dream that I'd fallen iaro!be .....
. J ,n a vel)' ~1~ss~c~1 m~,. seems to repIJ lit dream But in a st s ~. re IS lJOyrtt*'- m .... . .~ the Ripper. In a way, illS appropnare .... .... Ja' . ..._ _. . . ,ho uld be sU b·~ected t 0 a pureIy COIIbDgent r: the d ncecontingency .. t:an that of the law ~d i~~. The Ibrow em ist impulse to dehlstoncJZe the scene. Lulu's luck has run out. In Elsaesser's analysis. Pabst in ambiguities of sexuality and in his recognition of the "modernist promiIe" Pabst could not prevent the film i,e-its subordination of the ID There are admittedly ties and the classical not necessarily promise already broken.
~nd.
H!ht'l"
Ofhcr~~deatb;~I1~:rea:~~5~=51
.....
WlIiIo. .. • , wi_ wc• ••
"'ofl, '
ual difference. tial constraints-lID the modem BDltielblll erotic barter as tile
The BrOlhel. "~1lII
Brothel as an Arcadian Space? . . , 01 aLost Girl (1929)
Iln~~'"
11fE UTERAAY SOURCES: SEXUAL POuncs AND lITOPtA No one is likcly to mistake Pabst's Diary of a Lost Girl (Tag~buch riIrer 1929.) for a social COllllJlelltary on prostilUtion. Even KneaDer. wbo Pabst as a malistic di=tor. noted that something was not quite harps 011 the immorality of ber [the protagonist's J middle-class emfirQ_ _ the broIbeJ almost appears to be a health resort." I The text, we will iuwIva (at least in ill most striking passages) a Sadian mixlUre of 1llllUal1i_ wbicb Ibis essay seeks to comprehend in its filmic S)leCitiIlll Tbe IUbject IDIIIII:r for the film was not taken directly from life, but I der DOVel of the W"dbeImine era. Margarethe BOhme's Diary (19115) is, boweva-, IlOl just an escapist narrative in the manner of (AlII. - . wbeo it first &ppeaied, il assumed a place within an OII~CIUJg
.:nJj.gId.
»
.... JIIUIUIUIioD. Tbe abolitionist movement, in existcoce~!:: 1MOa, was changing coone. PIeviousJy, the conservative D I ·w JII'IIItiIuIioo, aiming to extend social prohibitions 10 men as Now, a oew IICl refaw WOVemeat was taking shape, defining ~~=
1 t of In overan:bing policy of lIClual self-determination. The .. , M of Mocbers and Sexual Refonn (Bund flir Munerschutz und • hi 1905) depancd radicaJIy from the protectionist approacb of wbeo it published the autobiograpbical account of a prclStit_ ina 1914 number of the joumaJ, The New Generation (Die Margarethe BObme had a prostitute for ...r . . . IIOWiI. Ja her llUdy of prostilUtion during the Wilbelmiioe.,. - - lit die doc. noeot as a primary source, implying that • , edited by a female friend, are nOI mere Dcti... • IIOWiI, at the least, depicts a proslilUte as a buman foreign languages, literature, There is more than a mollellt . . • : MI, lad fatalistic kitsch bere, 10 be sure: of social enVironment as well as • .."..",. rights and dignity of • • pIDBlthe dominant bigotry, nmbywomen. Ibis 1OUree? Pabat'slIdaptatioa 'AIle II 110 attempt at doQlIIIIIIl
~
aturalistic lrappi~gs and historicallpl!Cillil*!' ..r.... . JI" . ...t:l: .. ~Ing a reason. I. . ? TO answer thiS queslJOD, weIbeal II • II') for "hat the novel, bow II rTOW ' hO remains close to " crrJllve. b"J. and becomes ' pregnant and bas ID ........:0'a. I Hennmg. h . forced 10 give il away for ............... nt '" e IS geudeaaI famtly na me 'ds becomes a p r. o sAn bolder lU te:, • IhelO school a n . sume at least a pleaslllllad .. if re [\l1his helpmg as oul the 1Woa beauiJle', Irom I '. destiny, nce The film hler eaves JIadbcr ss da ) ex"le 'en~ed a love of her own w :: u; . ex .pen haVing first.person perspecb've . n.a.-.;_ VUlAW_, it ~ Wi Ihe novel s ces in the scenes of the pdtJ
, r the d'n stance fro m reahty: .
· ,ICU 0
UJ~WCII'_
...... band, there is 110
.......
~~!.. "LtIlD the . .
-"l'oallt~.., • •
I:Og~
unl:li~lI:e~e~'d~'::.;:;
ii
se;:e~s SeXualliberb~:~es~wiIb~~·~~J~~
double ,tan a~ha~ges opentng his thaI, at one level, .... ..... . . film regIsters b' tive drama: rralive to a more 0 ~ec. The na arate narrative stallons. Ihe sep e than dramatic sites~; are mor and SOCial . real'Ity: 1'be:,...~., historical lion-the <,ami'1 y, a struclUle 111;.. ." The emphasis placed loss of subjectivity: NOIt . . ences to aulonomy Brooks. The scene Carlyle, and FolltatlCf\! similar scene on ing the shooting and was the director's The novel
The Brethel as an Arcadian Space?
!xxi) ,
83
. uld rather have her cu,tomers beat her than seduce them with her manifest \"~he want' to die an eCMatlC death, to be pummelled and battered. This wish,
clulm'" "tion. ,hock, the male proprietor and hardly accerds with his ewn notions tho ut que. . A h . h . V.I . rothei', Ideal call mg . t t e same lime, t e response pIques the interest ef a o~ ".a~e repre,entatlve of the Morals and Manners Mevement (Sill/ichkeiI5i>ewegung), . t happen' to be there. Wedekind sympath,zed With the Union for the Protec\\ ho t~SMothers and Sexual Reform and recognized patriarchy's contro.l over sexutll:~, 0De,plle his ewn undeniably male projections, his writings opened up an opposial )1 perspective, one wh.,ch the radical woman's movement could hardly formulaic tiona Namely. Wede k'In d suggelste d t hat Pdr0beslltutk,en . . be seen as a ',erm effemaJe sexuIt,elf. ahty--and net just male prlVl ege-an ta en serleusly as such. He net enly looked at the brethel In an altogether subverSIve way, he also. imparted to ' domasechistic pleasure a uteplan d,mensten, namely as a revelt effemale sexuality ~~ainst its secietal and male negation. This image of the prostitute clearly is more than Just a construction glerlfymg the redemptive power of female suffenng.7 Studies of nineteenth-century prostitutes bear eut that sademasochism is in fact the form in which such wemen can experience pleasure. In twenty of the seventy case histGries considered in Regine Schulte's acceunt ef prostitution in Wilhelmine Germany, the sele enjeyment gained frem enceunters with male custemers "is to beat or he beaten. "8
,.!fl
louise Brooks on the set of Diary of a Lost Girl. "He [Pabst] was cOnducting an investigation Into his relations with women. with the object of conquering any passion that Interfered with his work. Photo courtesy of Clnegraph
THE BROTH EL IN THE CINEMA
suggest fatal centinuities within Weimar· . . . . cauer speaks ef as the" frem-rebellien_ _cll;,ema. Th!~ meetmg replicates what es the weak ege's deSIre fer a stren :0. ~u ~1S"en medel, netbecauseiilt~::~~ erotic desire fer male emni t g ea er ut because It dramatizes a n The brothel, to a degree:;:'~~~;s ~~:/~mm.g to., transgress the incest litU"". !bat conhnued after Pandora's Box W d ~dek!nd S Impact on Pabst, an influence bmlbel repeatedly, but not from a n't e· e md s plays and stories thematize the __ . aura l!StlC or SocIally t I . . ...........bon to the manner in which bour ... en Ica perspectIve. In lIS l\' teA Ind'S work has less to de with th geOJs ~OClety evaluates sexuality and the body. ap8Irian:haJ cJlIS5 structure than it d'; SOCI~ SUffenng proMitutien represents within s :::ri:.:~~for the satisfactien ef sexUal nWeeltd prRostitutien's debased status as an inW' C , awl praents the brothel as a lace wh s. eassessmg middle-class merality. ..ae-female--comesintoitsewnPandret ere the fettered human body-whether 1JIe Specmun of the Sun (Das ~s to. a state of innocence. The madame lempIe of pleasure where every:n;;n:;ektrum) wants her heuse to. be Bwa the male gaze loses its we': 0. asa nght to. bodily and spiritual "II . t iD God's reaJm is as ::'utiful ~~I~erentiatien here, claims the ... make anyone different." 6 t e next. Thank God that be-
:
writing i& anything but pastoral. . -Cllliptened a1temative to. e~aPlsm. The utepia ef
space in fact c: rea Ity ef bruised and balwith it the mark nta;ns an abyss: when pleaCas~ 0. a repressi ve SOCiety, ID . . . . . ., ..._-_. Ptanl,ISCo.nfron!ed willi, ~ --=a WIth. perfeet and lID.IipOill(
In Diary of a Lost Girl Pabst assumes Wedekind's stylization ef the brothel as an Arcadian space. Unlike Wedekind, hewever, he replaces the less accepI3ble dimensIOn ef perverse female sexuality-something already inherent in the elimination of the nevel's female perspective-with projections of a male desire for incest, AJly paradise of male license becomes less than idyllic at the _ wben wumaJ take lID the shape ef cemmodities. No. longer can one, as in a convatrional paIrian:IIII r' , ty relatien, exclusively dispose over one's object_ lilt h,n . . . Pabst's brethel, it does so as a latent PUJlClIsity iD bourgaIis iBstilllliuos_ 0aB..., well ,ee in the fi lm, as Kracauerdoes, asimpJe lrlIDSferof "die W tljadtbemea.. the literary sphere to. cemmonplace surrouJJdiQgs _ iD baaUillUf willi.....,.' .... "tic manner."9 To de so, theugh, means thaI one will findthe ..ublemafaa even more radically stylized than it was in PatI/loN's Box_ The film _ _ _ .... on the literary fantasy, revealing the entire bourgeois worId • • f I_til.: em sademasochism. Between the Jugendslil efWedekind's dramas and theN_Sac.' ., fll film' stands World War I, the experience of a mass destructive .... wati a••• mohil ization of a desire for violence. Pabst exposes this desire as the CIII... n I .. the dominant social psyche, the hidden link that holds everything leg 1ft It I 1 appear in the direct and provocative form of sexual perversion, Instad arms of a mass murderer or Lisiska in aden of iniquity, we now have sadistic reform school attendant. In her case what is at issue inWII_ ID
Wbea....
q
miSgUidededucationaswellasanawarenessorasexual~:dyiwniE:'~CS:_:=~=1
empathized with eppressed women and showed the brothel as tion for female sexuality and physicality, Pabst limits vate desire, The male fantasy behind this film in\'Olves the willa powerand its cw:IUlive rights over women, the 106S eot m tb8 rwd r d''Igbter nlUnion in the nightclub
. . . . . . . . . . of 1JIIIOCe1ll:C tt.l, is. m r.:t. DIll . . . .
.....1 SCHLOPMANN
o._u_ily IUD by Ihe madame has aboul as much innllOence II a .... 'I1Ie lie of a sexuality before Ihe fail-thai is, before !he ... .... '-boo can only be behind the camera, wilhin the COntext .. ~nll. produced by the appararus. The place of the brothel 1J8l11IO.,
,=...
DiIIry ofQ Lost Girl leIS the male Spectalor enjoy the ~Ir~lbr"l 8!p01e1Jct;. ~ have here a monologic structure in which the pJace cbigncd as I replication of the direclor's perspeclive.lo Such an IeaYes the female Spectalor with no room for aUlonomous response. IiaI CODUnercial problem clearly anticipaled in the film's
c?nc.r;uSj,OII'~
bumane man intervenes 10 rescue the heroine: a fantasy of salvation aboppis. This resolution comes after a carefully structured maio SCCIIe& II home, in the reform SChool. the brothel. inlerspersed With IIges on the street. After the dramalic meeling between father and U8Umes a much more conventional line of narralion. The death
riIge, death ofthe good-for-nothing husband, a liaison with IhePIII~ benbip in the dwity grouP. return 10 the reform school fi'iend: the film 8pJlrIlaches a happy end in Ihe fast lane, all 100 without DOIly. Analyzing Ihe main section more carefully. we c:ao CIIICIe
~ the female 5peclator and grips her allenlioa.
ftmcIions as an institution made by men for men which also Deeds live lI!(!ience. Wl'ERESlED PI. EASURE: THE AESTHETICS OF IWllSll~i 1b repiu the Jllllrian:by's dominion over a reality al whose CClIfer II
..... bad to rept nt reality. To be sure. Diary of a Lost Girl draws filmic ID its Cinematic drama did nOl always ,""...., fila II!(! codification of spectatorship do nOl fully take or 77JC I"eVIval caused by World War I. Films like In Vain
reaJ.i~. earl~ y~. ~
. . .-rI.....
Stq 10
(V,~rll'~_
ConfeSSions of Q Dress Model (Stufe zu Stufe.
1912) show women stepping off the beaten track. WOmen. There is a matter-Of-factness in films which makes them ideal sites ofpro~~OIl viewers. Two factors to this: .... lIiIIlacking and, second, there was a strikioa IIId Ibota of unstaged reality with urban and .....aiel/ achievements and the beauty of and staged realities made forlbe ..
-·t-·~IDituy ofa Lost Girl had
g IIDmelodramatic elemeul8
CIIJJera, acling, and CClil~g tclcjllll II doea not really aII
for'in~:;;
1'be1Ctoq1Dd
=.....rmu. 1'1)""
or a Reck • JIIntar.
• Ltlll _
..;,
The Brothel. an ArcadBl.,
f
== =
set of locations that correapond 10 ~ ~ _ , I F the brothel. These. however. _~ t , ...... . rhe rdonn schOO\. ndscapes of early cinema.1D fact.1D le h"rt IO • or :rten diverted attention "rh.n If ,cene' alrca ?:e orne a distracted gaze. With J a ",olC 'cd whal would . c ~ today as documentary artifacts. ID __ T oo hey also function or IS finteriors which otrer themselvea 10 1<1'lcr ,al ', I d not find any lo~g s 0 ~ camera determines what we _. It pI1F GITt. wC : ther at every lD~tanl. r:=e 'th I8O-degree reversals) .... . -.... 109 eye. a va . ing perspectlV~S (0 n W! e ' ta.1bec:amerailself-" Vle\\' Iron~ ts from either intenor or exlenor ~ !bat ~ allow lor s 0 a'ceo the changes in angle are ~ G. a whole " Ihc sp . truct cerIatn s p K e I - . ..aIracl' I' mately unable to reco~~ . It space beooIDin, a _ (IIWIIID_ u ~~. al mise en scene mltlga~ ag~ !bat fonul d' ThlS ra IC development. One mIght we ~y film ca.' . . . I 11 1& j aod physical reality. If the eu:ly 1111:. 1 f vencs In re. and unstaged naturallOClllons. .. 4" .,.",~.
t~. ,11f~CI' nalU~al Jrn also has a
a~y ~
!hen:
~s
the ~ ... -. -e n...!:''!J" ,
the::.:
:-=
maIO' charac~~em
the
..
:=
WI_""
m: 1IIa'......
a::l.eW;= ...........,
~,~~1,~:~ :c~li~~archY,. ~rivileg~n:=
~ which characters .... ~ bl -but a contlDuum ID oL_ • 'ble 110 kIIIF' MM. VISI of e the camera. In other words, ........ _ , • lions of"'" VIII ily: instead, it appe~ as ~s Girl involves the medium stand as rhe worldL'Otbcritiel~!'!1 . This realism is DO illusion. but at the technology. GITt. Ihe camera. c:?ltmg,
nical~~~:~=~:;;
sentations. not pose an face to provide the archaic force, a deilllCll~ iTriebfilme) of tion between sadlo~~ firmed in Diary of transcendental one an omnipresent power jectification, instead IMIUI, Throughout the filD1411~" constituted by !be c:iD~1II! Long camera characterize
w;';i;
a_
51
III. tID
....DE SCHLOPMANN ...... IMII d. Ihc:se walls actually only exist within the context of mal••c::~
af_ _ by-Ihc: gaze represented by the camera. Thymian faints (the c lit .... sinks to !he ground) because she cannot allow herself t~c knowledge
1qIstc.r, namely that her father enrenams a sex~al relaltonship with • t i", 'The cnny into a sexual SituatIOn means dW;lkmg. mto a trap. sorllClbimll pi d by vertical movements of the camera, an guraltvely by the lowerins pIJImgcy' blinds ju t hefore Thymian. fascinated by the unknown, goe there
RIIdez\oous. ID the reform school, sadism is more than just a Controlling gaze. Here it is CJUt. Its repmsentation, !herefore. is not accomplished by camera pans. but abc),,-, 1brough rapid cuts. whose incisive sharpness accords to the strokes of the gong evening gymnastics scene. As the tempo mcreases, the camera, increasingly the pitiless gaze of each shot. inches closer to the hand striking the blows and face of Valeska Gen. alternating with brief glimpses of the ever more ,trerlZied ~ and~wn movements of the girls' bodies, At the peak of the orgasmic nu.... camera fixes itself exclusively on the aroused mouth and eyes of Valeska pathetically fading out, satisfied, exhausted, spent. Life in the brothel, on !he oIhc:r hand. initially unfolds as a series ofre~1IlI01\ repressive, and unthrcatening activities. With great elegance. the editing ...... CII movements create a harmony of separation and unification. The camera dancing couple. accompanying Ihc:m until !he two slip away o/fscreen; 1beo 011 to grant anoIhc:r pair its attentions before it returns to the dancers who lead another group, where it lingers, and so on. This gentle and graceful prt)rnill ceases when the camera stops before the matronly head of the brothel. A ClOilO'll her countenance behind glasses makes it clear that nothing escapes heir attentiOiIl. . . in fact conrrols the world of instincts disclosed to us by the camera. m)D\, .... on, the scene degenerates into a series of alternating but fixed shots. Drily , of the sequence does the dance movemenr resume, and, once I ed ~ takes its course.
.... _end 3
,• • ,,-tIlLtm Girl displays the power to reveal the world. one must ask foI- whom? It is not !he representable world of external .
oaeof~ Standards. If the film brings them to
11~~g
~~~:~~~: ~~:~
••, . moraIity as ultimatelyy and CODStgning any abstract notion 0: Iictioa. The rqnsentation of morality as an empiriical . ia "'man minds. 'The power to create the moral • • • wadd of Bppearances.
1M validity of middle-class morality. However, the perspective of the "lost" girl, a yOi~ ~. The film does not addrcas posmg Thy~~ as a possible figure the traditiOnal representative faa World had been shaken by the UOUa ~ the Cltablislunent of . . . . . -l1li m the 8.imay new IIructure . , Dillry 0/ a Y0UIIf Girl • ftQim;z"iaa.
TIle '
The Brothel as an Arcad.., Space?
power Ihrough
.,
eomp;:he~~~~:/~::~x~~~t:,e;:::~~i~::::'~lbru:=
pre,u~po,es Ih~ o~:1
OW;
is:;:'e precondition for the filmmaker's ability to expraa his Sach" suggdeSi ".;pe ' nly ralher than 10 conceal it behind the lkJIP8ICllt neutrality sadlSlle day ream .
I
ralUs
IJ
Ihe leehmca at;:a , 'filmmaker and male spectator involves another medilDD • The nexus I tween She brings about the empa!hetic relationship betw_ male well: the fema e actress . tween the director and the superego. 'The power to IC¥CIII viewer and the apparatus, :;: t' yeurism In the disinterested pleasme derived r.and disclose becomes a sa IS IC VO • male spectator suspend his moral jade_ gazing at the female star, not only does the 'I t being fixated on the lei'..... ment but the filmmaker, as well, momentan y sops f!hestarimpartatotbcfilm_ product and finds joy in the productIOn , ~ '::''::i:m of knowledge and .. _._._.. aesthetic dimenSIOn, makmg It more :an~ has !he same effect as the sigbtofb t nieation. The countenance of LoUise roo hn'ca/ reason and moral......... in nature, which, if we follow Kant. connects tee ~nature" and tbc JIOINraf reason and leads to the aesthetic power of~ .. , _ _ • Ieme!Ib The farm af . aI d an f a work of an servlDg as Its .Ul ...... e reason are rea y p o . . ' one band it involves a the film manifests a curious dlspanty: on the . . ' . oL_ ada it" if_ . . h' h direct d male spectator share a VlSIOl1, on ..... , yeunsm ID w IC .o~ an . iaJl . tbc direction of Lot.i&te Ba _ the basis for a masochistic aes~ItCS, es~ y lID 'K'i!l play of d!e The latter propeny is found, fm: IDStance, ID tbc IA spu . "011'-' ingOfmOtionthroUghoveriapplDg~tage(wheo~ ~ der for the first time, we see the acbon ~ted ; _ • .:, long and static takes that freeze the female !DI8F. IK.Y. jeets (the diary, jewelry, the small key) to shots of the female body-exposed arms II!Id as effectively as close-ups offemale subtleties offered by lighting and the In Diary of a Lost Girl, !he objectiYe moral sadistic voyeurism. This sadism, howewei'. siehl, not for itself (/fir sich). Under tbc subjective presence of the female acnuu be a propeny of nature. This semblance any threat inherent in woman. no longer take pleasure in one's control. Kracauer viewed Weimar films as SY• • • •1 social reality. For Pabst, whose films cootaia .. servation needs some elaboration. ID his_ tion is not simply a function of social ~ . . woman. And the director does DOt world of the studio-on the into question, on his own turf RIr with her here. Acc:onIina to personality takes ita IhIpe fmIIla union with tbc mo«ber•••• in his
';ere
""'.d. .. 7
7
•
_
. . . .",OPMANN
uJtimatcIY:~==~
i . . ."of _ m Diary ofQrealiry Lost Girl . . fiaIasy omnipolcnc:e in the cinema lUI ofrqression. Critical realism and sadistic - ... • ClOIIIaiaed reIUm of the repressed and reshaping "lC desiies into the nan:i i tic confinoation of the . . .' ........ ! d reIUms only to be projected back onlo !hat Wbicb in the first p111CC. \\\:Imen represent the male otbcr ia _=.~. fimc:tioa of IIIIISOChistic nan:is ism. In Thymian. we • come into p1ay-bul in a world marked by !he ~-.i ... ~ it must be linked wi!h suffering.) The dca!h of the into the bands of mercenlll)' and material PO"111!1
PDII_
..
., - in the WIly Louise Brooks is directed fits into m .... lIe' aflhc 1IIIJI1'd (inscribed as longing) :::: I J! U--objectifiedinthewomanbacktott tS :;.... Ibc positiou of!bat wbic:h WOmIIIJ lacks, lIIIDICIy .. ' , afdle ....... fiDds. c:ompIemeut in a ~ JL" i 4 i .... 011 fauaIc suffering ao !bat the d o t S hi IflDbethebuisandfuIfillmcotOflbis -~• • • • _T 1*IDAtisfyThymilllJ'sneedforiove. af n "!!Ilism, be they the evil • •- . dJe ,,!Ii ..........), or the e8'a0inatc. weaIc ~ 0II1bc oIIa, they IjIpCaJ as pcnonjfic:atioas ill. Ed ctic of. trdmicaI BppIratus and the fie'!. above all, and the dWctor of the and UDstiIIed longing Ihroughoul !be of a sadislic voyeurism. to this erotic longing in a uw",.. .... MfaIbcr." This is a false resolution, ba!h for bUll well as for !he male vie... die 0Dacrccn counterpart can only have bis own sadism within the object posed by !he film's IIIdist in the end. This leaves room • •
m'~k:e~si~1
7
...... •
J
• •"
the._
,.....
.. .......
Dm=Ki'CI::ery(:dIe:~
_
DIIl_
i
i:::-le~"", fCCling!he that dircctIy:=~ DIID aOUtside film as an • JIR:Ocdipai existence as
.and the one watcbing
~1IIIe 1liiie lime, IIppcars to seck ia Brooks,
fantasy qllilD
areaIiry~= sadistic \II
u. ..
,
part, seeks to solve iL Ja sionary pleasure, self-recognition interesllater find pleasure in a male tatorship in a role well sui1IId ID a, . .
Spcctator:~ca:ID;=;;~; ,1Ii_
If the male only possibiliry lion in the mirrorofthi the female viewer's willi ... analysis dcmonslrates bow !be but ralhcr the i"C'Dlati'lll the female male countcrput.lae"'l~ sex. In a sense not and an Bppat'atUI ....~ . . .. ofmon. The -ua.... .
cry. 1'IIII1t'I~,.~
I',
t
HEIDE S CHLUP MANN
- \\1 Ih llui pmlcdll1 n'"'klv lixaled on a man and devOled III h'1m \ ·dLl~' (lltcn . 1 Id h"w 10 deal wllh Ihe upheaval cau,ed In male 'ell' ' lDemd hkcWl'l' \\tlU ... _ " ' . ' " Con_ 'b 'm 'n's enln 1010 public hie when Ihe 'Weimar Rcp ubhc allo wed Ih '(lUSneS!'i )\\0 t : . . _ '" .. h'd _.. . ern ' 'I 0 \"'1'c From II, be)!IOnm!!" the uncma _a possessed emanclpat01)' h'lh.J\ JO bsanu _ Th" w a, lessened ho wever after th e p..ltenlla I .., d pu bill' eeathennee''pace lor women , . . ' , end of World \\;Ir I The Weimar Repubh~' eXlended woman, lonnal n ghts and rec. ogruzed Ihe economK neee"ll) 01 all~'w 109 more women (e'penally those of the mlJdle I ac,'e" to pmfessional hie, All of Ihl' tran'plred wnho ut necessarily bnnglng an end to underlYing palnan:hal ,tnJ(lure, m sO<'lety at large , The problem remained: how Clluld one stablltzc the uncertam male psyche? As far as women were concerned. Ihe dtlernma IO\'oll'ed finding a way Into ,a male society which did not mean eilher denylO!! one's own sex or reassunllng one s lonuer Slate of dependence, Cinema prol'lded woman a blend of self-dental and regressIOn, Louise Brook's child. "hness and androgynous coque"ishness not only appealed to the male spectator. but Iikew"e ,el'\'Cd as an embodiment of the "new woman," as the o nly way she could
J\seT1 her prc..,cncc m male society Tra",lated
In
part by Jamie Owen Daniel
7
MICHAEL
GEISLER
The Battleground of Modernity: West/ront 1918 (1930) A nu mber of major tex ts in film h"tory have never been accorded their due because more popul ar contempo ra ry relea,es have pre-empted the aUdience\ as well as the erlllcs' artentio n and interest. Pabst was twice unlucky in thi, respect. The Joyless Stra t ( 1925) had had to compete wnh D , W Griffith 's 1924 release. Isn 't Life Won. derfr tf ? which dealt with innation-ndden post-World War I Genuany. Likewise , when WestJrolif 1918 premiered on May 23 . 1930 at the Berlin Capitol Theater, it was soon superseded by Lewis Milestone 's sli cker and technically more sophisticated All Quiet all th e Western Frollf (released in Genuany In December of 1930), Milestone's film benefited from the spectacular International success of Erich Maria Remarque 's novel of 1929. ' whereas Pabst had adapted a relatively obscure narrative by Ernst Johannsen. Vier "011 del' "tJaliferie, 2 Although present-day critics tend to see WestJront as an achievement of equal value to. or perhaps even surpassing All Quiet on the Weslern Front, the canon will nOl be corrected quiet so easily. 3 In 1961 . thirty filmmakers , theorists, critics . and historians were asked the curious question. which films were "most effective" in addressing the problems of war and peace . All Quiet on the Weslern Front showed up on twelve lists. while WestJrollt was named only twice.· Given this kind of reception history, my primary goal in this essay is to open up an access route to the film by exploring how it Interacts with the immediate socio-historical and cultural environment, the final cri SIS-ridden years of the Weimar Republic. and not, as one might expect, its narrative referent . the end of World War I. THE TEXT Pabst wanted his first "talkie" to reflect the aesthetic potential of sound.s BoIb AU Qlliet olllhe Western Frollf and Westfrontl918 established a basic coavemioaoflbc war film genre : the relentless assault on the acoustic nerves of tbe audience IIJroap the verisrmilitudinous reproduction of artillery noise, machine-gull fire, MIl tile screams of the wounded and dying has become a stock component of (most) .O(.M war films . part of a calculated synthesis intended to shock tbe viewer inlD R:liviBI die ex pcricnce of bartle , The !ilm's opening sequence introduces three of the four central cbli.acIU' • • genre picture. or. as Aubry and Petat call it. an "image d'Epinal."6 Bebind Ibca.. man front lines, a group of soldiers. billeted in a French house, an: shown Ihnilllwida a young French woman. Yvette, who lives in the house with her~ 'NtI_ lIltroduced to the scene through the subjective perspective of Mtbe stu1 , ....... Jovial "Bavarian" is playing cards with Karl. the only oneoftbe foursome.' , hv name and in some ways the film's protagonist. A friendly. but serious_ .. character. Karl is apparently a white-collar worker (in the Idyllic scene is suddenly disrupted by a shon burst of artillery the student and Yvette discover their mutual attraction. A brief transition introduces the lieutenant and takes ..... ,_.. by their own artillery. Karl and tbe Bavarian an: buried . ....
. ".. .,ILER poinlDd out in his analysis of anti-war novels or I"', :=~::::: IIIaDdInI ,.~: the Communists attacked JlllCiIiam
~:~~::dIIIy::",
II
••
They_~lSid_I"
ed the militarists on the dIIIszioB. siaoe it kept people from
about the ~
~=~~~;~~~bis is all the more remarkable ::::~'~_""f1I~"._~ anti-pacifist point. pmceeded to COInJJJcad
_ _ l:aa. hIriDg
and its lackhof scbeentimen!aled ity. 18 III respMsc seems to ave n mix : several critics _ _ iCIIII_1Ihocked by the realistic depiction of the siaughter,I9 and
".'C
. : NIl malism"
..... -. C
Ii,
b..~':~:Q=~ '::~;:;: ~~::~~~~n!~;~,
T. . :tz••
, " IhnIap riots and mass demonstrations, in effecting the
I
bar_
film IIIIIiI SqAhUber of 1931, when a heavily censored versioa tr ' 8; iUeIJy. ofllOlll'Se. the Nazis would get their way with Wf'Sr!i'WIr 11111 _ . 2 7 . 1933. aftu- Hitler's ascension to power, the film was banned
'-widdydisuibulDd in fumce (in a n-ench version and in !be . . WllIIi&Wy acclaimed by critics there as well as in ~gJaDd. 21 • IIrr scaIe. In the United States, the film was 1I8I1dK:&JlJ1I!I ofAll Quiet and .James Whale's scceon
nloo~:~~~:: '-1IYIIiIabIe. , ~=~ 1930. a'hlhri'lticaJly extolled "this overwhelming p
SI. "rsJ_II9's EIId, and by the fact that lit . . . WbiJe the reviewer for \I
'=C;:view oo
III
die InUMS of war," the New Yorker, after Ibowed sips ofbattJe fatigue: "It's the hOl1'Ol'l of-·· .... ~. tllill as Iinlly ~!\OII1iziJ1Ig as anything we have seen of the ~-. bo 'I'W:I. you are going to be flOOred by the stol)'. "22 Y. oded that "~s film is undoubtedly 8D<0IIIJ1Il' ~ watt ~ complain that it was "not a good fillO,! phascs of battles are excluded. "23 Time. best directed and most gruesome of 'W8Jr pi,CIq~ of a moralizer than Milestone. And in
r-. 0_.
•.«.--_tile to
~y
~~~lucUon~~~
diewilb ~ POP~larity of All QUi~l, JIImIier anti-war films and a brUlWI the teclmDkl fOCUssing on works to be re-~elea8CCIJ
and ~llIIirerlUfscl"iift IlliSleading. 27 ....fOUnd in WeIr,.,."..
;.;;-~to:.be1'betwo
one French, one ~nnan, ofWesifronllothe
I" ') boYS.
IhCJtrOCI!l;~aft. an old Frenc~ miner. seein~ " '(rrnaad,1
ask over
h'ls face expenences a hallucmatory ,
.
..
gas 01' ' cut from some contemporary vea...... __ . , . ..... '--'_ _ I equence. f.na' rrt 1918 with the IDscnpllon over ""'.......,.. _ 7 • I We,l t/m s 'haft thus works as a companion piece W~• Kam,'ra:r , sitive action where !he earlier film had beulCOUIaIlID
to
"bli.ty
f'
~ring of the soldiers.
pa~~'~~~~ast, The Threep'enny Opera
d r and the romanUc netherworld thed dec~~like streets of Macheath·s Soho have lillie an re 0 f the trench scenes .in .Wut/rotlt or tile • • • realism Karr;eradscha/t, An.d ~e steamy IDtngues reminiscent of the halsons dangereuses group portraits ~f both Westfronl and less illusionISt. SlDce the lack . th~' sake of a concentration, howeverdisua:ted, for~ as Aubry and Petatdo,29 group W~'fIi"'" tych' which shares with Thr~epert1I1 Opera Pabst's life. 30
The
..
.. :~~~~::~~~;;~~~~;;;;~ theTheonereature. "near-documentary re,,8!I! mentary" crops context of 1929. 10 a specific period namely the Neue NEUE ~'';"LIW'Ii Wesifront 1918 frontinternational and ~~!:::: the terns of' c:~::~~:; film nevertheless late twenties BDd . . , Streit
um den Stli"'_~
marque's All Quill .• ,. Plivier's The~:::; Command(, Gesell~n, 1930) . . .
thinly fi,~:;;; sloodin
patiOPS tuud cOO' ..... ... had jUst bal'Cly g.i.....
..... -
.ae
pUbliC.
ba$Cd
011.-
.iili
~mem~~~~~~5i!l
tht slfCClS. masaiw contraSt 10 a Wil""'.... Germans an reignited !be Right. !be ~rootcauac·~=! cal level. !be reIIIm III ......1
dcIJ_'"
effect re'ati7~'~bct:.~a;:;~ amounted III a Besides being its pl fears thai !be
alypicalJy MlISIlChJicM SCIISe of iroqy..... fiIr feardJat dJe student might IlOl be able, tO~ltI(IllIer . . . . . . • need not botbe.t. he has already been lcilled. 1bc daeird'airaadtlle manyncarly identical ones in the 'ciYi!iau' 1& dJat ~ tile prota&onists' completely randomiz.cd 10 811 idcDtiJiabIc. plausible, if insane, calISe: !be -::~::; . . . . • tile cad is not merely an accusation of Wilhcltniae .. • aII,li.:aI rdcctioa of tile dcspcratc, Cynical irony of a , "ia UJliooted not by the war, but by its progressive III "k virulent during the world CC4lDQ'my 10 compii:hcnd dJe economic fon:cs 1UI4:1arl~ 10 a toralIy randomized cxperience C, Mel or displace !be problem 10 _ _
relatiooahip
CIUI SUbstituted-;.;.;.
be is sOlI ODe step away from Q
• • •., . . tICIpe from war IS incidental, ephemeral
. _ . II the IlUdeat' brief, risky reunion wilb hi lo~)~~e..... .. , J8I alwar IS all-encompassing destruction, ~ eve~ 1111 7P 5, die film vipelles of evanescent happines ,CUlled ftoib - . . . . piICde Visual analogues to !heir c:ountel)Jarts in .n~,...,.... ........ m W,,8(IToIrt. replacing less clearly defined 8lents . . . . . . lICIIlons of objectificstion) IS !he di placed cause for !be ........ In•. These Sluprising analogies between a classic war ""N..rSIIdIJicMlit point to underlying affinitie extendina fatl~.. . . . . 1IIMIIs poper. -.WI., die cIonunanc:e of !he war metaphor in texts of !be lbeleft-llbera1 Bide of its spec:bUm, cannot be exPI8J"!'ned=~in ·~:·~~:. towards militarism. Nor is Peter:li use of "!he front" IS a metaphor for Ibe ~:~ ooaVllll:iug. 'I I would instead suggest that !be I pDIIIts to an awareness among Weimar.~~. . wbic:b !he real coallicts bchiud \\bdd book 011 !he Holoc:aust, Amo J. Mayer CIlIa -,.,., "die ""'UId Thirty Years War," refen-ia& to !be !IN--1PiI:tI mCa!rnJ Europe. 52 It is this sensibility. lie
"'.nth
by ;='''Cllllllt~idie~~ 'Pi1. a ID
lbe
between uDdec:1arec! peICe
t.
expressjon !he texts of !be VilUalIIIIIF for thisinsensibility· !be . .III of WISfeI'Dd, where ~ two lit
....
OIIofdleMlUtlChJiche~:== 1iPIIIU . .• -!he Weimar Republic's
~ansparent Duplicities:
The Threepenny Opera (1 PRELIMINARIES
·te about Pabst"s The ThreefHMy Opertl Ww f . cd .. inlO a minefield 0 recelV optIIIODI. e vc nlUr f . fro . ry adaptations and_..... re_.. nuns. m IIlera ends up frying on the b....""" wire h" intellectual property m.T,!" Pabst's ambivalent role wllhin!he favor of assuming Ibat Ibe filmm· ... bill ,essment of the film in its own riabt II pleading. But since ~e film Is IDIIIt pose to dispose as qUickly IS stances of the production. Ii 1m itself, Pabst's applOiiCh 10 allow some conciusionlll :~=:= for being considered au .
·10 wn
On the merits of sion. This_ali ences wilb Ibe bered Ibat
as creative artist IUId RIIIIftII.....
lern",a induslry:
G. W.P.: Once already, "",nl tile silent Tbca
r ,
' (DOt
.. "
,
1
of film. A"",rican film. Now for Ibe hands of Gennany.
. .I11III
.,.E.1ii !.
Russia has not yet lue --.t is ica's production be found alone [sic).
. . pil ' . ID
-1111~ ..-e F I
..
a.
detennine the shape oftbe ::~=== A.K.K.: ... if the Germaa
.,............... .".. '
•
.
~iI::~
It
IheG.W.P.: Russia of... the :iJent~:fi:l:m:;=i • and with it the fate
Ii:
The Threepenny TriIll strUggle of the IIII\jor IDOII. may have been goodl ~: there is evidence to 81 foiled the plans for Weill suedI- : : :
text, nor for fe contract be "",R. on which be beggars'
not brass
Whal ia bul lheir
ofa SCCne • kind of bOl ic the illllliJwy: ReilY anlD~d~~ Yel'"
~hen
Cl'~owcI§;~;~~~
.. • Messer head-on is he .joinlthe I>l a( ~I'"( k the Knife song . HIs look IOto the camera the il'\ aand initiates his search for Polly and hcrlllOlba. (ro"d . -r to Ernst Busch singing, then to Mackie aJk:ciug IOgL'l"~n Mackie twirls his cane in fCSJIOIIIC to the IiDc . I",h(em A tracking shot f rom a h'Igh angIe (the level of EmIt ,cc . ) folloWS the crowd milling about bcfcnit idemifiN form . P lIy and Mrs . Peach urn. 01 II~rc the camera, a~ first m?ved by ~ in punuit ofPollJ, -gate of the smger s narrallve, wcavmg . ' na1 dec the' song . and construct~ng.a narra~o . en-abymee8'ectllllbe£1ba : I vice. by its complex 10 Mach ·Ik, : PollY. gets caught up m hstcnlOg to the songlhatcd ba . I bisee,""" duces both the motif of vanity and self-diJplay, _the c:deIIl ....... . . cated in the universe of the "show" whicb 10"0;' nlydtc • brothel. but also that of Pcachum's beggars. 1be die nee is introduced to Pcachum's businell_ until he is killed out in rags, looks at bin If ill IIBe wondennent and awe. 1be scene is pastor. anxious to get away, catdIes aiptof' spot by his reftection. Later, at a suit. Macheath looks at himself 00 a to his ego, sets about sedncing tion /miscognition, the t:hrro I ;S itself: but only Macheatb. resource of his power Eroticism as to control the ~ pearance: witDel& bridge," sensuous skillful bivalent in excellence. fetish, and Jenny,lbcI t\ill
~hl~ ~ocabzation.34
• where power is defiood l1l:i1:l1li iIB " ID Ibis, of course, be is not aIooe .mo. 100, wort wilh !he
r.
tions
:
j
T HOMAS ELSA ESSER t nJ t h e brorhrJ \ I'lt :lnt.! l..'UlnUmH(' .. , thl.: OCg...a:al'· pnx'c."',llln
In
the l..'rv"J 'eenc . . and rhl.' . . ham
fC, ' 0
I
Ollon
UNIFORMS AND DUMMIES, WINDOWS AND DOORS On" ofthc cntK"ms le"ded again,t The ThrcepCllny 0"",,, " Ihat Pabst allo" .,. . an J 3rt d Irector... ' • h~ 1 m ,0B ut t h e cn d cnt em pha"'l~ nn Cultto become the ,ef d~>Ip1c'f'" t • I' h rurt'" and n13tenaI . . . JecoI". and prtJP'" r.Jthcr unuC'r mc . . ( C' mner log ic of Pab~t's ' ex·
1.:"C'prJon. and the ~;ontinuit} lhat C'Xl,t ... ht.·tween ··cla"IC'al" \\'e imar ci nema o~~~-
1920, and the ,ound films of the early 1'130" fur a dIStinctl\e fe3l ure of Genna e 'llenr ,'meOla, and pan of Its ploneenng role rn film hlsrl)ry. is the "destgned" look o~ !tll many ofrhe films, oased as they were on t.he CithC collabonl(lOn. between director. ,,·riptwnter. cameraman, an dlrecror, and editor Th" labor~rn rensl\ e and COSily produellon method allowed dIrector. to pre-de"gn each ,hOI or sel-up. and ro integrate charac ter,. seUIng, hgure movement. and edltmg rn a way Holly " ood had to acquire by tmponrng the slar talenl,' from German) rn the I Q~Os- Lu bltsch . Mumau. Pommer, among others, 3Th us. here" a further rea, on wh) the col/aborarlOn "llh Brec hr wa, bound to be diffic ulr. gIven Brecht\ um' il/Ingne" to ,ubject htmselfto thiS apparatus and Pabst's habll of planning ,er~up' ,er} carefuIly but improvisIng story de tails and dialogue material to fir in With rhe VISual concepllon: In fram mg a ~ce ne from the pI~tonaJ pomt of view and 10 undcr.-.tandmg how to use the camera for pielOnai effect. he tS prubabl) one of rhe grealest ., What makes it rather difficult for a writer to work WIth Paost Iis thaI I he ha, [0 supply the whole structure and at the same lime he has to creep, as It were mto Pabst \ per~onalHy in order to present a story to him . a ~tory which Pabst always sec~ In pIctures, not 10 scenes. . . Pabst is certainly not a disciplined person, In the scn~e of being able to organi ze a story. to con. struer. And so if the other man. Irke Brecht. is Just the Oppo,ue. but also unable to tell a story. daning from POInt to POInt. then you have no Counter balance and no force that supplies the structure , the skeleton for the stor), 3, I
To ~~ extent . therefore , that Pabst's Threepenny Opera coheres around a unity of Slyle, rt IS still very much an example of a "cIDema of meraphor" in the tradition of the 1920s ,~ l\vo metaphOric chai ?s run thro ugh the film, One is centered on puppets aod d~II;lJIlles. statues and objets d an ; the second on windows. part itions. doors. and Mackie s pnson cell , Scenes are not only frequently marked off by a fade-out or ~ ~r (then:by mmmllzmg narratIOnal COntiguity), but qand under a different - - - unage: for rnstance. the wmdow o f the brothe l and the mi ll l' ne . h 'd ~--..- sed'" th r s s op Win ow _........,n m e scene where Jenny Opens the window t ' ,I M ... aod Ih I' · h ' ' h , 0 signa to rs. ... _kIIIl e po Ice, t e mtrrors rn t e dance hall anllClpate Ihos ' h dd ' :, ,' . _ . Peachum's house; the stairs at the warehouse serve as alt ,efa lthe wedding =::~~=~M ' d tctallon ' , and office work ' and ar or ow ach eath to d 0 h IS " hr e we " , rng with the gang's exit; at Peachum's the sta rrs'd ' , r y~e Ttger . . , m the brothel, they show Mackie making hiS escaperamatlz e t e family "6ooric series function either in tandem or as CO unl ' the film in ,8 play of the human and the mec~;::~~~lts and both are oflllllfOrs and walls. light and d' k • . of rnSide and , , ar nesS- in s h rt , I' f pa1I'S entIrely focused on sight . IllU sion ' , 0 ,' a p ay 0 wbidt fairly defines that intensiticallon flS m . and Imagrnary . the" 0 VISual pie ' OIIC mi8ht call fascmahon of the Ialse , asure In
•
fhe 'ouhJt:I.: ( o f p Uppt.'t s l 'i
tn. tfm.lucl'o
Tran';ipareJ"o1 DupllcLtles 111 vc r\' earl y on Bdo Ih ~I . re e .. m properly begl
'h J IHl over thee h_orm, Irom (hc ! rce penny song. doll -like stand-ms ohhc ns , "Idt:r. paraoe an th e round lik e Se ve n Deadl y SinS Or fool ish V !cadlOg char_ ~Jthcdral Cl~l'k BC'J lucs prepann g I()f the narrational effects de:~~o~vmedlev~1 k.e bOlh ,""de and " ut" de Ihe douhle lie lion oflhe so ,. h e. whll;h Place Mac ' h · ng anu t c narrative thc pla~' lul 'aJ\:a . . m o j t c h g un ~cs ra lSCli the 4uc ..,\ton 01 who control s. the mechams~ ae o,aong Ihe po"er POIIlICS. 0 1 "hI), "nail), pulls the strino , on .. hom d th ' h h ,11 Th e moti I' IS, ta ~kc n up v. hen v.e <.;ce the
on.Iy
a~d
lJII~modj=!""'::d5;=I"' i
fer exchange windoWthe that Mackie Sleps through stocklDg. ~ 58JIIIIawkiDl fatal sign 10 Mrs. Peacbnm IIId opens the ~ wbiIe o?her girls draw the cwtains. The wiDdow dosing it apm.
...,.AI ELSAEIIER
• Sll:ilil f: 1HE POWER OF THE FALSE
. ' ation of the erolie:
!-
• _ cdIiciIm of 7Jw 71trHpe"", ()pml drawn Bllllnlion to Ibo . . . , .. _ ofllle film's cealrBlpOClCCupIIIOIIS. 1bny Rayos IIWID sense. of course. Ibis is in keeping with """1IiI1Im 11M',,·"'. Whenu the opera bad insiSled on the monl . . II .. MIIIIId III focus on the eccJIIOIJIic and polilical .U' 1'<1 WIIIIt .... thefilm.ppe.ntonelevd wbich in Bndlt is the
....,.-111 _
the kind ofdllplidty which the opera bid . . . . . ,.. ID IIcus amc.Uy, since ill elJects are mulliplc. Pint,
=,: :',:' s-:t::=.
....·0 I fl', [ _ _ dil'alllllillls. IIId dilI'ereatWs _ the
=:z
ii'
_-;::'ef'"
... ... wit. Pabst alae _ _ inlDdIe 1IIImS II1II*..... to die . . . aitiri'"' by the 1rUc, but by die faIao•
..,
'i4c cti"inrt farms of c:iallIllllliQ I 5
IIpIc:e to Ibe Bide of . . die IIII:iIIl bypoc:risy. n-1bae is the IIpICe to Ibe iDamamw
CJDi-..
its
a kind of metII- or
infinite JegIaS,
a flame. k_ is !helle ~:::::= _ of the They strIIdIft die iuues. and they
'"tC"Sllte modity-the glamour. 'thceo m . the"-
D_
I ohjectS. includmg ......... --., but al' IIe in The Three"!"", Opera: be
ot .
with value in Itself, • lID IIIded cc " pro . h was the """"' arll faet whtc - ..... - and \ooc ..... dIe ....
"II .1< ( .
mythiC
public
language~::!!~~
a socialist h turn in the much cadre over both die rative, and the the film ascribes die
of~dIe~'~'S?~':'~5;
IhIat die 1hn:aI. die boll 11Ow! '''dIe_~S, die .......... mdle
tIIe.s
.,iF : )
7 Wi .. '
AlIIIe·· IWIL
c•
vzaaw:
only convincing ecllo ,",vera? competing analysa ~lt_bOurgcois routine of cwryday ,ion for the endangered WOIbn. . One ct1Jcial shot reftccla die p ... Indistinguishable caps: If?ba'c 1I.,.r' I though it is not the moraI i"'"""'d ..,.,..., on the one hand. a C('mJDOC!ifled"", ... product. however, is ?be spcdllCle, emergence of the crowd. Yet?hiJ the propensity to explode in ?be culminating in the riot at ?be modi ties is averted by the capitalist organiza7ion. JImIeI law control. The mass is ?Umed different ways: ?be sequeoces are both a metaphor for ?he ment of the control of Ill':: • '•• ised comradeship:
I.,
diS~;~:;~~==:::=
the of soc:iaIiIt calWhile underbelly, the second trajectory of The workers COIIIqIIII:I' nological progrcsIIl ill~~~ forces of fire 8IId .. seems to dispIBry Prometheus. problem in IaaIJl 1931.) MOld. social fouade Freud
I!_'"
""in l "f view as th~ evethnl dev~lops~~:: 'h ' I""k of followIng e actlon . - tbIa : I ' 'cm enl however. like the obliteraliOll of !be !Il ll \ • .. f (osis . The organtzauon 0 s~ goes e"ns\luclion of the film ~ m ~ CODIeDtoflll I'ehnological progress. m partICUlar the reo:lliIOloBY of. . e sound. and nol proletarian solidarity, iI arguably The sound of Ihe faclory whislle calls 10 the WCIIbn, ... the disaster. Pabsl uses sound 10 indicate explolioal ,oise and Emile can overbear. without 1CCiDg, a ground fire. More importanl. certainly, illIIe role of _ _ when a stranded French miner attracts the on a metal pipe with his wrench. Fmally,lIIe in the concluding oratorical pcrform8 D!'e8 orllle dodJle ' The central role of sound-in 1931 still very r..:tI. • .. announced in the film itself in a way dial iM¥ sexual polilics and repression. ReoouDcing bcr .... rushes back 10 the site of the mine of sexual denial has already been 1O"ftIIo-1"'l). mine. Fran\,oise replies, "My btUlber," thea own friend or lover, but ber btUIber's analysis of the construction oftbe of the phrase draws alllmliOll to pH . . . . tionship bul of the phoneme itIeIf. 7
. IS reltlJlll This lIIId suffienog .... far aU ill R!fusaJ 10 identify
~1SCI1\'8I .st upiratioosThis of ihe fil .......
. •. . . . . .8
10 the
in:W:.;IM:ch:CI~I:T==== I
or an independent noun, thisasversion, then, ~'I • solidarity than as tbe site of production of acousdc This account already episode, wbicb dance hall their way eventually
grandfatbcr.
• allinnative stance iI the IIIIIDgely meek llOCiaIiuu
-
robbed !be movCmeat
Germans telephone officehu
RUSSELL A. BERMAN
tc.:hnology of acou>lll' reproductIOn, " <.Ieeply InYO"cd ' thC h· na I ,e'luence, H worKs"\ a tool I·. In till' ,' truqure and d ommatlon. ID ,. , 0 "man ' s or Th I mvestlgatlon 01 the technologICally most advan"d Clpatlon COqItoI I located withm a histoneal theory of the medIa I ike l.l' llIea n, of COIlJ'~ , ad K h rfi " man \' tex t, f ",un'e , amu{l(isc' a 1 suggests Ihat a wlture of verbal htcrae " . 0 the Wei ltiorJ bourgeOIs pm'ate sphere· . belongs to an mcrcasmgly dl t) - indIvidual rear;;ar~· uch anachromstlc readmg, mdeed a rare text gCnUincl/'~r~~~~;'t. The llJera;:::'io, film. IS a posler on the wall outsIde of the dance hall m . dd ID the course far bedded m a conlamment wall is read. Just hefore the e~pl a , Hlo n , a thermomele°f the readmg II' O\Jon OCCur 'rL r ", on extenor wa S I.' mdlcauve of the d,s"olutlOn of t , '. s . • ne IOCati -". tlOns of pnvacy (a development underscored by the SID 'Ie shradJ!l~nal bourgeoi~nor m the center of whIch one sees the gapmg speaker of a v~ctrol~~ o f a domestic inlerino. sound ). The mSlStence on the wnlin!! on Ihe wall' Or the reproduct' or Imlty o f ' d IS moreover IDdi r Ion or bl ' an Impen mg calastrophe, since Kam<'Tl1dscharjl '. ca Ive of the ""109 down of walls and therefore the obsol . IS so much about th ,..ul{. Th h' . escencc oJ an o lde d' e !uJn e catastrop e IS the explOSIOn of the masses th .. r me la CUlture • shop wlOdow. the masses of the crowd. . . e masse, o f com modi tie : Kameradschajl describes an madequate r~s and the masses of a threatening S 11\ the nse father who sneaks IOto the mme and searcre by traclOg the Journey of the Daturt.
:;:~h:~~~;1:':;p~~~~~ ~::~~~~~s ~chnol~~~:I~~°b:~:~:~~sm~~v~ ~Ian~' ':ratioa;
a shots, so 10 speak. bUI hIS abUJtlesdarknes . all he can do IS light up the ima the and collectIve for the at hand. morphOSIS IOtO the electricity of th Inature, the conquest o f fire , and its ItJelli,,; completed , e te ephone can the projec t of . Th retneval e success o f that project and th technology do not fully obscure the ;':C;,gD!tlon of the pole ntially progressive ~~pulatlve Use of Ihe new technology "I u tan~ous regressive pOlential that is thuse ~:Orical optimIsm , IOdlSputably e~ ~:cn eless Kamcrad.\'cha!l . w'ith its' e Y conceals the pain and suff P SIZes the POS lllve deve lo . a.profound restructunng of the enng of the I'ia d%rosa of progress p:e~ts, Just 811 on !be be fi I organIZatIOn of the d" ' '. s an -·,,··~ .... u !ram ne cIa role of the electnc me la. II therefo re too naivel only antlclpates the of sound , The telephone liaDof!he radio ~no;~: It ~:~ prefigures Ihe Use of S{:::~?sequent CI ne matic realism rc¥!!ll()[ary wo'" • a IOna oclahst Germany K 10 propaganda and the fune...er s movement f 'I . u""'rads{'h rfi I'k .... c:annot be proo ... ' • al S 10 understand th' t U I, I e muc h of the con· t l of C'~SSJve and that tc h I a a sohdarity b' d to ~ent solidari c no ogy as a bl d asc on repre.· ty. 10 domlnalum of nature it
succ~ssful
II'"
iocJU:::n~c;.:~~t~ot
repres~;~:~;nsufficlenr
rOI~r~~uu~~I(>n
ta~k
~n~'::
~
10
The primal Scene of the Cinema: Four Fragments from The Mistress of Atlantis (1932) ==================================== The SIngular appeal o f Pabst's film s wo uld seemto he in their lack of all those things that make a fi lmmaker an auteur. Pabst pl ays a d lSappeanng act : not in the way that a B_movie director becomes no nex IStent In h, s rOullne work in a generic vein. failing to leave a personal trace in standardi zed farc . Pabst vani, hes: his work oscillates be· tween a ninatio n with popular endeavo", and the ideal of an impersonal an; his is a ClOema that at once rellects its times and transcends them . A figure who constantly changed course, Pabst over the years boarded a number of trains headed in quite differe nt direc tions. This constant change of position . the lack of a stable subjectivity. characterizes mo,t of his films. Not only do they vacillate between progressive contents and popular patte m s . they likewise energize thi s vacillation in the cinema. in films where we find a bac k-and-fonh movement, a continual shift of subject positions inscribed in the texts the mselves. What becomes precarious is not just the position of the authorial and spectatorial subject . but also the subject of position proper-political positions as well as positions in cinematographic space . This is not to say, however. that Pabst eschews conventions of representation and narration. He is. after all, a master of fluid montage . of the moving camera and figures in motion. elements that enhance the legi· bility and transparency of stories . It seems. however. that Pabst perfected these con· ventional modes of address in order to undermine the position of the viewer all !be more efl"cctively. to displace spectators by directing character gazes to spaces outside of the story. The smooth and continuous flow of images. the dynamic and hannonizing connections between movements, are not the ultima raliD of Pabst's aesthetics, but rather calculated effects. They dissolve !be geometric, static, and secure space of the clOematic subject while guaranteeing a high level of II8I13Iive continuity. HIS films from the second half of the twenties and !he early thirties, in particular, ev ide nce a subtle interrogation of !be cineJtWic: apparaaus and !he act of seeing in film per sc . an approach radically different from tile convenlioas of tile classicalll8l13live. I would like to elucidate this logic in a diSCllllioa of TIle Minnu of Atliutlis (D~ lIern II Will Allan/is 1932), a film whose textual yem seems leu cooccmed willi Ibe rcality of represen~tion than with the reality of tile plOtleSS by w~ lUbjed1vity is con, tructed and deconstructcd. Using four short trapwnIB (COlI....... eM:b olllO ll10re than nine shots), I would like to isolate four rbetoricalliprellbll- 10 '" understood not so much as functionsofrepreaeotalion. butmtberudRIM'i'.ic-ol dISc ursive positions. They replicate !milar proc"M" at wodt in die . . . . . wIIIIIe and in this way exemplify the dyn8l1llCl of tile enure 111m. I bave dan II' ..... .... Illcnts for two reasons:
(I)
(2)
t h e IeIII:biDa DIll' Plll:CClal'mJU'ICpoiDllmthe~~~§~~~~;;.iii Intheirc~onIIIrlbey---."
thematic. They are of
111m. !llllldy IbII of
stmihzatlnn oflhe ...... subjocIlO.1IIIIIIw ina subjocIlIIIldie object of die . . .
IIIIl
I
• ARl S IEREK 127
Iu: ~1 'trOJ ,Hlfantl.' "a [jIm le\t "h'ISe speaker oel'onlcs a 'eer, " here Ihal ..
'd 'd th'll "hlch i, seen S,'methlng happe'ns Ihal Ich the Clnemal "hlch au r ' " "-{. t• <Jgta~h' ~ maJ..r,\ [hal ,ub.l~l'l d 1r '\"t~n more prccisch. seC' I' Ie , I h '0 I-'unanations on Ihese dmanllcs an wdl try to exemplif. . I l' DC • l . . ' . . . ' eae lIn I~a\e 'nt To" decree thc, '\III 01 course overlap and e 'tnt! l ,ral!nlt.: . ....: , 'k h In part fUn 1" arallela fl,th "31 a rcflectlon 01 the d~n3mlcs at "or In I e entI re fi lnl Th . , ('I ('nng In. IS ... c tour mooe, [hal gtH't"m -th, . . textuaJ prou:" a,• a \.\ -h(1 It.:~.arc". I'
"I("t... t ',",'C "
(I) :\
di"olul:on of 'he cau'ah" t>c,ween Ihc t;wng ,uhjcC! and 'lOwed objecl In the d,.
~gC'rl('
(~I
'pa('c ofrhc tilm'.'\ narrallH' ,
A rdallllzat'"n of Ihe mage, repre'enlatlOnal function Ihrough con' picuous enunci. atl\'C marks a, well as diegetically unmotllated clements ,uch a, radical Contrasts In hght Jnd 'hado" and autonomou, camera mo\'ernt.:nt,:
(.1)
A' nUldllY between rictional off,creen 'pace and.l 'pace 'heyond" the fic tion prOdu<ed
Oy camera mo\'cmenr dnd mont3ge~
d",olullon ·'f the causality bc"'een the g.zlOg ,ublect and the Object of the gaze in both [he dlcgctlc ..pace: and C'incmatogmphh.. 'pace • .c: in the cmema
(4) ..\
I
1
1. THE CAVE FRAGMENT Sainl-Avil' and 1\1orhange, !W,J suldie" In the hench Forelg.n Legion. are taken prisoner during an e\peditlOn by desert tribesPlen and become separated . Salnt-Avit awakes alone 10 a cave or a hut It IS dark A tribesman stands watch over him. When he asks where his fnend is. he receives no answer The .Iearch begins. At the end of this sequence. Samt-Avit, after hIS unsuccessful search. will rail into unconscious_ ne" , th us Impart 109 to the pa"age a narratIve coherence crucial to the film 'S overall shape: the searc h for Morhange involves two episodes in subterranean spaces (in the clay hUI ,).in Ihe caves of AtlantIS) and two moments of unconscious ness (fainting and sleeping We begin wuh a close-up of the guard (stilI I_ I J. In the Course of the narrative we will come to see hi m as a loyal servant of the Mistress of Atlantis. someone who silently carries out her every command. He will never become recogn iza ble, though. remaining anonymous behmd hiS cloak which allows only a ,mall slit for his eyes. At the behest of hb mi stress. he watche, over SaintAVlt. He fUnctions as a gaze without an identifiable subject. as the executor of someone else,> orde" lacking a will of his own. Samt-Avu lies next to hIm, awakmg to begin searching for his mISsi ng friend: "Where is Morhangery .. The topos 01 the search acts as a narrative motor. as the pnnciple that will impart suffiCient contmul!y to the lollowlng sequences to make up for d,scontmuu,es of space, cdUmg. and the sought lor object .. as well as olfenng the IlIu".on 01 a flUid presentation. It IS important that one searches, plam and Simply, with one s eyes. One lets one s gale range With the hope Ihat SOoner or later il will catch up with the de SITed object and focus 10 On it. The search Implies a movement from a wandenng bnd 01 ,cemg to a more directed gale, It presupposes a split between subject and object al work In thc metonymIC lunctioning of mo, t narrallve lilms The next two ,hots after the c1osc· up 01 Ihe ,ubJcctless lOok f th d 'II this function of rhe gaze and In facI redefine 11 . 0 e g uar WI I. h lighSainl-Avi[ steps Irom the subterranean shadow, Coming "UI 01· h· "st upor to ace I eI. . t and 10 look out (stili 12). One .would expeCI, in keepIng w Ih h d · • C!QC ...~m_autic illusionism, a further ., hot shOWing the villa.e and lIs h' h ' ' I t c Ictates 0 . ! ! a more dlrec[ . . . from wandcnng . .- . ' eye to co, -pO [ransltlon directed .g'In a Hants or as· ale,IS anothcT\hot an IInmedlale o oflhe missing Morhange, 2 Wh at actua II y lollow\ Ihough. of
1·2
cons~derable
re/ati~ize
""IIp'''
13
.....AYit. fIIIaID Iium die _aK mgIe. ' ...... Ia • . . . alii bim.1Ie Joob m die oIberdia1c:od~ Cd I 3). II .. ..a .. die ........." of dIiI ....
'1110,.
PM wIlD Joob out IOI1ICWIIcft only to -1Iia_rt • lie ••, . wi _best willi 8fUIl diflic:ulty. I " lI" ....- a lIP becWCUI die subject and !he IOU'" eut c:iR:uJarity. broken only vy II . . . - I ' .... _ to .. object. Saiar-Avu does not ~~~:~= I' I . _ CaameJy die oInelf« of biJ friend). Put
- . Sa.
S
•
,« ................
.. ,.;.... IIe~ID_ ~rec:iplocllybecwcen!hePZla_ wry _ .. - - unaguwy ., « III.... fiud m alClble aad chtnD8l1i"'abIe position vial ViI jlle~ M .... oar-aad __ Ilia own UDaF. 3 1IIe ..... ..,..... _ wort caD be tad difrenmdy. wbicb we S I ad die::......., . ~ :=~ Joaic. d .. pu It -Avu m a way IIIIIfeI of 1IIe (I aI ,d pze of SaiDt-AVU CIIillI-3) COIIIIIiIIicII!he direc:tioa ""-lIia, , '!eQy. left to riIbt; tben. ngltt to left. 'natelll of !he ri&bt . . . 1Ift, Ratber.1be JiPlc:bqes: whaI wu brisbt too.>. ** ............ ndicaUy dumged threefold. Despite !he narrabve action. we find here an iDcJaiw I!d!dy ditplaelbe CiDemaIOgraphic subject.
"*. .. ,
S
I11III'.
::'':.......,. =
KrVeIIO .Vlt an undennining of the relation III ilK, c:au&mg a decentering effect in both filIIDiC .... till Play of tight and Shadow (my designation
dill _wa..ent at the level of representation, • . . . •. . .atlC axis (the procession and direction . . . . . pll'ldipnatic dimension (variations on a AVI!."
camera movement shows us SuDt-Jw • white wall (stiUII-Ia). RctlpolldiDlJ OD to 1bare•• seated on the ground who 0".,,,,, III tIw UNkrworid CU-Ib), fnmc and walb throup a . . . c " HI !DIIIon n:main obIcured to the tile fnme and the view
137
II -Sa
"1-6
141
IV 1 IV-3b
IV
IV 3a
2
IV- ~
5
143
IV· 7c
V la
V 7b
Iva
IV 9
KARL SIEREK
4
"l
I" (IV 7a) Wltbin tbe same (II ,hot. however, whIch appears t,) b _.. . easub' nyc c.lnc ~ Saini-Ani appear.-. alIer ,J\iorhange lea\~e~- In c""cncc. becoming th~ Ob~ec. ,11 h" 0" n suojecU\'e sbot. "ho watches hImself k"s thc object of his deSIre (IV _ ~ecl h), TIl pia \' of S1~nifica, lIon In tbcsc ,hots accords exact I) to the logIC of ' ", , , , clnem ':amt-A\'itoe.:ome~,~hke the spedJ'?f \\all..-h mg h 1m on rht.:• !'ool:ree.n_a diVided e .a. w1m a double funcllon. at once a subJed who watches and an object beIng Wate nlIty SaInt-Avu. 10 hIS role as Ihe observer of a I~ve scene ,replaces thepre"ious Witne~e~r the growIng relallon,hlp between SaInt-A, Itand AntInea. namely the spectator in t cinema, It was the latter who had oeen pm) to the acls (and dnves) of Saint-A he " pO\lllon , an d""eeomes an onscreen spectator, The' VU·' no" SaInt-AI'ittakes overth" , vantage POInt, ' h " fi'xc d p Iace. the position hspec_ tator in the CInema thus loo,es hIS ' d h Joyed In the prevIOus scene; no longer ,les e possess an I'II" uSlOnary Identity ase en_ the one who gazes at the represented 'pace A mctaphoncal shIh ensues. graming the spectator in the 'tory a place, a place assumed pre\'lously by SaInt-Avll as the SUbject of the search, The poSItIOn of Ihe filmIC subject becomes that of the cInematographic subject. so that SaInt-Avlt, who watches himself, becomes a metaphor for the film viewer, causing a spiJt in the spectalor between an Identlt) as a SUbject of story and a subject of discourse , At the same time, these cunous dynamICS also manIfest a metonymic element of displacement. The double function of the 'lgnIfier "Sa~nt-AvIl" (one should perhaps speak of two dlStIncl slgOlfiers I makes any stngle SIgnIfied for this sign impossible. The signifier assumes multiple 'yntagmatic poSlUons and. 10 essence. slips from its function as subject IntO that of the object of the gaze Satnt-Avit transcends the oppo\ltion between subject and objecl of the gaze. functioning as a "shifter," Freud dramatIZes thIS split In the sentence, "When I think what a healthy child I was," 10 The function assumed by the SIgnifier "Saint-A"it" in stills IV-6 and 7a-c is preCISely that of a pe(;onal pronoun and 10 that way not reducible to a fixed signified, but rather understandable only 10 the context of its place in a metonymic process. The play of metaphor and metonymy 10 these shots matntains a relative balance and d~scr~et character, In the next two shots, however, ones of a seemingly obscure nature, these two pnnclples "Iii come IOtO dIrect conflic!. ~orhangc leaves the room and SaInt-AvII now embraces Antinea, The next shot 0\ -8hho~ s a hghtly swaymg cunam which prevents an outside gaze cut by a diagonal metal bar that obstructs outSIde entry as well, ~o one can be seen, This image conSIsts of nothIng less than an apparatus that Impedes the g d' d ' . aze an , 10 ~o omg, :;;ovokes that gaze, It IS the Image of an Image, an after-image of a signIfier (perhaps ~ absent Morhange'), II It exudes a smgular emptlOcsS, a differential function w ose meaOlng conSIsts only of liS place 10 a metonymic chain C3\
~eturnhs
The shot to the embraCIng paIr. but Immedlatei y moves, awal' from the tw O-awal' (rom t e central state men! ofth W, ' extended p~n shot (as in 11-2" ) hIS Image IIh the sweeptng gesture of an ' a , a gesture t at once aoam 01' k h ' ' h . , enunclatmg sub;ect the text refu ", h e a r S t e autonomy of! e J • scs a metap one re' d 'II ' sislen! address. Before the image becomes b a 109 as we as denymg a con' " at a'fil rn .,s end -goes dark, a face presents itself br' fl o scure and the ;ere ' en '-as , , Ie y to Our scrutlOY (IV ,9) AI " tmgulshable, this face turns out to be that olth . " most mdlsfollowed Saint-Avil's sojourn in the underwo cldpe, rson'hwho, from the bcgmning. has ' , r fOm t e dIStance k ' JUllCtJons to prompt his departure, It is Tanit Ant' .. ' . see Ing at vanous '-' h e ' , Inca s servant,s h " d UQween r mIstress and the cloaked Tuare", L k h - a, sue • posltlone , c' I C t c anonym appears repeatedly, seemmgly ubiquitous and all hut ~)Us tn'be smen, she lead Saint-Avit out of the realm of shadows and s,omfnlSClen !. She will, in the end, , aen ICC h cr I'f' I e for the man she
The P"mal Scene 01 Cinema
145 . lIer act 01 sel f-negatIon. in mher words. ensures that the story of Saint-AvIt and II'\<;lcnd gains entry IOto a world 01 hsteners and VIewers. Without her there would hiS t . "d nO story told by the protagomst (the tale presented althe stan of the fil t>:n~:~~~,v~ frame). and. indeed" no film. After hlSe,cape. Saint-Avi; becomes In J Jeone who onl} sees and 1\ not scen DISgUISed as a Tuareg, he finds his way "c son Id b h • h I" , " of the underwor . ut In t c proccS\ e re mqUlshes hIS own European. paI,u'\chal will and hIS rea,on Emollonally confused and plagued by yearning, he tn~nd' his days as a free man: hopmg to return to hlSTanatelc Tamt,to the Atlantic sPC, a ThIS condillon gIves me to hIS story of Antmea: he begins to narrate what A~\'~:come the body of the film His dIStraught speech bespeaks the story of Antinea. " If' becoming a Signifier of precanous subjectIVIty whIch tells a tale of precariousItse d and a descent mto lOa nc>s, ne~ike the Tuaregs, Tanit is an IntermedIary. a daemon. She observes how the tribesmen take Saint-Avit from the sunny peaks Intoftheeddark dePhths . later leadmg hIm out f of this shadowy realm, Her function IS that 0 m, luhm: She fiol,ters commulmcalloln between the protagonists as well as makIng cenam t at tern story IS u tlmate y assed on to the spectator In the CInema, She not only ensures narrallve COnllnUIty. ;he embodies it. Here, 100. she resembles the Tuaregs,for they serve the ,ame function In the regime of the gaze, Shrouded m theIr robes, In contact WIth the world only h gh an eye-slit. they can gaze WIthout being looked at, As pure gaze they nse ~r~: the space of the fiction into that orthe enunciation, reduced to the status of standins for the gaze of the spectators. just as Tamt acts as a dramallzatIOn and mcarnatlOn t ' e authority These discurSIve mstances remaIn fullv aellve and engaged m o f narra I v , " h' h . though unseen The the diegetic action, sources of narrative contmUlty w IC are. " ' wa final two shots in this fragment are revealing: the camera demonstrallvely t~s a y l from the action and focuses .on a shado~y figure veiled beh:~~~:tU::I~~~ ~;~ ~~!
Iik:
wl:lt~;~~~~~tei~ ::~~:~:~h~:~;::
with the entirfe hlmage , reiterates the play of light destructIon 0 t e space 0 . I stressed an approach more conand darkness in the second fragment. ~ere, too. resenee than with ones of story cerned with questions of dtscourse, an 's~c:::~~n~EnI.Slel/ung) rather then reprelogic and narrattve functton, stressrng dl f!e Primal Scene fragment demonstrate a ney a force bound in the abstract sentation (Darslel/ung). The mne shots 0 , symbolic dimension at work as a.stru~~w:rng ~~se~tationaicailing. The dominant order of discourse and not based pnmanld.n a I ed upsetting our notions of the relacodes of the cine~a are unde~rned:n spectacles. between filmic space tions between subjects and objects. pecta
1::00'
and the space of cinema. . onist is boIh subject and object. so~ In the conlext of the enttre ~Im.' the p~ object of his own gaze: Saint-Avlt was who sees and is seen, becommg m the e for Antinea. but ratber for bimlelf.ll After not really searching for Mo~:r;~~fcst as process. Saint-Avit ispusbedOUlOf: this transfonnaUon has made tonymic shift) and replaced by a metaphor for . field of vision (subj~ted t.c:,:'iSmS~Ory. interestingly enough. is ~ cinematographIc subject. rson who watches the two. What we have beIe IS a dID angle. a couple and a thl~ ~e child) sees Antinea (the ~) and MorbIIIF~ scene of sorts: Sarnt-Av~ ( e but Ihen begin to light With each other ~ ..... father), The parents e~h~c I~ce, or at least imagines that he.takeadID 11:.1 leaves and the son taketh ~ands as the consequence of a sencs of ~ The union with the mo er s re ime of the gaze allow a . .lions-substitutions that thro uhgh gt':e ~ subject recognizes his dl!peII_a.~ l n IS ' t0 of deSlre
by;: 3
a
ARl SIEREK d "re cor.fu,mg Ihe g.lZC \\ Ith hIS o\\n aLlua. dl appeara ' "hen: he 1001;, 5amt-Avlt III the Image of hImself h n,c, seerng h '" - ,"~d then JO lh bla,k of the S""Cen .. hl,·h r' ,t e ·' peCtator 10''0· . ' tTIlIn d s h IP the emema.IS ~ SIte (S, hau,Plt:!:) 01 h" de'lre 1m of hIS th., "tal tho trate£) . one !hal dramatIze:; the po .:'on of the, ,_ - ~~e<:"C'nth "ork:!g )fthe~ '-:.,apparatus Pab t~ha"cP<'ct,Jtorlnthecioe . hellO.. ' H " a sdfretlexl\'e fom of In nCt, rna .. ~ - ! na."nt:·vc e ouers . the 'elf'vatisfil~" •. ' 'COPllon d '" ,,- rend t see.!; the r", on d e!Ie of~~e moderr: ,t text the vcreen no • d ISC0lll>e the .. ond of IiL":!, but rather Ibn, orld of ,JOema longer preVCOts -
11 The ~tairway to Exile: High and Low (1933) . --- . ---.
'ma ne the paradoxev of European hi tOf) l~thechaJOof event, "h eh I d be I ~ to" ~ltUJ.tlon \\ hen: prcVIOU' enemlC\ ~came tne~ds and fermer tncnds enemle . . \Vhen Hitler and the S31" a"umed po"er In 1933, fTance and German) "ere locked JO an JOlenscly compel/l/ve battle overt he European film markel. The recent Introducl/onof sound had eflected V1gnrhcam changevln the balance of po"'".lhe struggle tor market "0nl",,1 no" had to vtart at the le",1 01 productIon Withmthe course of a fev. da\ VII had bee cus",mar) not only to make a "ngle film. but In fact multiple filmv'ln dlfferent~: guages. the hope being to en,ure ready accc" to foreIgn export audIences. According to Roy Amlev. the estabhvhment 01 the German ubsidi3f)' Tobrs·Klangfilm m 1929 brought ne ... sound studIOS to Eplnay and furthered a hvely exchange bel,.een the t"'o nelghborv . France mve>ted ", capital In German enlenamment films Germany. for II part .... as quite keen on foreign currency I !'Iumerou, French filmv "ere made m the Epma) TO~IS·Stud".l, Some dirtttors from Paris directed films m Berlin ,lUdtos and German as "ell a.s French films emerged wlIh appropnate foreign-language counterpans The econolTIlc exchange appeared to offer a ... ay of healing the v[ill hngenng "ountls of World War I. Pabst's Kameradschaft (1931) Imparted to the,e tendencie, a d"tinctl) polincal dimenSion the !ilm's character> speal> m their o\\n language. French or German, With the :-':3Z1 takeover in 1933. an initial "a\'e of emigrants left German). In the French film lOdu,· try they confronted the abvurd \Cenario of econolTIlc and arustlC (ooperallon. ,,-,me· thing that in the shado ... of World War I might have ,eemed to offer political hope. but in fact entaded an almost seamle" trans Ilion from cooperatIOn to collaboratlOn-. fatal dynamICs that "auld force Gemlan film emigrant> into further flight. Armes de· vcribes the foreign impact on the French mdus!f)' m the", terms. .~
Tranvlated by the d'
e !tOr
The Hood of proouccr~. director.. and technicians reached such a Ie\cl that it has been c,umated that m 1934. "hile some I",ent} per .:cnt of all "French" films released "ere French.laneuagc versions made abroad. a further l\\ent) per cent .. ere made in France but lotally-WI;hout local roots by foreign directors and CTe\lloS who .. ere merely to tran ... 1t ."!
According to Armes. "Many leading figures in the French fil~ industry apparently va" nothing questionable aboUI close mvolvement With HItler s Gennany-so long as It, wav pro I'lta bl e, .. '\ . Pari of When the eXiled Pabst made the film H;Kh.~nd Lo."" lOu haUle" baslm the 1933. "I.a Societe des Films 50norev Tob" of Epmay was hiS producer. 'The work has gone J1ltO film history av a decidedly mmor effort. It stands as the obJcct of ~ attentlon and widespread clllldevcenSlOn. In general. commentator.; seem uneas WI what a 'ar> to be a film that docs not eastly lend Itself to genenc cubbyholes and nat~::'al stereotypes. It is neither a French comedy of manners .001'. Berlm s0CIal tragedy; likewise it is not a lachrymose drama about young Innocents m \be
.....- .... WID
"
Gmeyner' peer, RaiPPlPlllIi'II!lii .«·haft·
He ..... film: "'1111..
.........._. ......... ., ..
a c:riIique vi daIIJ ...... : ..... .,8 ...... faiIs ..
When Anna came a co-worker completing DOli .Q~)' her songs to mUSIC, Iy regarded, h~ lion of the prestiJlOUl critical and satiric:al matists like MItrieIuiII adapled lain generic rhetoric of placement. 1010,
GERTRUD KOCH . n !rul mU'lclam v,me and play fhe buildIng '" nn. J.O ~ " , . he ,,~h I IdJlo d~, hOI. d mot Icy (0 II cctlOn of tndl~' dall ~ .. pto 'h Jr. " It d' ........ lake pan In Ih Itfe of thc counyard comm I ual , la-ge, ,k "1'---' hL'rhood unUy
I.
~hew " Ihe he: c I Ihe nelg ,.. A pru/c\Slon., " . h ~feCIJOn,oflhebl ':nc·"ncr' daughter. a \Uuatlon rclt.hcd h~ p. ,hcenr t ., d '~~~mlec fordatly~omphmcntaryl1perulls ' n. ylht I f (I,h II pr" .- ~ , 'IIC rho. J I h " p.....,' IOlhe I.dlcsofhl1herstatlon Inc flll1l1tlOUS and f.'hlo ....... ..1m • J re J 'yh nabl d". a ..'Oman ,,00. /led hushand ,openly c~pre,scs er phYSIcal '''raction t h ; I;". ~ tf 'Il',-,II on Ihel·lhc-hand,,, ImmedIately fired when heremployerq to Ih,1 II!ler "ho plans 10 u e hI ",/c' (..rlhtClmmg Inp as an OpP"mu nily to initiate IIQ .!IT.,, he Jlso 'ams 'he .ttcnllon of Ihe Y'Jung football star. who in his macho and gawky w"y, ·cck herfaw)[ furherpan, shc Isummpresscd, nell her by the muscleslhll rcnd rhlm an allraellve .mde~·JIIC preseoce forthe ladic~ of SOCIety, nor by his work. dac IJme d', an alhlcre WhICh, f(" other female dome>!lcs, makes him a potelllill I'no"c Charm 109 She Jarf 10 gIve hIm lessons In geography and" terature and enCOlll> agc' hIm t"rcad Madame flovary and A nIJa KarOlina , lJespile herellons. she doeslIGI ..cem I~) be In love wlth,her new pupIl A more tender bond develops in the meanwbilt helween IIle huusehc,ld plump, eanhyc<xJk and an impovenshed lawyer who live• • hel cuhnary h.ndoUI. while trying tO~lse a scheme 10 ra"e hIS fonune at the roulelti wheel, When h,s landlady Rives hIm notIce he stages a dramatic suicide allempt in": • 11" Afler rescumg hIm th t t, k h "lOt ' Whll e coo tha es 1m on as the permanent caretaker for __ ..... ga,d n house In the COUntry n d 1" e IS paJ[ I' com 109 togelher. olhers are being.• e lie persunnel manager uccccd Ii d h -..-bu r~ I'""aIlS cause enough for her!o IT S 10r hIn 109 I e•young teacher a position in Salz. ab!,cnte WIth iess dIS t h' ea er master s IInportunance during the wife', WIth ItroUghls of marrycrc J!Jnhl an he mlghl have wl,;hed. 'Ihe wife, already occupied 109 er ncw lover usc, Ih fh mlldehly a'grounds f."d,vorce "/ h ,' . e news 0 cr spouse 's attempted nc" Job seemg more h e Soccer pj~ye[JS less Ihan happy aboul his teacher'. fJPponu~,tlc" J1J er Immrnenr departure Ihan a farewell 10 his educational Allhls Jun.lure Ihe comcd of c(mclerge, who, feanng he hI ~f:(Jrs IIl,traduces a cn I1l1l1al lIJotif, a funclion of the pollee arc l(JoklO" for' " .g M e h, s alcohOlIC pellslon, Inrllates an inlrigue, The hand c a cenaln ane wh'se h S, JUSI allhe momcnl the hlond " , :.. ~apcrs ave ended up in the wrong and has the chance 10 do Sf 'I h Mane Wants 10 j!IVc up her double existence !he lpu d J. e "andal secl f ' , . ,~_ me daughter secs hope I' h liS per ell; the mJured husband triumphs; UK: IOCccr pI or er alieClum, ' d I d • ayer remams failhf I an s an ers her compelilOr, Only 'nend refule ro d' u , eYen When M' r ' k ' /be S , l~ulge the source of Ihe' a IC, sec 109 to proteel her father I ..... ' true ldentrly of the f'l ' M . papers 10 the po/tee , In the end all is rehe de a se ane IS dIscI d b , __ -'''', r panUTe for a more a '. ose y the pen;onnel manager III 1'IIe IOCcer player makes plans for ppropnate professional future seems imml a tnp, hIS neXI match will be in Sa;lzblll1l, .. hn. I I ' The "me r,
10;
.wei
--0("--
~te Sta.r"'ay to Ex.ie a layS and ram poun, the fal coo\:. marne. her c 111 \\ lllle a lub ~,read In the newspaper thaI the IOC<;er Player ~ derdlCl 1\0 wedding gU~~r)klOr In Sallburg "'8 ,<JIG CIIJ r/IC f(JuI Osl comedies of errors mamfest a playful dl solUtion of ' Where JT1 cuo n until a happy end rce~tabhshes the old order~ boundar;.. dunng IhC:~:rcnIIY 'I he romantIc mterest!> do not $Imply heed clas, d I~h and t..oproceeds d ou hng between Ihe nephew of the conCIerge aod the dau:',thetoa"enuonal C I' belween representatIves of the tenuously situated or of1bebistro a unton " d f ._., iICend........ bet o.. ner" Icd ny bourgeome, oes not In act "",e place, Tbe middle'd.,"~J Icr SIIU. rfo'kto r," changes her class ~tatlon even after thlng~ are resolved.~' ' !1'a uIC "'f I e And Ihe down-and-oul ad~ocate (of whom we r'ft~ L.. lcastln I" ma llcr s 0 ' tov" tIe reflects hIS own rhetonc~'sense of Jusllce or indeed-q.,. i. ann"" ....cena.a _LL Iher hI' I hI b fi ' .,.....,.. to C h W ;It traIning). a Ihoroug y ur ane 19ure. ends upm the coontry.1be ItCI!*m JVcr un S WI Yf' ubslantial dowry" InciudlOg a pan ownershIp of the communal buD--' e ,; h d .... h f o I reall ve potential. Desplle I ese eparturC\ from generic teleology. Pabst delI' prot y back -street romantiCIsm or local color, a function of Ibe way be dinas IS from an ' , d h mall detai ' s" rs and handles dramallc spaces own 10 t e, est IsofblSmiJttnJCtnt, playc has the film begin with long shot!> of a wecer field, One hears 1be oIflCRal Pabsl cnlary of a radio announcer as the credit!> roU by o~er 1be images of 1be \lve .vmm his way Pabsl opens h I~ fil m th roug, h the weia/ space of Ibe male promalC h In t , h' hborbood ...... _ , nt t whose successes penelrate mto IS nelg courtyard, liE lint shot tago h, 't tIes shows people seated at a bistro table reading a newspaper, From tbeR after tel " , ' I !bat era rises above therr heads and SImultaneous y makes an an: so wesc:e1be h tenllfe ecamcou rtya'rd ' The fol/owing image attends to three women in 1be c:omer ofIn tbc yard who galher to enthuse over the viclory of young BooUa. the soa:er ,player, • counter-shot the plump cook opens the shullers in the first floor and leis d be k-. that she cou ld care less, , will The conc Ierge. standing in his lodgings. salutes the soc:ccr ~: : mIlItary gesture, hIS pose mterrupted by co~nte~-~~ to a tJa.i'Y ~ ... ~ on the wall, His pride extends beyond, famtly lIes; d lw,sociIIJ • • • r ..
fi~ a~=~i~qa="r:5::~'~'5''';;,
The responsetotothe thejoyous athleucnews tnumph room,military she responds with a silly lII-, .,:" placlOg her hand on her forehead, II goes wilhoul SIIJiiII dill f"IIow one after the other, but are broken up by .-~returned Boulla with a welcome sign and garIaDdI•• hero, Already in these first moments. Pabstplla:lllil .....1I! the male star. the macho proletarian is also a....IiDI~~ su.cess, and SOCial recognition become equtl~va'lI_L hgurc of projection for thosc present, The military welcome ceremony and the ,crve as an Overture for the appearance of fOl'Cl. . . . really at horne , but rather stranded in transit. not and relatives. The resolute cook. indifferent to the ~'''YCd , 'awyer, who suns himself in the gallery cans, I he camera captures him so that the In pnMm, And, to he sure. he is the captive of I olilhe left Oyer, thc loyal cook offers him and die In thl~ Context the burlesque contributiORl tours I,(.0 k'IOgdcpressed, Peter Lorrew.... _...... iIIlto".! ' pl~ys the y'10I'10, gathenng , up t eh ' u·~IJWI.dI"''''' cams
eel_._'!
of_.
eLA I "UP KOCH . aboul how onehas mighl moadjcants share experUse
• tc ,-*IWO~tUlhisJackofsuccessasaheggar
~:~=
~
.. ... SIIC IeIIs him. second he is 100 well-dressed. Laughmg aviolm . . . lIedDelD'lbave. ; 's ~SOOIIendsupinthedressmalcer' chi. . tIIe ... - .... Ies sID~ her MIO give what she can." With the besltofiill .......... • UN •P . and repairs and irons the torn pants. _ _ . - . .",him ~=~acquired business suit is he~ng des~yed I 2 .... ~pair of scissors and rips his jacket. meanwhile leaVing !be I 7 .... 1Ie .. _ PIbst uses this mall comic mo~nl to.~ . . paIiIe.... I ethic of the MlittJe people" is With SOCial reahbes. bm". . . at-,,*cIo?"-;DIU1OWIICSS. In!hi sense the scene provides an imJ!)Iicil! ftaIch Populism. The romanticemphasis granted people" by '"' lili....1115 of Poetic Realism In the thlltles. the stress on upright. ~ • ......~ofhonorewen as gangsters. finds nexl to no resonance _Coli WD..... I . he talLtlw '21Iecalral fiIIR of* genre was the rerse pro etanan ro who ell_I . . . ~ iflle _ _ 8ItJCrlnt why he acts this way. Jean Gahin was : . . . . _ h .. atdlisdJal..... type. SOIIICOIJC who, withahinostmlydilice 1IiBIiI)'. DIllIe . . 4-' way tIJroucb ~ complications. ~. an ... /II)'IIIic 1liiie fipe ... its ~ ~I""!'t embodiDlCllt: the cnbc GiJi.,. I I jps dill "GIbia cqu__ with the proletarian hero was • • by poaaflll_1IAS specific in in the 19305," goiag
mu;
;thanb.
!:~~:':U:::,
,
mma:
f
-=
'DIe I I I
_
.1IIe
M ........
"*ses" sbouId IlOl
•..
he coafused
, .. u"'&,.;,e I U ) ' ' ' off .. a IiIm "about" a wcRen'
Jdl_.
IIIIIject alllle . . . qaiI:tIy diopI",", from !be warUn' eodCIM1III'lI1O II'" • 1CCIIIId ID tile MUll ihalnes .... CWIIIUaiIy destroy il. The sociaJ tile . . . . he alMl:tpuund for meiodramaIic intrigue IIIIher .......... ala. film iIIeIf•• paNII Duvivierexplicidy acknowledged when be said: Awl.., .... __ ......... whiie I was making !be seomd,ba!f'oftbe." . . ~ .... pnJirica'-tmn. you coonl all fibm with workers m
-.u
Vi... Wau insists, "What inlereats popuIiat III't ::~::~::-.: ........ =1.'"1l Sc:rutinizing the rise ofpopu1ist "UIlSibillll
a t · I .itaI JlUlijltCtive, she comes to the concl;sion
WilikeJocalirjes. The . . . cafes.
i;5;:: i ,.,.,1
andl'::;
genre's preferred sites stairways, the banb ofdJe S
,==
01 myth 81 a aelf-referential Iystem. we
mg' IIatIft. • !be ulittle people" Paris ann iJ ........ in arodified
rlUy.onemigbtgolOfar
I~::=~~~ Widadlil iamiad.1t ....
d LoW. at numerous poiaIa, . . . ._
meJcee Ilia ints out how Gabin
High "n re thai above all
\lo(eod~~i:C film. On the one ..... rofocuS for the Ulillllll
,,f (he
l""n( of
(,,00 [11);
GII_
d difference. This
~:uJien Duvivier. 1936). .
/t' M(I~~ from maternal and ~ hl[11se 0 le's gazes. Inherent m Iheae other pe ~etarian hero. In the same of (he pr~ voyeuristic onslaughts: de"r~ an can admire his muscles. Tbe (ha( t~IOOk away when he goes e tus 10 cui off her eager gaze. Tbe (alO bo b" in a rather comical "sex m .' h'[11self inlo an erobC object . I In the opening seque~ce. the soccer~ ~== [11ands everyone's attention. In a later p. . d as a servant) sit at the table lWlIiI youngster who e~tertalDs gUIse his homework With . the room with a baby carnage. . tishly, In the end ~e my~ can 8 of rare exotic fruit. Without a dGIIbt Oedipal-genital scenario. . come a procreator and a nowislkir. expectations . The fantasy of a cbild m~tt" to yet another shift in maintains a hold over acter, acting now as a chides and resists bia we need pilllC8JJPIl,.'I'...-t responds: this way the man generally the
!
~~'~~alI:;~::~
cialThe success social
~:;5:
intellectual shrew There the arousal of the intellectual outfit is
public. The different I_III backgrounds, to be ....,.... favors education nda' ting, then. !hattM, ....iIli We do not find proJ"'III well-read WOIIIID sity. It alone of her
YOUna
• ,,,UD KOCH _ ...... 1IeIp& .... She groens"in~: MThis CllllIIlCiiIllilla.4 . . . . "., OWD suiuse by myself! A little Ilia". BouIIa aab Ilia ..,... • hem?" MWby?" be is asked. MDid you carcb • dole 4 • ., doubt sugcsIS a namralislically defined sexuality. IR • • it will ~ to e . 1 _ _ ~ 011. ~ f~~ ~gh' be I I as ...... as acUVlIICS ......... DIl t carried out _11reJaaicof~CXJIFIicdialogucs mlkcsclcar. in any casc.lIF8lea_ '11 __ FFI"FleJlyCKlusivc. 1bclWOmaics finally come to IIId'IRtIIc that tbe foreign word ~~~::: . . . IIre'" '11 Wi , - . MNot bad. yourcmancipatioo!" be .::110 ofllle ........ of Iris fricnd' s ..a-:_ _ ,.......""""... ... N dlllo , oftbejoRs inHM, and Low we have ··Ul. .IIIeOlllof~~ but-.,:' d' , - dire DOt .be misled, . bcca";" .... _ 1 ' - · . M Wi.... dec uWyopea. .. ' aIjc. of aood cIrccr in its fiIIaI_ ....,~. . . .of........ wdJllsip,iahqN,cwiIb ttltllcGWtJiid a.ta rDioe of tile il, IjaC s ~.. z ,. W ric ripo ttl fmm _ _ __ -* ... tile no y 1Iicb tile ... ' ,-, _ _ ia .. ..... .:Ie, be CiCL I I 1 • 155 • 4 "" laiD _ 'dn dre boor". . eflm_I" "':.. pnM IIU' tire om _1Ier AI 71 huV r e e t t l , . ... wiD""" , L I _ m Jl!lll8 nt_opaI , bat 110 visual coafirmarioa _ f ',mgroraignsof-Ifcdioa, BId IN -z •• a- die male beauduob Jean Gabin
'**.
. ..,1IIe
-..-_Iin:s
5
I
• ''If'"'' -........ _, 7
t " __
..i
: :
foI:'d
..
r
.........,..
. . . . . . . . . . .
., 7
""':'
U
. . . . . . ."
"MIIIiIily-inbaeut in lire maay
, .N«rt • butIII.itiIll8:::::~: I8Ibcr IbrouP ..
'J'!Ic IUpCWIy 8J1IIldid1..c:=~ ....... ~1Ire _1IIe ... wIaida
12 pabst in Hollywa Before his return to Nalli, Gen,-lJ.~ Ihe most important anuflllOilt • • his professional SUCCfSleI ia ground. Pabst had turned bit bIIaIltill! Ihe uncertainty of cmigndioD. years in Paris, Pabst bad ..... What had happened in HoIIlft_ war? These questions ::':=~: caught in Austria wbeo pocket, has been rejcICl8U!I'tI speculations, and a Pabst. Looking III ~ old questions. Au_ _ ern Hero, is an . . . forgotten, When in the United 1914, workinl:aM
Cast as a "YIJUQ!t1 in the AnlllDCIIII Pandora's 1914to set interned in IbllIIi wrong place III
In August Warner Brotben. lure him to HOllYIiM French crime IllDllodII pervised by PablO ~ (1934. directed
his first Frencb Tomas Masaryk Hollywood seem °Pponunity to Napoleon. 2
On
!;Ji. ..........1'O,PNIER HORAK 4
....,." WiIIIJn HOIeI usvved for Pabst. Acc'lltllWaid I"IIIIt _ ......eady bIOI - - dial Warner BIOChca 'J1Jis fIICI_ demon&traled in -len&thy • WIlt (Wa.... New yorlt story editor). Roben • wtIic:II !bey tier! 1= 1 wbether the studio should • III Los The suvgle SUI1OUIIdiD& 23, 1933
n
III'
with yoU loday m:.:~::
wanllO gel this ~ played suaighle~ out_ daY or IWO, eVeryUDIe facl we bad one a week thaI we are
am nol going to Jet tbiI bClpplll D
oIIiciIIly bepa wort at the lot. In !be
possibly because ~:;~:: Bady III No\;; liller, be rejected 8 IKlript die. ill beneeth bis l1IIents (an usia r .• ~ .... reb"'" as ItIllI'IIIlI "'II n I ' biI feeIinp .., . . . . ~" iCi.6
to" :
i
,
-.e
The memo indicatcl tbat flashback frame story. rnight indeed have had lOme that Pabst may have fougbt far .... irritated. Pabst also apparently CilUlllldi apart from Barthelmel8. all Pabst was responsible 88 _III" rights, which was especlially later. It is well known so it is not: slIIrpriisinlg ic issues. Wallis seems to thelmess, whom Pabst to "control" other manner thad
d._
to pay p~~~:~~~! againsi the Wallis writes
58
JAN-CHRISTOPHER HORAK /ose-U
Ibat the character's feelings could be effectively cor_iIIIIi
~. l~tinglY, the subject of close-ups had Bppe&red a day
publIC forum in V
G. W. PIlIst. in directing his first film for \\Uners h~ made it plain the msening only a few close-ups in a film. Idea doesn t set so weD With tbelmess, starring in PIlIst production. "
Such. story in a leading industry trade journal probably had the same CIlCICtCIa Hollywood career as a teaspoon of poison in his afternoon tea.
cult headslillnK or IillwiJling to...RJ.al: by Hollywood's rules ~~ MMng hlsfut film m Amenca :iKfkavmg yet to prove himself, since career mattered little in Lotusland, Pabst could hardly have received a mendation. Was it Wallis attempting to rid himself of a Vtuiety? Or was it BarlbeImess's press agent, taking orders from his AnodJer area of COIItention between Pabsl and Wallis was the leogth sbots. Pabst was amJstomed to exposing nn1y as much film IIIIIleriaI edit !he film smooIbIy, a common practice in Europe, where the his own produca-. This meanl dw the film could nn1y be cut the ".y",_ it. w.aJIis complained:
"di1!iCult".t:::
din_.
There is one thing J wish you wouJd do however and !bat is to ow:rIIIJ~. when you c:bange ang/es so that you don'l finish ODe 1liiie 011 tHill up your nexl 1II&!c willllbe peop!c picking up exactly jUlie SlUM: • • •" to be CUI that way ... cweriap a liDe now and !hen SO !bat we play with, sothatlbe Sluft'WiU be a little SIllOOlher.IB ...,~ . . .
~~ ~!"
.. • Wallis asks his assistant producer to watch Pabst II1CR . .y m touch With the editor, beca"se of the idiosyncrasies of Pabst's IIhIJll.; JII'CVious assumptions, though, there seems to have ace•••
r . 1I000lepidiag the COIItenI of Pabst's d~tion. Waillili:I~IlOIes::=: .............. Ibe~ 1ft excellenl, that Pabst has again 81 • ill.... OaIyone '''''''nee of a conftict over content was recouIed. • S"'IbeClldotlbefilm, wben the son's casket is loaded from die 5
- laP
'.Jar.,
-die dUIia and two mea pu!J !he c:ubt ript out ia willa it. Will you p/eue lei me " - will. JUIII'....
_ _ 4. . . . tiatI 1IId .... we djsc:e'snd it IIIIIIfter I ........
6(
JAN.CHRISTOPHER HORAK
II H",o Banhelmc" made only one more film < " Aft'r A 1/O' u t'r, , , lor \V._ retake, , . P ramounl in 19.15. and II" concel\'ahle that Pabst w ,-"e" ocforc moVIOg ll~ I~, ~lilles bel'oming hImself a casualtY-hardly an u as ldenti. fiN "Jlh the slar' la I • ncoronto , 'UlTi'nce 10 HoII) wood, " . h' P b . n 0.:,~~W~klu"ugoesllOn" II, ,ecm'lleart at a st "as not let go bee_ ~ '" H' rov'd 10 be a commercIal lallure The film was not released unn "'A Moderl" er~lr P:b't\ depanure. Hal Wallis. who never favored independ l A.PtiI Iq14 on~ a,·l'T .' ' b kl' ent Aft~ I',' 'd d,reclo" probabh fired Pab'l lor not uc' mg under the system I - ... ,c I,a""'"tthat few md~pendent'directors, Howard Hawk, and Raoul WalSh be', twas noseere, , . long. un dert he B urban k ' '"gibe po"ible excepllon>, worked fonel) regIme, furthe nexl fe" months Pabst" as unemployed. ConSIstent with their loweredeco-. nomIc ,latlOn. Ihe Pabsts moved from their posh reSIdence at 814 N. A.lpine On' . 's ve In Bever!) Hill, to more mod"t quaners on ..'d , e Ial'd e 0' nve manta Monica, Durin thIS lime Pabsl was apparently approached by a representatIve of Carlos Chavez ~ d,rect The Wal'e whIch was subs~quentl) aSSlg.ned 10 Fred Zmnemann, 261n late Ma 1934 Pabst receIved a contract lrom Paramount, There he was to direct a SCript bY L,am O·Rah~ny. S.O,5,. for producer B. P Schulberg. n P~bsl worked on the SCri~ all summer, Early m September 1934, Paramount hired Damel M, Rubin to Writetbe dialogue ,cnpt. the film now called I\'ar is Declared. "" At the end of October Pabst travelled to :\ew York and London. po,sibly to discuss future film projects. 'It WIllI apparent, in any case, that the Paramount project had been shelved,29 It remam, unclear why the film never matenahzed, The script dealt supposcilll WIth an ocean IIOer on whIch the pas,engers dIVIde IOtO two hostile camps, one f~ and one democrauc, after a radio announcer-to be played by Peter Lorre~ hoax when he announces that "war had been declared," According to Gertrude Pabiif and other sources. the project was cancelled because of world tension and government obJectIons, 30 However, a letter from Joe Breen of the Hays Office to John HammIl at Paramount states that the Association of Motion Picture Producers approved the scnpt." It was not until B, p, Schul berg attempted to revive the project in 1937 many years after Pabst's depanure. that the Havs Office anticipated political repercu~ slOn~ 10 Imponant European markets. causl~g them to reject the project. It seems :ucbemore likely, however, that the film was shelved not for ovenly political reasons ut cause ItS producer BPS h lbe be' from the t d I t ' ' . c u rg, was 109 subjected to increased pressure number oSf ~e~ n dact ~chulberg, who had been production head at Paramount fora nated h'IS contractanwith m ependent on the Paramount lot after 1932 ' tenni. tht d' producer be' Schulberg went to N v e s u 10 ,ore the year was out. 32 In December 1934 ew lork tosetupth .. od ' f< subsequent transition to the scr "" e pr UctlOn of stage plays on Broadway or well have been the case th t e~~, In February 1935 he joined Columbia. It may Schulberg, a at aramount Pabst was caught in a cross,fire around At Christmas Pabst returned t S . ' . 34 ly. Early in 1935 he moved h 0 f anta Momca to spend the holidays with his fanumOlllcoonFiftY'ninth Street A IS amlly to New York, checking into the Hotel Delthe prodUction of filmed 0 ' :cordlOg to Herben G, Luft, Pabst attempted to set up /IIOJCCt wascollt1ected with rh sl'bebe~IOmng with Gonoud's Faust.35 Whether dIis 1IIe---.. c u rg seffon" N v ' __ _ r -......' retnained Unrealized alth S 10 ew. ork IS unknown. In any-. ~ ilia! year proved quite' lough a revival of Gonoud's opera at the MellO1I'!J!,IIG~lUlolllllTancCfe ' where16 Con:::~ ~ ~nally, in May 1936, Pabst and his flPJII{ ::: DOCkIlr. In e.tman and Romain Pines hired him to
half years in America, a1~nostl\\'oo'flb_kJ
Pabst In fIna._,_ , " ' ~fWIlOO 111 E Igratlon thus b roug ht ,"credIble tUrmoilfOrh' '"lpIOyed . '~fh" self" image and self'confidence, For the fi':" llOtonly-'.L, un'IalsO In leflTlS ••, tune h gh gear wllh TI Ie J oJ ICIS Streel, Pabst had failed 'The ...... -ca.ter ~~J gone Intoor'his German emIgre colleagues were Working, ~ ~ ~ "here rnany The p,ychologlcal wounds of two years of unemploYment: be,tasiIy undersll)Odthe hands of Wall IS and company may also explain why Pabot ( the l1IIIIha ,ulle, red at n Hollywood and Berlin 10 1939, chose the produ~; 'l~"'a bet wee "h 'uyt '-ery I1IIder choICe rospect of JOIning t e L o~ A nge Ies Lumpenproletariat, It HItler to the P IIy but Pabst wa, apparently too sensitive and thin_.L;n~ a ...... , 0 h-I h ... 10 IIlfter lon mora, deelSer degra dation (unlike Max pus,bw 0 'would stay unemployed in HoIlY"OOd 'h" , h furl five years, keeplOg IS sanlly y wntmg an autobiography). 'The ' of for o~er rience in making A Modern Hero was that the film was and is much IlOoybetta Pabst s expe , ts reputatIon, Ihan I orary criticS of A Modern Hero greeted the film with at best lukewarm Contemp , II h d 'I . ",s,' The trade journals, as we as teal y press, had expected amastapicce, re\ IC h film brought together an mtematlOnally known dIrector, an illlpOltaa(lIIr becausedt been e a darling of the cntlcs. , . an d a we II -establ'ISbed , intellectually~_ "ho a of scriptwriters to adapt the popular novel of an acclaimed oovelist N _ ~Ie~m , 0 f a we ak performance, and the dim:Ior ,'of d the critics accused the star polOte, " I ' h E I'shlan M ' dtanding neitherthe film S 011 leu nort e ng I guage, ore ~A ~; n Hero was compared unfavorably to earlier Warners films in the . 0 e~cailY Si/l'er Dollar (1932). with Edward G, Robinson, and ~ WorIdCIIrIIIaa ~~~~). with Paul Muni, All three films described the ~ and ~a11 of an ~... indu;trialist. They were seen as morality plays aboutlaissez~rm apitIIism. __ 'Iructed from a liberal democratic and pro-Roosevelt peisptdlve, bII1IJy JlIdicII CI\uques of society, VarielY complained most bitterly of Pabst: "Pabst,ooeof!bebc:st~diIIl10rs. ' , " has a rather weak. long, winded tale on a 5Ul:1jet::tallllJ~~'~~".~~ and in a language he doesn't understand."37In !be-.kaf Tribune: ", , , It is a psychological study of this _ • "~""'~I!!!~ Wants to delineate, Herr Pabst to this way of thi..... tiiIt reason the picture is so stuffy."3. The New York man who failed because he succeeded. Its ~::::~; dramatized on the screen. are more impomun
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grimly sets out to achieve a selfish and e~~pty:~=~2! and Other poor reVIew,. while probably have also been the basis for the film's critical bothering to see the film again,40 In stylistic terms. A Modern Hero is quite , most notIceable characteristic is the extremely jHtaSII IYPlcal trademark of editing on movement with !be ...... Warner; style, perfected in the gangster films oftbe bridge a number of spatial and temporal ellipses dnovemenr: when Pierre Radier (later Paul Rader) e/vou',at the' waterfall the next shot hows himeDI~I~! they h' . '-a\e slcpt together and he is about to leaw-· created , th'IS way nearthe, end when Paul COl1lIJD1~i"~~ "nd Penll d ' and ..... c..~ In • ~n (between, that is, mistreSS _ th the claSSIcal Hollywood style of die rOUgh the constant use of close-ups and
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JAN-CHRISTOPHER HORAK
which I'Ibsl used less frequenlly i~ his non-American work. The close-lips vtewerldennficallOD, in keepmg wllh HOllywoodho"racllce. CunoduSly, ~Ih, f 1'1 I as an objecl of female desire wll Ul correspon 109 S".,UI AI' ,_..: nnIPh bear° u._ss 10 his desire. In almosl all his relalionships wilb wOllleQ wh IC Wlu~ ' bee shall see, I'Iul fails 10 reftecl!heir (and Ihe aud'lence 's) d eSI~ ause he is ' analysIS Pabsl fl . women Whallhis means IS thatm the final oovmg. 1'1' a filmic style which is for the most part loyal to c asslca conventions, but ...... all !heless also subvens !bese conventions by denylOg the subJe~1 a cen~ Il10I1I1IIl1li idennficallOD. Instead, the audience looks IOto the void that IS Pabst s IIIOdeq and finds itself confronted with !he taboo of incest. The unrequlled look of the hero which undermines visual pleasure may account for !he film's commercial failure, but Pabst's construction of Ibe gaze vrdes funher irritations: it develops an open socio-political critique ofm~lnopollyi itallsm, on !he one hand, and an Oedipal fixation of the hero, on Ibe olber. is presented as both a scheming and ruthless exploiter of his co-workers and scrupulous speculator, as well as a repressed misogynist and "mama's 110'1'." though Banhclmess does his best to make the role sympalbelic, the image~:= acrou Islhal of an ugly American businessman. This, 100, may have c< !he film's failure. The figure of Pierre Radier is. in its broadest form, already defined in I.AII~ field's novel."' Bromfield divides his narrative into Ihree sections which leally named after Ihree of the four women who fell in love wilb his Joanna, the young country girl Pierre impregnates and leaves; Leah, !he woman of wealthy men, who is too old to hold him; Hazel, the woman Paul order to acquire her father's automobile factories. The fourlh woman, comes I'Iul's mistress, but jilts him when he loses his fonune. Rader is looked upon by !he novelist as a defiler of womanhood, but also as a JC1wialli' climber, a pariah whose industrial wastelands also defile the spaces and pell>plo! Amencan. Mid~esl .. This anti-Semitic element does not appear in the film's a1lhough illS sbll hinted lhat Paul's father came from a wealthy European flmjly named Wolfsohn.
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On. ~ basiC level, A Modern Hero reworks the old American myth of
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, me I shown to be less the product of hard work Iban at huI. worten and partners. The laller provide Ibe labor, while ':: hiS hands diny. Even in his first little "DUj",_..
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tbe ~ ~ IS thus first called Muller and Radier, IGCIJlllCICran and Inventor, finally disappears colmpllll 1M. . -::,-" merely u an e~ployee when !hey I1ICIJe . . tbe lllequality between !he two in Ibe 1liiie, Mllllercan barely look oVf!lrlhot1ll baa IileralJy CDJuIfed Ibe tbe COnIpIuy PIint IIId ~ ~...
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,lor Pabs'.!-·· ' ' 'G' u,vefiClal an the many temporal and spatial f a were it not lS_ylCbono
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men measure not his desire but rather his aoeiaI ..... td118Cbl1V II, ures. his sexual partners OUS by their . '---measwO . companlODJ. . financial "-uaJj!bus deSIrability as lOVing ""'" ty __ the,rh"p's are bou,ht, sold, and traded liS"",*, m' hnn:It:. lions _ i .tnh.i~ t . . . 111e product ~ a petty ~urgeOls, '.mall-.-. ...,wu ....... ~, _ _ love. A circus nder at' aIlbelbmeH~ ,:!livea • tbe frittp of tbe transient without a SOCI p ace. IS g tIRO ises to marry Joanna; she rep~nts a step ~ He lelia the top, but she needs Ibe e,,!ob?na1 security at_ contrasting desires define Iberr differences boIh IOdaIIy cantly, the end of Ibeir relationshi~ is ~ by. her money for Ibe baby. 1be substitubOJl of tion of emotions will indeed be constaDdy le~ ."", In Pierre's relationship wilb Leah, tbe lid even more manifest. She is an first shop, for which he becomes her lover; au immediately after their first inlimalc _lnIa',.~ Leah's relationship is all the more lIIroIJ&Iy Ji_ _ :::: . , die through a third party, stands my 0
him. Paul marriea the Pabst has question: he succumbed to Ibe when she leama about love are Paul's tency, all the _ man. A lover when his capital. She duo..
JAN_CHRISTOPHER HORAK
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JAN.CHRISTOPHER HORAK
'\ fdther "ho ha, ~ecn rC]ecled by Iht' mol her. a son who has re rcs. . , ,tIlou, deSIre Ill[ hI> 0" n mol her. Paul dcdl(alc, all hIS desire to hi~ o;.;:d hIs iQ. bc,3U'~ he cannot openly adnlll hI> I.atherhood to PIerre Or anyone el . h ~oQ. Yet Sh . P' se. t e lin · . 'Ion of a homosnual relal/on, h Ip ames. owenng Icrre wuh gifts instcad Pres_ naJ love. Paul" mlen,ely mlcresled m Ihe boy. an attachmenl deemed of pater_ hI> "Ire. and especl3lly by his father-~n-Ia" After Paul. finally admits th~~~%Ural by tlOnshlp III P,erre. the boy gel> drunk and kills hlnlself m the car his fathcr ha e rell_ hIm Pierre', penchant for alcoholic ovenndulgence IS cxplained geneticall d g~veQ both hI> malemal grandfather and palemal grandmother were drunks b h y, SIQCe followmg the big confessional scene allows for the hypothesis that Pidrreu~i IS death haw been lormented by Ihe specler of a homophillc attachment to his fath ght also e however, remams a CIpher, his gaze emply, like his father, he always lOOk ;. PlelTe, camera. past the Joanna ,,'enl'y accuses Paul of murdenng her son Paul is responsl·ble' h' lOr IS so I th ns ca. se, Paul replacedoanna", father in her affections: in th.e former he hr'd n h~ latter . .. ' In ers IS ow d "P Iacemenll hrough h" ,on. Th" OedIpal symmetry" preceded by another n dox. Jus: as Madame AzalS had 111 the past rejected her lover because of his hi h :arachoo'mg m,tead to raISe her child alone sO too does Joanna bear h h 'Id f g irth, \\"-·1 P I' f ' erc I atherless .. , e au., ather appears 10 the narrative merely· as a ps"ch· .' f th h II .. . . , IC presence, PIerre' a er p YSlca y mlrudes on hIS life and ultImately controls it. s A .l1.Qderu Heaw.lhu" nn'Qnlv en d· h .. ~ -"--f ~ .. .LU.W. ,~vnceme WIt acnllqueofca~jtalism therise.-.o a 0 an mdustnallst, and the shanenng of the America d • - -= , ......
. _. . . dealh. Jusl as he had been responSIble for the death of Joanna's fathe
/
I
:~~nt~~~~~~~~~~ '~~~!~~~~;~l~;s~~m~ey as an ersatz ~or :::~~, ~~'r:~~n7;!:
figure is not a rare OCcurrence in Pabst's wo~ appearance 0 an overpowenng mother attention toward the mother and awa 'from hk, so that hl~dlrectlOn of the audience's prismg 10 Ihe Context of HOllvw.ood Y t e convent,onal heromes seems only sur. cmerna. .In any ca,e, Ihe theme of mcestuous d · Secrets oj a Soul. CriSlc Pando 'B eSlre was hardly foreIgn to the director of .', ra s ox and TI M· an audience accustomed to Hollvwood ~ud ,e. IS tress ojAtlantis. However, for lators wnh fear and loathIng I P ucts, thIS film may well have filled spec. n OPPOSItIOn to H II ood sh ackles placed on Pabst by h ' II· 0 yw cmema-and despite the , · .. a IS and W . P . not allow vIewers to escape mto h' arners- ab,t directed a film which does ny oncilable paradoxes of human' ann,o , bUI rather forces them to confront the irrecId oexua lIy It i th f cou not find funher employment In H~llyw~~~~ ore hardly Surprising that Pabst
13 China and Yet Not China: Shanghai Drama (1938) "Where had he rcad. ' It was "01 the discovcTlcs. but the sufferings of explorers which I enVied, which attracted me '') .. -Andre Malraux , .Wan's Fall' (La Condition humame,
Speaking 10 CanadIan sLUdenh aboul h,s filmon claSSIcal filmmakmg, Contempt(Le Mepri.!), Jean-Luc Godard recalled Ihe Initial plan to adapt Albel10 Moravia'> A Ghost at Noon (II Disprezzo): "I still remember the figure in the novel whom MoravIa had made the maIn character wa, a Gennan dl!ector. Moravia had had Pabst in mind. because Pabst had at one time made an Odysseus or an Odyssey. In any case I had held onlO the idea of a German director. "I Pabst. of course, never completed his OdyJSf')project (with Greta Garbo as Penelope). Nonetheless, Godard makes an important point: for him, the mcarnation. indeed the "Idea of a German dJreclOr," is Fritz Lang. This is symptomatic of a larger tendency in film h!Stonography. One may well think about Pabst, but the thought remams indistinct. The shado" s cast by Lang and Murnau are simply longer. Out of the contradictory. dISmembered. and to a large extent mutilated and unrestored work of Pabst arises the figure of an author who does not readily invite theoretical redemption. The realistic resolve in his early works seems to have been called into question by the melodramas of his French period and irreversibl y compromised by the productions in the Third Reich. The chameleon-like and ambivalent character of Pabst's style would become a moral and not an aesthetIC questIon for most commentators, In these ambivalences, Pabst's promiscuous and shifting politics took their shape, never aligning themselves with a set world view, but rather subordinating any seareh for meaning-political or otherwise-tO a fellshlStlc gaze . For this reason, perhaps, Pabst's films are more likely ~o irritate through their powers of fragmentation than to captiv~te with a promise of inherent conllnulty. Because Pabst's authorship remains seemmgly anonymous. delegated 10 the orgaruzatlon of meaning within film texts, itlcaves itself open to spcculaDOO and debaIe. For Moravia Pabst embodied "the idea of a German director." Godard's rep~mr:nl «;>f Pabst by'Fritz Lang is, in this light, symplomatic. forany .ideaOfPabs~'S~ dissolves in his films. The idea of an integraled ~~~:;isl!! are fragments, details, bits and pIeces: the ureal noun ., : _ preferred instruments were not the camera and cellulOId, empl«;>yed ~ depicby the lions of the world. His instruments were the kmfe and the mmor. _ . lluloid what became visible were the precIously calculated of_ camebra on ce shrouded in Iighl and shadow, with which Pabst fascinalcd and ...... ell t mem ennen. his audiences.
=
I . a (Le Drame de ShallRhai, 1938), made in Paris studios andOllIocaShalllihSLU Dram(then French Indochina), is an exile film not only for the dinlcUIrwllD. lion In algo n . . '.~ '1 tbcmaIi __ .... ID . h d 'ound refuge from the ThIrd ReIch but m Ule way I ~ Ihe lime a I' . d Th rod RomaiDPiJa _ _ , lot and in its actual producllon backgroun. e p uce~, 't,ts P R Sl'a had worked on The lovless Strut; the set dcsllDCF AJII6lrJy .,... romUS. .
W
·_""WITTE
I .,.,. CleorJeS Annenkov. and Ihe actor ValUy lnkJijiDc... wIlD hid lied 10 mncc. The lead actress. the AIIICrian R l1li. QrisljIllC Mardaync). I ulfcnng malCma.l heroine I0Il. I : WIS. like Plbst. an emigrant who liter re-emi8flled. _It II1II • R.aiIn smaer and a Japanese spy who perform in Ouna ....,1Ia lill ~ ADd we sbouIcI not forget the ietnamc actors here. wbo . .It. i Cbjrcse lIIliona1ists. ill $ .... _ ~. become a cipher for e trangcmcnt. an c:::~ ... 'nlbctliojJrlpbical internatlonali m of the film' ClSt and ~ -,Gfallllial wbcrcin ~ hanghal" act as an emblem of the exotic. III .,(Robert iocImak. 1937). we see a trip from hanghai to 11m of a yearlaler. it was based on a novel by Oscar-Paul GiJu...; " .... Ibc _ c:amcramcn-Eugen chilll'tan and Henri AICQI'""41 I b _ 'lit ieJIe Dorziat I will not compare the film • but would .1 q' n _ aaIy do dnall.. c:hooIC lie. but ile seem to chouac
? III.....
.11.
.A
.c:nacHlnyA1aa .........km· descripttonofPabst· wotJt. . . ==..,~it He ."1..... CXIIa4emtoriallly: Cbina i and yet is'-:~ , tdaeallDt . .IOS.. which prcmiercd afterp
..,.0-. ias". ,.....pf81y.,..CIIIIy., .... ':~::::~I:=~:!~}!~:
....-.Cbita ....
...... of-I-... mllDloa&crapply. . . ....,.., f'i. I .. did DOt elucidate Ihi phrase. it can be_lilY .... OIlIer .... kdoeallllllllllla' whether we arc talking about tJ/-s.t l'Iwu-tJfJ_Nn.PandorQ·sBox Diary 4IfAd MI Md 71_1k Doerr"r. or Shanghai Drama-all ft~'''_ C . . ~ .";IIIiI1lon5IDlO forbidden realms. seductivejoumeya . . . . PR 1NIc. the shadowy space between art and pn:-11 d?e waltz by Offenbach we hear in ThrMisln\fut~ ... 1.1i_ d?e mylhological dimension of PabIt· IIuidity of camera and cutting i nolhing less !han a mto entering Plbst's extraterritorial n_u , a "hay. we fiDd • curious convergence in previous vcrdil:lll D~. Cntic repeatedly take olfcoae It Iimilar to ~ses 10 Diary of Q Loll has pomted out). During his film for d?e BtlS/~r NatioNJI-uillUll
n. ; ;
of poIilical illlriauea ud
butollh' ....
'I Ilu,ld;ng on Ihal crilique •• d1aquallllc:lllaa~I::,: '''~~ <,dus;on. assened by bu. noc elucldasedby"'.ilw ..
t·
\ 1 rh< reference '0 a morttqe elemen. (die trembliaal ~::::::= (. upheavan which 'ypically links I'lbslIU die Soviet, hl Ei~c:nstein
and Pudovkin.
I'ahs t the illusionist •.c~a~m ~~. betray. PIbet lbeNllill Iwe en praise and cntlctsm IS telling: only the MbriIIlaat S"hiilltan finds Kracauer's favor. Kracauercloca DOt hri II iance. nor does he question !he instiDc:tllll CDer8Y 1IIat f1IIIdI1III ",akes distinctions that Ihe film IS a lIeId of CDer8Y Iween politics and entertainment. between ydln_mNIIt. res in general. Leftist film critics condemned the 111m ia s!mj!w Girl. commentators in papers like Di. R_ tellectual playmate [LusrbttJb.) culties in documenting such an for the sake of melodrama led films-except DOlI sues a rhetoric Drama a "cheap (in tile IitaI ... Other aulhors qreo Orientalism";7 be fism";8 or Atwell. the aulhor of describes ly that he imtvu."
dty's many. TheIe
POlitiCal'~:::i
visual and station for btl tetic life. t7
Upon his mi&ht haft Ie. . .
p"~IY Antarned~~~:~ E
in line·
Graduation day III • ')lie young girl Wra t<\ardayn). A rrtW iii piC: JIIlIfIIuec
=:=
t<\ardayn)~'~
by neon-light the
that Shanghai were wandeJing in
At~~sf~ber:==~
gaudilY as 1II~:a::: tent that v
"
KARSTEN WITTE
China and Vel Not China
two songs; the Iyncs reflect her own yearnmg for an idyllic, fairy-tale rea) I'tl' C • her countenance-concealed bch md her feather but fro rn far m p<1I , h' I' Th 'revCaJ.... , , lose-up-expresses her allractlOn (() t e journa IS!. e mother's joy Corn ~ In a ambiguously With her deSIre tor a lover, • • " , rnlngl et Th past interrupts the dreams of the pre'cn!, mClslvely and Inexorabl fore singer can fully imagme future happiness, (A Similar Operation, be. glimmer of hope is immediately enveloped 10 shadows, also determines the h , 8n fate 10 Dian of a Lost Girl.) The appearance ot her ex-lover and forme eralne s plice, Ivan, a White RUSSian officer With a V.shaped scaron his forehead, co~~' everything, loUIS jouvet. hiS eyehd, mlSterly dark, hIS face closely Shaven the role like a torpedo aimed at her mnermost depths, Ivan has risen from trn; ~ she once wished him, Her allempted revenge tailed; now the object of revenge slrikes back,
' ' a_
~e
~~
7
;ues
Ivan forces his ex·lover to be a pan of the machinations; she is to lead the YOUn Ch'en to the Black Dragon assaSSinS, The woman finds herself in a double bind,: conftict of loyalties, In order to assure the happmess of her daughter (her sole fu,hope), she betrays Ch'en to the conSpirators, Were it not for the young FrencbjOUr_ nalist, Ch'en would be a dead man, The Frenc~man meets Vera at the harbor, falling in love with her even as he follow, her mother, pohtlcal mvolvement. We next see the henchmen of the Black Dragon rehearsing their clinically sadillic mode of homicide in the allic of the night club, After plying an unemployed IIIId lIDwiuing coolie With a sliver dollar, they mject him with a poison that brings il1lJJledille death, "You see," says the doctor, "not a single trace'" unpacking his instru~ before the camera eye yet a second time as Ch' en is led into the allic, Given the PIW' vious scene with the coolie, the Spectator anticipates the worst once again, the object of a sadistic strategy, a strategy that binds us in a suspenseful dispIeasu& Ch 'en will be rescued, however, Downstairs in the night club, the Frenchjournalilt enlists a number of American sailors and Mages a barroom brawl, a scene Pahlt'l camera catches In a gigantic mirror whose venical axis leans about thiny degrees into the image, Cross-cuts to the attic heighten the tension, keeping open the threat of murder through Injection while the fight goes on downstairs. Both the impending execution as well as the Immment rescue are constantly deferred, until salvation brings an end to the double game of manipulation and anXiety, Pohtlcalloyaltles break family ties not only for the Russian ,inger but for Ch'en, whose sister works for the Black Dragon The connlct cannot be resolved in the European milieu; it can, however. find a happier end 10 the ASian one. In the final sequence, Ch'en embraces his sister as former enemies rejoice with the slogan: "Let's JOIO hands In brotherhood'"
becomina
Since,the mother and daughter both love the I-rench JOUrnalist, there will be no such n;conclhatlon, no matter much Kay Murphy has sought to bring about an amicaThe mother s diSinterested , unfixed gaze makes it apparent Pted York b the gUilt of the past. She buys tickets for the boat trip to New ...- 'J ut IO e Ame nfcan consulate she hnd, official, unwilling to accept her pass· del th ....... van IVers e alaI declarallon: "You arc Shanghai'" r .. . , pn,oner ,orever,
~~tcome. ~
:cc
~ow
dl~tracted,
. ~=t::"'=:IIdI:II:tr":;d:~=::m~igh~tFhavea 'in anticlp'at'Ion ~:!:
t'uture happmess ' .IS ~ ..__ :,oment the danCing, Hirting Kay singa seeing her daughter; suddenly, she II 0f
173
I e "he despised and tried to kill, now stands at the door. Fora n , Ilw the ex' °hVt revels in the habushka's fairy tales and waits for her IIIOIblolh a he daug er h d 1(' (110(11enl t s and Ivan ,tands at t e oor, ~ncl door bell nng'd ,the mother hope for a future; the motherotJen herdauJhrer cr: Ihe daughter proVI eSB th find It difficult to pan from the present. 1l1li II the The f a past. 0 d' I 'the mother ,<_:_L ........ he memory' 0hIe, t h e phe)lOgraph of her mother (two dISSOI ves,), I ,hter fell' I, ." Jrt as a guarantee of escape an sa vallon, , da~gher daughter '. pa :the night club will lead Kay to someone who can forge ideoI/"~ dubiOUS figure fro haracter - like the erotic nvalm Secretsof a Sou/-wean a a er>· ThiS 'Im,ter countenance, and carries a kmfe 10 hiS belt for all 10 ICC lilY Ph bears an empty c . d f Ch'en's with the blade, He will use it 10 kill pllh e d di,patched comra es () , He has alrea Y II Only ,he does not know II yet. nders the ob;"" in Murphy as we . . trument of murder, The camera re ,....' Kaihe knife is the order 10 kill, ,a ,Silent
~met,
m:= j~cket Iik~ ~::~I~~:areful'!u~DY).
eXh~Il~~s::~~ I;e~eives
c1ose.u~~ e~;:;e~ t~e knife under his
~~
lea~e~, and his knife fetishism offe~ an I~o~:~hadows,
It makes sense, then, that figures flee the hght an t:efilm's players and locations-night club,: .. the cameraman, captures the street-so that we seem 10 apartment, the spaces, the site of dayIIC, K , Y sleepwalkers wandering d here" andyeamlOgo "somewhm h walC 109 P Ie come from e lsew TIley are pri50nen dreams and nig~;::,arge~~i ~~ma does anyone seem to be at in bopes of finding else"; rarel y 10 n ' I d hOlOgraphs and new 'CharacterS slide of the past, a past they evo.ke murf° p One has lost all finn footm~, . iJc-. ' H live s aces. \bcmnonghtsorpnv .,_ themsel ves 10 these re ec t land of desire which grants Chi and yet DOl China. over a terrain vague, a w~ ~al one, in Potamkin's words, na intention,every The realm is an extraten:ton stateofbcingwhereevayf~,every ofhlptic cmrChina is the cipherforabl~ Shanghai ICIS lIS a mytbical.s.P" gesture becomes a haiIUCID~~ down, and glide info gOlilJIIlee: \be load, where one's senses ~~ofber_dW$ lISa pic\1Rofbimsdf lnabala mg dial iIIIIF The daughter tre,ats the •1be AJIFI ofl)aJlb, image of an unassailable past soldier • .., ••• of *= ...., .... away \be as a dashing White G~in die ndIIW,lI IIIP-aIII with his present reftec:IIOD.thct "MadD! scraps with the lacomc epl ,
(P~asbst's
schuff~anMurphY'S
newsroo:~ized through~
='
:::u:s.
"'0., .......
'.11
VII
.
~~.Iu'." 1beslDF'-7
l' 5
, xit for the gudty. '\b II« thq' ... Pohucs proVide ;~itor; she, ~~~thesadillicpnl' 1-,"'811'1. accomphce, an k Dragon pnSOll Ihrown mto the Blac . captiVes with. mixture . g ates h IS conclUSion. deDizcD& her He mterro sentence IS a forego~~ apply to the. . bed to him. process lhat does:Ver the bodies rehnquls Pang sits a living z:ombie, enjoys hiS powe~s no doubt. For next to ~th helmet, caught up m a ahout that there k 'fe-wielder With the p I r leaning lID walls.llumnvolved, the nilS He fonns a dla~ona lne~ into a wid. with puff rice keme figure whose eyes!f and lax, a shado::se bald scalp shines hLoke ~ 'rl-bas his;" 4 W Lee pangin Diary of a SI I hcadofthe
buml~g
AndIeWSF:::::~-=;;
14 Masochism and Komodianten (1141) KomOtiianlen (I94I)-wbIeb seem to pose a double alike. Previous cion. "Seen in the well. "KomiJdianUn biage. one glin~ptlllI the film as a tediOluIMlIIII film is not the He goes on glorified apart from breaks with the center history."" "genius
AN E GLEBER MaSDCh srr ana Wart me Melodrama
1
Ih~andt'\\'" ,tl'" l1l~n thef,'"'''' h~r. ad\ ao.:lOg "ith brutal Ire. detenmned to "gnll theT7 rahblt ..
:';,,~cn" ,n'
Whde "l' he.1I ",und, 01 her dOt'r belOg broke d n of an axe n sp o"l I!lIng ,. the door t.. o e\tended coun· t, ' h"t' "t ;, temlled I'lnhne An tma"c ~ Intended rape ;,nd pr,I' Ides a "I\ual pardllci to the Han "11r\t" antlClpotes the ,urt;' " " a' he looked for "omen' mode (). d head splitting open the Uhtt': un cmeath • cunam lOti thelr.Jr.lr! t . _- ' A fwthct , h,;t n',e,'" I'hlllne ', empty room, ""\10",," "ut "I the \\ IIld,'" In till" manner of ontempor.ll') HolI" ma • a ~penl. JUmp 1"""lle '1"'cC ha, been and ra\aged , "'\01 ton. ' I )s "ale" llOd gothIc . 11l\3ded , be melodramas th _ , Ihat PllIllne . , leap h.. . led 10 her d-.mlse , CI earh Ph'!nca. m) ICnou! Idc nlilleallon In ,Ihe' trmak spcctlll'r, Stmuhan-' .' 'Ime "lU I). th e male .....lal pam. _ .C\ Ih, ah •cn hlln,dl \\ Ilh Ihe ~al1lera', explc,rallon )f Ph 'I' . f '.-~r can ,,_..~. .Id ' ' I Inc \ ace and h''''''' "" knee \\ II rIve PhIillle 1111" an affiliatIon "nh" be both """" ""enchanted Ihe men a",und Ihem "ho rem.uung the 111m ,ueee," an IIlhcring ..oendcreddl pan'l) ""I"cen L_ I) Is earhest . .. se\uahl) and §cf ten ng. br!\\een pleasure and pain, U·
".5«
'1.
,t.,~r
I,'~ su~ge'l
~ucn"e"
~-domtn~l~usoc'i~ r:;~7n
b~
II , az i l"lIlel1la i, shapcd b) a fundamentall) misogyni IIC IdeoIog~ .. nh aulhonWl811 and palrIan:hal r('<.'IS,q Cunously. Pab '1\ film aboul. cuber seems almost like a par,>J) a, 11111' crt, Ihese pnonlIcs. Impartmg 10 the female "l\omOdwllc:n" .. hal appear '" be anll-male senllmenlS. cubers aversion 10 men pn'\ldes a rather C\phcil \D~t;l\ll"e ~)I I,,"m'phob... which rival . in degree. the mi g)1I) usuall) found tn IIhns . Sh~ assumes a cold and defen Ive Slanct 10wards an admiring voung maIc act,'r "I ,lin 100 old for love. May you feel I sand acl benee. Pay )'OUfCompliments 10 Ill) thealCf instead."' She. as any Nazi hero would. dutifully stiftcsemolional impul lor the sake of her work. Philine will becomC a kindred spiril as she jotnS the IheaIcr I",upe. praised by euber. her~ "Running away from a man. thai I like very much ."
"euber defends publie moral apinSI the ul and ........1regime of the Hans\\ uC\! . The heroine. in heraclionsandbodyllngUalC.saadsaoppo&i_asadecidedl) a- l'r ;Inli-sexual being. In u1umaee self-denial . . . .1 herdesile few the RUSSIan Duke of Courtand while a fiJqJlece rap 1)II1II-' caDy aut ID her: -11IIIISl n,'t ""e lllyselL" 10 His gift meets with herJejecl108 JAec:auusIllllOd Jagger inlo Ihe objective correlative few her dt:siIeS ... 1bcir "BeaulIlul - bul cold. very cold." "'eube" rejL'Cti<.'n of se ual inlere t i plfMlcIed b cisil\M'. : widI Illen She. 1,1<'. will go as far as renouClClng herfiaJld Inon\llrID . . . . . . . . . "Ies 1"lhe sla"e. The Ihealer 10 which both she and Ncubern:tre.alepi : ... <' e lb' til ttl' ,'ha,111\ ",Iher Ihan a Iiberaling career. I hom"v 0« c, " ,. ed",.,i b\' the "",men presenled on the ofthi film. One ofthern l'alh ,11' ;',en: "Those we love are the first to ben us." Anolbcp ht 4\11;hes a p,,"p''''live love interesl to an,1Iher masocbisUc:e'1J *1 I,.,t reganls, A shadoW pllS.. s ,1\ r the Duchess s fa her uephe. 41+ b her past IcWe expenences: And" hal II I ne'er had any .. lbl film. female dlsenchanlnlCnl and male \leulaht); C) mCI 01 and VIolence defiDe 1M ill_I> lions bel"een the se es . B) re\ cslOg gender role. however, the film ... ate women fnlll'l oPP"' 'SI\e con\enUons. bul rather frees them from..., . . .• • •
SIII:~a
~
~
of personal satisfaction. lbi
~
w~'
w~n
-.a:
r"
... -
<:.
g' daJgta III a drama of female sell-saClill_ ill. tI . . (KIiIhe Dorsch~ Photo courtesy of ....."'"
i;e5~~ne;_~i"oe
::u~~:::;~
imp.us toNeuhera AIdf'ileclaatd ~ofd womau,"
, . . bead twisted away
~ il$5~~~§""'§bed~in~1be l
in
habjlpll
~::
...... object IICIiden gaze of~, of 0Cbers.11 , to her, One of Nazi film', ... me • • ~Jupifa- aad Vcaua
~-IIIIID4~I.I~oay IIIlrIbe cquaUy clic:b6d ODe IWII_ uderoCic ..........
ex. . IIIItd baroque He 1 u', feiped emtiri.,
Teutonicum: ",..". (1M3)
After only:~nds Joha!UM!l tD the leg an d arbitrariJlc88 of cruelty a.n Ten~h
gil,:;::;
E~smusofRotte~lic . ter's protests. a pu
~~~wded I~t~ !WI ~ die
demic medtcme m Latin Students and enthused oOlllIli to quarantine the alliances inverted ta\l:1II81 pear to mark the The town eotLIDCil1 torbs trade. The sure. Humiliated.
gra-
sequence, inevitable. In Froben expires. his allies to make the crowdItb~Y::: then pass II The religious
and bells set the of the cathedral peror's envoy to the crowd caIling fnr_
I
In this eJitilt deftnIdon,
Tirnes.~ cJaiIlll ;~I:radI~ICI'===i: rnodel.~
a1i&m.~"
ral c:on(ronlaliOO ior~ which for .....- ·.. that of ill Nazi'j I::~: the nationalist 81 The mUll
REGINE MIHAL FRIEDMAN ".,( II rep"," ~ 'nls --."n"u 1...
'pca"'IN-Ihe Amencan.. nalion, Moreover Ihe b.'op'IC ,sd' . " 'all on Ih,'... s""clalornol onll 10 lucnlll)'" IIh Ihe maIn hgure . bUl also ' h thIs. t,.llU ~.... .r - . . Wit dl\eNfieu publ,,' Ihal onl) the chan small\" hero Ihrough the medium of Ihe act e "ho embodIes Ihe rn/e--can keep on suspense ThaI these heroes generally Ie d Or 10 be Amencan encourages the publoc to Ihonk In tcrms 01 "humanity" rath n nOt ' I 0' h erthan those of class Jnt~rc ... rs In hiS descnptlOn te .roell~ ... 0 l'hH t e . olly\\'Ood biopic . its hC3\y and thearneaJ mi.\(' i'll SChl(, (a -.uccesslOn of lah/clllH l'i\'llnts: frontal uw~th spIred. anu generally non-Ilx:alized scenes). Elsae"er could ~ell be speak;n;t:; Parace/.I'IIJ, pro\ldong cenaon abldong attnbutes 01 the hlmed bIography in genera and, more speclhcally. ollhe cult ollamous ondmduals In NaZI cmema, 24 I Scholars also empha,size the hsedd. static nalture of thTchPrincipal protagonist as a detenninant for bOlh dramaturgIc an narratIve meanly, e character's interiorc ' ' b h h b ' onfliets remaon all bUI noneXIstent ee?us" t ey ave ee~ prevIously resolved, One subslilutes. instead, an estemal confl,ct "h,ch places hIm 10 heroIC OPposition to h' adversaries, Fran\,o" de la Breteque speaks of the archetypal modeling which, in~: occldemal and Chrosllan world, suppons such Iofe chronIcles. a Christ-like model with three Slages: EpIphany, the PaSSIon, and somellmes Manyrdom, the final Aseen_ sion2~ These three momems characterize Pabsl's Pamee/sus as well. Given theae conSlants, I~ese convergences. one mIght be tempted to combine these "scientillc bIOgraphIes onto a ,ub-genre leadong from Til" Story oj Louis Pasteur (1936) Robert Koch (1939) and Pamcelsus ( 1943), fur all its ambiguities. the Hollywood model with it, humanitarian message theless possesses a unoversaJ"m entIrely at odd, with the premises of the N.';... Socialist biography, The laner, "' we have seen, stems from a tradition that the eternal struggle of German culture against destructive forces that threaten its riority and undennine the foundations of blood and race, The central themes do with leading the struggle. winning the barrie. conquering the enemy. Thus, Regel pomts out the mherent mihtary temlinology at work in Hans :St,~inhoH'!
Koch. Fighter Allainst D"ath (Robert Koch. der BekiimpJer des Todes). 26 Pairac. was on fact originally intended to repeat the huge success of Robert Koch. AllOl'Cl
thou~, the film was entrusted to Pabst to commemorate the 400th anniversary
figure s death, the SWISs-born scholar who would remain a lifelong wanderer, a mg physlctan who traversed all of Europe,
A WOrk of Circumstance 1be fO:~lation of Kurt H~user's scenario was surely marked, influenced, and
~.
.y the demonstratIOns and publications which accompanied the anlnil'enlll ' , .. .' were no new editIons of Paracelsus's wmIngs,27 but a plethora of bIOgraphical ·t d' '( , lilt' "Ge '" s u les many of them reISsues) that celebrated the I others, the voluminous trilogy by Erwin Guido ..,- PMrayai of th" d sotl k author and panisan of the "Conservative R,eV()lultim:I.~ ... __lied spo esman of the mystics" and German "e"plorer of ,.. m none other than Alfred Rosenberg, whose own Myth Iest!VIIJes m 1941 There
~, ,,=s~ -a~,ong
C
rr: I~
. . == p
VoIk~~er Mythus des zwanzigsten lahrhunderts) had argued
of ~~Ie on earth, lacked its own gods, "and etemally
......1of IUCb an UDabuhedly Pan-Oermanic and ~~~: e¥eD ~ disturbing contribution appeerodiCbll ICboIar wbo broughllo the occulon • ClOIUiI - . m two COnJr_~ dIw_I ......."
, ,'. • "" Ecce tngen,um T~ 1 phical Ideas 01 Paracelsu", Usmg anolher S' , • phllos:'d Paracel,"", essentially Gennan allegiances' WIS. thInker as a P
also ,uggests Ihal the notion of the unconsciOUs_more prec' I the
~~~~nscious, sonce the "archetypal realm of the soul" is eVoked~J'as
'
collCCbve to h Philosophical work of Paracelsus as to litat of Goethe, Finally.' : te "" ,n the 'biog. enealogy of alchemIsts onlluence dbP y aracelsu., lung recalls: "From , ~f alchemy, Goethe brought f~rth the figure of the, 'supennan' Faust, and;ip!e WIth this superman. ~Ietzsche s Zarathustra prochumed the death OfGod."]~ IWO "Faustian souls. Noelzsche and Paracelsu,s, feU prey to the same excessive recuperation under the ThIrd ReIch, becommg vtctims of a biograpbicaI pnctice!bat linked the two lives on the name of NazI teleology. Biographers and scholars seeking to outline the rich. powafuF, and CUil:e.cnitd personality of Theophrastus Bombastus Aureolus von Hobamei.n, or he ' ... find themselves obliged to cast aside any preconceplioos and nife ....djt• • qua. lions, Alexandre Koyre, for example. asks in the preface 10 his iauabblt cuay .. Paracelsus: Who was he.lhis brilliant vagabon~?A profound ~:'::.his""""AIiI; 10lelian physics and clasSICal med.c.ne. laid the medicine'! A precur.;orofninetecnth-<:enruryi8limal""",'Aa , I .....,.,. sie ian or an uneducated charlatan. veodorof"ilkFd ' . . . . . . . . • . magician. invenlor of gold, eu:,? One oftbe..'Ot6'!A old-fashioned heirto lite mysbclS1D oftbe
,'"".=___ ....... .....
55'... -.-. MidIIe.,. : ..
-s:n'
">I. follower of a vague sloica! NeopI~::.::.;i:':::::;:;;;; he 'Ihe healer,' that is to say, !be
a
D
discovered and fonnulated God'!"
DeW aa_,,~
PART THREE: A TI:~1fT lNRIITTIBt'. The Intertextuallty of What happened when this lishod norms of National of cenain data, strategies of transformation of a great number Par(/cdl'lls and its intertextuality iD Index of how a te"l reads .... d"course, in the cracks haps wrongly), if not repeatanOC • enunciator.
Par8Celaua and ....
Paracelsus follow IlDIdaI~. lied dUration. It pre
TIl
D
........,HAL FRIEDMAN
d •
II Bue!. while nevenheles in~ning. within a syslematic ICIIftIIIIII by history to be either anlen~r or poslenor. " AImoII wIthoul exception. enllcs. have POlnled OUI how the protagonisi. 11b11bii ~ hi toncal ponfllls, represents a ficllonal eXlensionofthe • plfticipabon of Werner Krauss, the Third Reich's mOSI eSleemed aclor. _
pnMIII
• how Impo!WIlthe re8imedeemed Ihls producllOn 10 be~Th~~e:c:ho~i~ce~.:~; .lddiaonll motive as well. Krauss was near sixlY when he . . of the you... (thiny-four) and impetuous Paracelsus durin8 a hm hi life Clearly, maners of preslige and repulalion were nol the IOle pidlDa the aelec:tion of an older aClor and determining Ihe deliberale agilng (Ifill. '*'-1l1li There was a wish, above all. to strenglhen Ihe parallel belween IIId I Hider who was then fifty-four. Each oflhe leaders. so Ihe Spectalorwas r-I an IUtbority hlped by experience, a gaze and speech which IIItIbIIllllthellllSleS.lfbolh are fondoflhe rostrum,the sile 11\• • tbey are likewllC hardly strangers 10 taverns, Where, in raising their tbey make their welllnic:hauung accessible 10 a popular audience. Obmacd byhl miSSion, demandi... blind obedience and ullt~ue'sti~)nilnaIIUblll fftIm hi foUoMII. Pncclsus fully embodies the "Rihrerprinzip." nCJOUII •. Iiaoofaelf-elfacmg heroes. who, from fTcdcrick 1110 Bismarck. devoted
paryoftheGcnnanpeoplcwhile::!~;~~;~~':;~:J~i,f~"::~':~~:2
. .\\bIf1llll Liebcaemer's Till DlSIftissaJ (D;~ Entlassung, 1942). fI eqa_the illp'llllUdc and misuncJcrstanding of his contemporaries. the auantiu 1,""1 of Luther inhcra in the scholar's c1csire 10 usc
Avlaenius.thebllldbooltofmeclievllmcdicine inthe~~!::~:~~~j.::~:1 ~CUriousIy BYOids showing the inferno of~ks which mighl recall ,":' DC 1933.1D11ad prcfcmng todlsplace the purifying flames onlo me mea *-to ~d"'-IheirNcvenbeJess, fire remains UbiqUitous, in conversations a
all
tv
. nc • Paracelsus.thu Ge he hu done beIoII , l1Ie seC .....
10 Ihe sa , I cytracled from e nnan ""u. ela s • I m ' h ' pl.lnl" 0 1I'Ied from Ihe Amencu w ~ch h'II
, rious sicknesses. The Illnesses all have lor vaf"lm insisls on caII'109 "MorbuI....... Oall'-··" or the .Ilrs. whrch.sIhe I ' 1 b lrom outside Ihe city gates., Put the lIWIifold II Ise corne hlc use 10 determine quul-homeopllbically wbat . 10 scnS! " ~L. talen. t aIao IIiIIIIC•41 TIle n.IIIIIL . I'll musl possess anuu",r ,'S , one 51 , "os.lge .. nalUre" corresponds here 10 the cquall ~ ...._ _, !",wer ';lhC afJinity of Ihe IWO enlities is borne out In • II< lit) 11 'ling Renala as a psychological and cmotionaI shock rill: :~ slUpor I~a:~-Ihe effects of Ihe plague. The a1ccpina beauty _':Ii OOlllIlllll_1IIJI 1.llher h" lIenlions of young Johanocs. who follow, hie 1IiII1Ir' Ihanks 10 I e a , d ''Il0l the !'aracclsus. as Jung remm sus. wu • I .. lOgs hul als~ of empirical psychology and IDI At M cine. ' d' replicates a _ rhe medical I,course. IatoniIm -t • lid 10 belreve thai Ihe film retams the .Neap eelsus, In this way. Paracelsu,s. fascinated by wIIIdI I 'c! human form as a reftccbon of a perfect miDd ~ ,d This declaralion of faith takes 011 lIeN I!!IedltllllIIIII..... :'the _',,, faney- "higher. always .... 'd wi. sci f and 10 gain etemallife. it cIoeI bPI demplion, but rather Nazi tbIDk !'aracelsus will latter has not ognized a brother male's eternity. VOtIHt. on living in the PartiCJI", ,,,,,I If"p'
IIIp·IO.1l-ea
=: :
Ih~1
~realness OfMa;:/ghcrS~."~~
lied Magister to the pyre, as well as in the vis'ualis d,1riDi lppCarsand also in Ihe splendid images of "V81P01:b derives a nallonallherapeulics,
~."''',A''' IIw.hauung
• rilliarl foIIil' .....
Y. ......... bul above III foreign and even ..... • the JIICIIieCr of ~ purely German medicalsciellllll be proc~aJm~ ~ is both unique and h.. skill In that longue with a few ~We are in GcnnanY. I ID the film in which Basel !be Reich. in the manner nU·'nl.. do 10 the univcraaJilt spirit ~? U bumarusta. c_- -_.
""
'---Isua.the dIa/oaue .....
Iphl_sAaloam lGauot_
sion in n::::~ AI thil relurns 10 the almost all whelmed faceam~_ ..
DOt:ctlh:.
7
R GINE MIHAL FRIEDMAN Indure 01 r""n.lllOn (ltllhe Irve, 01 exprc .nn) and Ihe rcc lormu (I'he ,evel of Ihe narrltlille) ,n "h eh hi I .n,alaulh OUr ell) amb, r erud,llon uggc Ilhe world of 1'14\ fYe as the ba~1 of /' CnllClly and a tel. U (1\ lr""... ("fI( l'/IUS\ III IIOj '1Q~ The Jnt/amenlal Opp"'t'lln nch pcx r ,umnlln 'tOg 10 Ihe hnal Image,,' Ihe peopl s( c, elender IIllhe ad '0 "Ih e or whllm h ' g I 'Y. h..nor e 1·.mf'C'l,rs envoy Ilohenncd 'h h e ren(lun lITer IIf lame and I,mune, 'tand, 10 contrasl 10 Ihe pnnc • ", 0 nng< Paracel, u the po"llOn 01 • narralillC caldly,1 Ife ~ourts Ren la 'I,hpa protagonists, a,su," '11 II k h h I i1 • WI IIut ,utee" I Ing c cr .. m I 'II t C "npenlr forbids Ihal he exercise" 010 .. n remind' ng C.IU'~ the people Will n ,I sland for tl • Ihe em",,", h n"poly Over mercu'" "'J ne le'l e OUSIO s . .J I._ ,,,,. Imp.llience In addllilln. lIohenned speaks npenly 01 Par' I c; 'man s grCCd and ace SUs S Mrcnglh and au Ihorlly. a man" ho en lOY' Ihe suppon of the people" or Ihe Lmperor Pfefferkorn. then lands a "ara ,IS ~{)re powerfullhan Ihe Pn . ee su, s uh,male adversary' an pc emy ollhe people, J malcvolent sc seeke h I r e IS meanlto ugge I th F . en· en rcpreneur runs Ihe hospllal and even th I:. ~ e uggers" The everyone has 8 pnce for the merehant e e mpcror IS hl~ eredHor Everylhlng a d hIS d.,ughlcr. who. repulsed by hiS avance xce~t. perhaps. Ihe love and admiration ~f her alleeuon 10 Paracel u 46 WI lurn away f rom her father and Iransfer
Er e
"jI::r
U
1'''''' .
~~
Identification with the Ideal Self d prohlemalle figure Th
Ren~l. IS
Parac~I'u, Wtlhtn Ihc film's narrali:~~~ lilies It I her second. immedialely after aucrs. Iwo ,utlors. tw, fathers Sh OCCupies the allentlOn, of four male ch lind eXeculIOg Paraeelsus. escape degree. came. Ihe aClion, organizi:01 Paraeelsus 10 the narrallve Com' .tHy. (One mlghl also note thaI the inlre! nTO nRs Woman servanl who breaks Int~~has a re,ult (~f female intervention. namely tng. enala IS m' rk d e SClenlISt s tha be Fr
1Ul~tn.
f~O~~h~oa
~~~~~ ';~~~h'. Ihe :n~ou~~e~~;:~~~;~~eiu~~e~~:e 10 meel J(~an~~·;·s g~;elh~~:~~h ttl wor' WI'lhPUpI'J'OSC Je>hannes will forsake h,'s Corm be dec",hve. provldIOg them with a • arace I I h I' erteae e h M . greal man a, Ix d us. n t e scholar's service J( h r. t e aglsler. 10 order lempl to brea~ >r tnate a clerk. an asSiSldnt I~ '. annes Mands in the shadow of a mISdeed by a IO~,;"n ~he secrets of alchemy and /:tle~1 and Impeluous. he will atst Renala docs n~1 ',u :ISSlon to the law of Ihe lal:er "aSler He will pay for hiS th h h Uuer lrom .ueh • c elg I Ollhe dram' cOnultlIOg deSires Sh Dngle ,hoI> conllrm Ih aliC confrOntalinn Oclween him' '. e d,scove" Paracelsus al nose Ihe cause 01 h etr ~ulual fascinalll," Later th ~ndh her biological falher. Low· "restored In life " ~;s ma ady and rcvlve her: she I~ Re ~ Y":,an will correctly diagIOlie of hIS adopled soneJ~~.'nvo'ves satlSfYlOg her scxuCa~ala ( r~nailre" J. Ihe woman When she dressed' annes. Lalcr he wtll elie deSire 10 offering Renata Ihe r •. a, a student M:ek h n Suggesllhat h .. cmatns sal,,/ted wnh a ,ub . .. s 'm OUI In hIS I. . s e a •• lSI 10 his work Ihe great /tgurc Whom sh . ~lllute . the "'" of Ihe ad . ahoratory. Renata . however. mtred volnlon. demanding h' e a mire, wllhoUlltmn Sh falher figure and Ideal self W' l C !
t
Paracelsus (Werner Krauss) aCI ng through an ntecmed a'Y 5 so emr ass s:ar' Johannes (Martin Urtel) reSlores the pa'a zeel Re~ata Po' e' es Re rod :0 'e PIlo10 courlesy of Sltftung Deulsche Klnemalhe
her female mtnislr). ThIS "refemtnizalton" of Renalll I o,erdelermincd by the Oedipal patnarchy and tho,e "Ia"', of nature" ",hichgoscm "'n}one. but C1cn:tSC a panlcularly slrong power o,er the ",omen tn thl film Paracel,us. in fact. first appears 10 an exammauon of a female patlerll. a woman who remains wlthoUI a ga7e, ",nhou! a vOICe. a person whom he manipulates like a doll .. Nature will help you." he proml,e,. -but "e are gOtng to help nature" lbc plump waitress tn the IOn '" iIltngl) become Ihe object of Paraeel u' lesson as he demon"rales the oppo,nion bet",een nature and culture. -You posses true wisdom which is not learned from books. hut fn>m Ihe book of nalure." he declares Iyricall • Indeed demagogically. ,peaktng to the men ,eatell around the table hefore he embraces Ihe waitresS: "You hase no n cd for ",,,dom. only for lo,e. Love IS the key You arc made. like the eanh. to bear frull .. It is also clear in Ptlrllce/sus that the ,1It/OUS -,deologIcal apparatu of the - " (the I"" n counCil. Ihe medical
REGIHE MIHAL FRIEDMAN
._, f.,
hePI~,~_
Johannes I""", • ~P I do u", \\ IwI the nun mem pu arace u w n the latT\ ParlIl. J L ••_., la"!e< '--,ed _!ely seeks 10 ~ n>menl be %\ e h ~, "'" ""au, .. "0Der. ~ C :!IIng ..L". dId not \\amlhat - E>en the frenzIed danc.en. In the Iav...... bo _'" <.All F .pnbeon· b t) one Johannes, \\ m \\e see searchmg fran. the elIXIr • hfc remmd Renata Chal If he has erred II \\ a~ only III hIS bet \etr c f ' · ~sub t the\\llhngne 10deferalJrespon. "t fer.' f. - ~ dlO ,I amalgam, Its deferment~, Its Com. II as r I aesthct ... chol~e 1be film "" :n ~ \\e _••con ,~ tantly \ aCIIJates between cbc e vnaJ emodel n t .' CinematIC nam:" on "'IU u,e expresSlOno . I methods of r me. \\0"''''' < 1m Tbe \\ r d of lee, es~ - v when asso(1ated w.th med,Cine or aI he w.e. on an I ' )\\r. The ·.,rgeon sa .. emIts musical VI braesourceoflhee urafterFmhendle
U
""! '"
-= .."....~ '.
~ be~
ton mln" Renawa _~ ..,..,.......,.] tesllU .. ..... ""' seem animated expelhng gushing am! O\ertl"" ~I! ...~ I ~ d VII<.. '\ The IlItthanocai obJeclls ahenated by W'I1gh! 10 . • , the human!,emg • bemg dep!1\ed of II • observes Wolfgang K.i ~. adding thai n:!; 1.!;Ja)s IJec.; alIenated especially \\hen they appear as do J rr'.anonettes and Pa, elsu.: /10 dO;'!)1 demonstrates similar mode f aitenallon ~ e ". . the fluctuatmg hape of ' ..nous groups of people. TIm -ondesu:ru.:>~ towArd the masses, of cc= defers IV Ihe cmema of the Iwen-
=
on) ID Pa:
II
M~;ropoft Par(J(c/
Ii:
death and
>
.
4.
films but
=
ID Ihose of Lang (!be rebelhous worKers ID
M.Jmal; the IInpromptu manhunt In orteratu, and other directors. In treatment ( f the ma • appear most pnmunently In the dance of bseq en! pr'lee!; 00, =nes!hat condense the film's Inner dynamics
PART FOUR: PARACELSUS AND ITS MISE EN ABYME "The Utopia of Fascism 15 an Edenic Freedom of Irresponslbilityft (Klaus Theweleit) lbedancescene processloofmns\\hatLagny Ropars SorhnspenofGSa "struclural um Igura!tOO." a oeqttence where the mosl vanan' combille ID affect the narrative arrangement 01 the Ii m \\e recall thai the entrance of FlJegenbeln. the wanderer \\ho hps mID town desPIte pubiCl: decrees meant to !ilIfeguard the city agallst the p ague.catalY7..e; .. comaglOu dtsorder followmgthepromptmg,oflbe Pled PIpet, the ta em glleu become manonettes,lllO\mgn convulsIve and dJ5J0tnted abandon. In contrast the large cross we later see pread ')UI In the ground reveaJ Itself to be leeming \\11b unsu pectedllJe Tbe mechaJlJzatlOll of the hVJOg corre<;pond~ 10 the ammallonof the hfeles . the absurd and Ulsane world gIVe way ID the re urgence of a forgotten expres Ion m. Tbe noclurnal appearance· f the 8(.roba' Introduces as well a musical tbeme (a final one \\111 accompany Ion; !hat follows Ihe mInnesInger's serenade for Renata and precede Ihe pea ant 'song 'lr revolt The bl/lltre dance unfolds to the backdrop of a hrill. ) ncop-dled melody. More than a slgmfier of the plague. il _ ica/ly conlIOIeS disease and death. later annourn:mg the am val of Ulnch von HUlleD !he knighl aJlhcted wllb termma) ypblll
thepr~
1be oarratmg IDSWJce also seem overcome by the confu Ion of events. mulllplyl1li IrlIce6lhrough pan • supenmposJlIODS and dl solve from one end of the town _adler wbicbdlitUrb the oense of space and LOnllnuJly Th, narrative, - - - !hi "IIory~JlhlDa lory, accordmgtoJeankK.ardou'smuluple £ _ _lhJ!e!he film 5 mrs" en ab me ", lucien Dallenbach provides a
~53leI"te
C
Infect ous F egenbe n (Hara d K re utzberg drIVe<' Oy 'he sp cOurtesy of S( ftung Deutsche K nema!hel<
'-'e __ . I tennas - ...yeoc... _ -.,n.n. - . , a relabou of .1ID1larit} basic defimtlOn for the atter . Sllbseqi.endy, !he same author describes It as With the work which contaIn II. . COIIIJDuousaspcctof!he_ve(~, "any sIgn having as Its referenl a~.... c:sean 011 !be diegetw' !eYe1 .........when It IqA text or narrdtive code ,enuncJalJOIIj linemen! he claims dial -any ...~ wbicb Moshe Ron offers yel a further re I wd ~ be placed ',," tJbyow.' -S< In !beaK of resembles Ihe \\ork v.bere II OCC!fi _ . L . . _ zoo fllllCbOO5lO discloie, II~, ... f iIh the sequence ID quesuon, the narrah ve harismallc leader and, oaa: mon:, also condenses. here. yet agam, a C ments (dance and proceIllOII) ~OUIdIc M oreova, the t\\ 0 collectIVe mo' e .. 11u momenI of reflexlVl'y ~ do P II) masses. . f the mue en ab)",.. of I , • • upplementary slIIIUS 0 pi the narrauve, cau JOg a brief Sf 'tk (he dlegesls and JOte~ zallon to another bearer A temporary "",.., posluon as It hlft foc I source of rupture and dJ51urbance. lbe ~ ~ I 'Alegenbem. u", otherw stn eli 10 be ...- _ ga/.e. name lineanty of Ihl film, a v.ork that -1eIId51D brat die . . . . undermIne . lbe mlst" ..n ab)",.., tresse RIC , of , • • iI:aI_ and non-reHe"v~'the narrall,e: acconhng to a ~fication a.. nymlcal umlY 0 ltate a ""bverMOII of the text diegcoio rail ve .56 lbl : " : . . can unsettle Indeed thoroughly III en • _I ) I I , the "" .. ..n
-'2
*
uu.......
read,:
it..
.L_
am:::
.ct. .we ..... .....
.-ME MIHAL FRIEDMAN
7
L'torieaI elements in Parac~/sus, dance and pI'OCession.
~ :bodies ID be liberated, but also to be disciplined and PUlI1ia1I11 • ... e -d the acrobat-hypnotizer perhaps refers to Pabst. miabt abyme goes beyond the d'.I~gesls ... 'a lbIt -Wthe....",hUll -. . 8l~d('velrf!~~S
I:
momen~ ~d
:.. f wt, i.e., Nazi Germany during the deciSive of AaIidBt the discontinuities in Genom film history md the diversity of ill ....... fundemental problematics re~ns ~ a ~nstant p~upation: fiIr. ideality furever called in~ qu~~on. This dilemma, If we fo~o~ dJlDg thesis explains the IDstablllly of the Oedipal configuration In figuIes are displaced and the maternal counterpart frequently absent • d........ without a mother, with a father she seeks to replace), out ofwhiich. die pcnisIient appeanmce of the double. S9 Bocb IJrousbt furtb by and bound up in this profound structure, a cwious . . hi.., iDbabilS and haunts the most diverse cinemato~hic narraliiWlI.o. deal ob mitely with artificial creation, the mechmization of the i V''Iion of the hllllJllll, both in the repression of the body's functioaa :4 jI,ti..u of its 1IIIII1ifeIIati. Eric Rentschler refers ID the ~:~~.:~ lilaiaPn zhioder's films, esprrially inB~rlinAlextuulerplotz, forit 8m with !be foo:e, possibility, and vulnerability of the wiIIIia !bear_"""" of modernity, a body 1101 smply OIll:!ject ID ....... III iuaibed by historical process."150 -fa Cbia am,w. traditioo, mise ell abyme 81 once reveals and subveql 11 I I oftbele fiIms. 1u F. W. Mumau's Nosf~ratu (1921), as in ..... SUten or the BaJmra ~FDrIlIM (Schw~stem oder diee : : : ; 1979). 10 like two te.....llly remote examples, a professional d , 1Ag's chlUISbation, !be university lecture) reveals apocalyptic • tired vampirism in DBIure, the specbe of genetic mmipulation • • eQ!nded professiooaJ discourse disguised as a film, the mise ell 0I1J_: "'tIIdy'~ ~ desires for exultation and repression . ...... m his recourse to !be Expressionism of the past, provides a PIOipbll 011 !be J¥ mil iD !be fonn of a grotesque tableau. The cro<wd's ""wIoa, !be coIJec:tive trance-all of these reflect a au i ....· d historical past. It is cel1a.inly nOl ir It. V_'s daoce is ~inatcd by female figures md thai it ~~.doubIc.for!be film's Wposing hero. Following a similar P I!II of tlageJJanl&-cmerging from a mass OfI]I8JDIII c:In!hed m.en who continue to punish themselvCl IIIIce ~ city's gates stand open before CCItain de8Ih. Stalingrad is near.
:I!;.i
,..<. ,.
--1IIove
':I::~:i.
'IianIJared from the ITench by _._••;
16 Dark Shadows and a Pale VI of Reason: The Tria/ (1948) G. W. Pabst's first po~twar film, ~. Trial ~ Prouu, 1948), Bnmngraber'~ nov~I, IS .full.of ambibCIII. The diIector Iwbuuoil conlradictory mtentlons lD.this endeavar.l'IbIt,1IOW bac:k:~~; anew-quite programmatically 1O-IIId, lit . . . . Early in 1933, while seeking ID find.fnodlald. It was ID . co ns idered a similar project. ~ ter anti-Semitism; m I"'N:bCIII Jewish businesses md larly endmgered by the new Ihis unrealized project, as and subsequent return to effort. Pabst now sought ID years: that of a deI~~_
lea.,.
emao~~:~;; suffered doubts ......,.... claimed he
topicaI~;.~-~'~~5~!1 enJi...... 1.
·~ocused dvocaleon ofsocial the Neue SachlichUlt, a analysis and polilieal canl novel. Carl and the 20th CenlUry (Karl lUIddtu20 hoW Ihe fale of its protagonist Karl Lakner-~ biI
ICC nih century 10 his de~ by suic.ide during the JI1~at:cri~_~*fK=:~= of polilical a?d econ~mlc ~na,nts. In a cisive analYSIS (not without materiaJlst contoun), into question generic convention.
rnonraar
authon~~~~~~~~ai
As with so many neu.rachlu:MtI lilical radicalism andother experimental zeaJ in the tbinia. cessful non-fiction books devoted to induIIriaJ besl-sellers would prompt an offer from Speer', book about wartime news service. 7 Afler 1945. 8runngraber,like Pabst, ...... 10 . . . . preface to h~s no~el. in keeping w~ ~ COD' t! lopical conslderabons an absolute pnordy __ M _ forsake certain orientations, therdJy c:am,. .. He drew on this "case" from
moda., 5
because in a striking way • jlhNiIIId. " section, in fact u an ........ 11-. derous univaul esty, in raciII
beings aadl . . . take il5 CCIIII~
A
Two rather
IuD 01 ambitIOn "In the name Iunanity Photo courtesy of
--.01
research, other, a and the
!let tI8Che KtnemaIhek
6eiJ;; ~ "! find a ~ distributo~. Despite considerable effiillfl:1I
~. ._ ~
.. ; :~DDt gam an American distributor, either.
, a film laden wi.~ ~ many hopes. remains today -a: ~ tbe&e milia! ~ions unjust, incapable poIiIicaJ, aad intentions? Did Pabst', ..
mel.
DeSponse? Might we be ....."
..-the film its due? Only a careful and
u ......
-5 ....
• Ill••
1
~~;~~~3;~~~~§
nmalives~uIIecI
sphere. providing. so one ~~:!=!.~ from powers at large. In this way Historical (1943) at once dress up as !he past and. siJmdtu..QUj
It45 IkCllllJllBber and Pabst no longer needed to pursue such
_ _ . . DOW to speak to die present in all candor. to confront !be IiIm and mass murder. Nooedleless. !heyfi chose to take a hislO.rilll I.a_fromdlepreviouscentmy. ltering!heirpze
$$ • ilL
: Ii ... a fiIIIIIpOI8I distance. Their in strate8Y~~hadl=~h:·tt1~e~irn~co:mmon:::~ _";1",_ oftbe death camps tbe
= t:;,;
fP;' rodeawuilrJen. 1945). TM Trial
_
:-,:'=~~~~=~~~=::
..... .my ......... years. MturitAge ill the SMdowslEu 1m 81.:" lM?) and ~ ~ AffairIAjfai~ BhIm (Erich Engel. tQ It
,111.
J,fN"........ng wbatseems to be adesinl to fiud an
,........uow _lIIiwe c:Io&uIe and also free !he autbon OUIIIYI
* ••HWStbe!1ed totbespeak Holocaust. Both !he novel about anti-Semitism
• c"
..... 1948 _ could IlOl I . . . . . . tbe • sm:ricynl genocide by !he NatioaaI ., _ so Faafid the! it -wealrJd !he I Ie tile IfIPCII of his~. . Ir" IIIMIIIia1s. -~madc . S
._
L'' ' ' ' :_':== !WI;
'
...... M..... .....- GIl' 'R' J
-'''''''6'......
rio.-
•
menttoa
though it was out of pla&:e in !he frar_rodi "'I" - - cIemoustratioos of Hungarian nationalists Dna ~=:S!'!>; ~ogues. give rise to 4'h -
--l1li ._.. . . . - A:_ L'
Pmlic
L--
conspicuous temlporal ~~?f man:hing fecit (whidil Ii of ~m ?' general) imnv:diateJy Wbea tbe Jewash inhabitants olff Ithe~~:~= hauses and led away. when II; _ L ..,... . , masses. one obViously bears of !he rabble-rouser Omody (Heiaz when OrnodY's adversary, Sc:Mnal'Cr) look from a we see !he reflection of of newllll!el from
_101\,
the
Ll
Pabst teLls the story from novel's preface. as chronicle. starting with !he ing on to the suspicion of a courtrOOm drama. who sees everything with an viewer knows that poverty. As a resuLt. one can the dynamics of !he case. recognizes anti·Semitic The narrative Bt1'III:IIa..... or enigma as the undcmiat,le Eva (1930). Pabst atrically perkino)
the end of tile ftuid tnull8iti_
_ _ _ . . . . btieI_thelOlllber post.... fnsti.. p.. ' ~, •• .. iI.dar .... be f _ ctamarir dfCCl ova- f~ TIle.. c:IriaImaIro JI"CI rue 10 COiiII*' t . .,. _ _ Ed III _ _ rBa 011_ .blb_,. dwxIer
=\.._. _st·
'=
I; i""lbepolaUy.,~~IIId~~iCUAasi:"'~'"
MIll'· ...... _ _ ekI of MSb's>Allloa; jRJ_...., VI _~_ . . . ... ad ~. Jews dre I at In 1Qd. the VlsuaJ field of die
=.:S;
5 t :r.ari _ .. _ ..-y. ofjucljc&11Ig EsdIer She :tI~p ............ how envyW11h:1COI::b~.: IIId • . . J .. k .. _ mader them dart fOR:Cli The increasing 7 5 ......." . . . 10. proIifcraion of shadowy figures. NabnI ...... • 'A 5 II. ... 011- ,. CW!foUn The nversiCle IIId dark boriz.oa . . . . . . . 5 • tile - - idecI. phoIpIkh"e1CCllt light Sf*e _~ ill.
IOib III
S
IfJ"Ih
..
IIC.'. e 7'IJ,..-face I
.. « b QIl - ........ aipCIft ~ fearful ,.,..,. 11 ........tlleirpa JAWDI.-bmelc:&N1II8
C
,
,. d . - . home from her " .... -J C ,..w:....... ' an "."",.0."The
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=
hw . . GIlly ...·1.... as IIIIInIIJIUdI or ua5y1ica5 lilly in the film'. myIhic "lJillllnlLllicil - bead 10 CIIIC of the peasantuenlel wfrom 7 ) ' •• deMiny faneea by CIIIC of the VICtims. Ihc Rabbi Sdlllf· (Be_ • II 2g ICy II tiftIId IJUI of the namuve COiIICXIIIId accentuaIed by • r I_Ilia cIftccioa. as well .. by dramacic lighting dfectl. band In drawlng·room painting.1hc l1J8j:abJre paDd . . . . CIUI In a1I-encompusing darkness. brokea
-= tilly . . . willi . . _ -2 " 111 .1Ice • II""'"
.t
prayers In conlraSlllOl_ point. wOlb almost
*" •
ean.
W
lence
8llI.
sequeuce
less dCltllll In thereccl"
_-
,,_....
configurations of the aesthetic potential iuhaeuI iu the distance.1bc Suss (Jud Siiss, 1940), temporary prejudices. Jews _ suckers; their _
W
wbic:b flII1hcr imcnlifieslhc gIOOl~II~y:,:~: SIR WIid. whar be ICC5 is the W, 5 : W likewiIC. peered ProphCCicaily bcyoud his .... I ..... JIftIPISMinn of. heroic philOlOphy orr ::~ . . -empcy IIZC IIId • flat voice. Scharf PI Ifis Werancc llandl in a lradilion or •.,..• ..... Ihcrc Will be flooda IIIId beiup uc 1CIfed. 1afed .., like 1OId. ftJr IlllViWJII and JlUriftcatiou leemed ..
.!
....-
mastICS.IpJICIIIII_.
•• IiIIeI _ Ibi U 3l1li chapa The IbIIad In ... , ' 1111 . . . _Ii-euzy In lit.. way IKa 011 C ." t 1'1 dii I .111 1...... II bewIJitS the rauI1 of _ a:t til,. . - .1 i • n ,- sa ..... ~[1fI 4i1jbjiil)'. to tKc lPight from : •
III A quarter of a century earlier. In E. A 1923), Ernst DeulSChplayedtJ-;roIcofthe ced his flllth. In Dupouc film. Ibis ren oun . frouc of . pnd poignant sequcnce In a ~, ... ,mage following an cx~ IIId C!l!filmha~ 1*'- II Jewish customs. In Pabst s poawar , "'" let prepared gesture of a still : _. will .... sa mindless betrayal. which, as we betrayer will serve as u"" pmrecu....... -T _ _ Within German film history Ibae uctwo .... resented. In Paul Wegener's TIle GoIeIiI the ghetto. with ilS bizarre an:bi1Dt:llR, ill
AIU,PROMM hesitation and uneasiness • the SI'Ightes1throughou:~thia:':;:= .... f _ . . . sual images might contalD u ....... 0 .... ~ rolc as the spokesman for all the Jcws the v::~ j WISt remain a collective entity allows Pa~1 a retreat, to a I ± lOUS terrain. Ernst Deutsch transforms hiS character IDto lID ~ eqnnimity of his movcments, the ?WnOlODe quality o.f his .spc ccb. aaocion, solemn physiognomy, ~d .umform appearance gtverel:bi:s:~:.: ~Iance of an abstraction, a pnncl.ple: the e~actmc?1 of an die eIa1IaI Jew, Ahasvcr with a positive IDftecllon, a llmeless rcP~IIII'1IIiI! tidness patience, and sorrow. In ~ film's second pari, the village incident takes on intematiOllld Wing to a trial with vast ran.uficati~ns .. Pabst offcrs a ~I~ of aIBF a travesty of justice, shaplDg reality ID aCC:0rdan~ With thcir01lll" Iusioas. The bJutal aristocrat and unfcuercd anll-SelDlte Baron unlDll;~ un: hen:. He seizes the opportunity ("I've been waiting for this. lIIInSfonns Esther's disappearance into a political and judicial COl", and ambitious ClI 8min ing magistrate Bary (Josef Mcinrad) and policeman Pcczcly (Franz PfandIcr) come his intJue,..nce:~'r!= tid c:unpaigo of agitation. Omody is a fanatic for whom II mg words, a "matter of blind conviction." Bary enters the WIlIA"!II! upstaIt, introduced in the analytical manner of Pabst's films from &bart take, we sec his alIcmpt to fondle a waitress; she pushes mproach, "Wait until you've become somebody." The conspiracy takes a precise course, one mapped by Pabst in a,_ the removal of the benevolent village magislr8tc FaJb.s, who ptheriog together of "evidence"; the construction of an indic""""t; fIIrII in a quest for damaging testimonies; the deportation of the villaae ......ng of the synagogue. The case finally passes from the State PartiaJDIII I ..D~~s, its coursc reftected in a montage of increasingly sluiill II . . AIIIi SCmaM' World sends a delegation from its for Esther's mourning
. . .:511 ·_ ...._:·..Ic • . . ..1,11 """",lUlU
in
under
lax,..,
..me hiahpoints .
PabIt ~ the narrative and fixCB upon thehc.l:= dcaslty, he portrays their sadistic .......... 81 'i lite kind of behavior ascribed to the ~ IIIiIic terJmiqua employed by Jean Renoir in TM ~... lt39), Willi obicure anti-Semitic documents m 111___ by Oroociy, the magiBlr8tc Bary staaldl •• 1'Ite cu.a angle, however, rendcn bIm . . . 01 a bini of prey behind him, ..... QIQJlpiaator to the door, lite ....... ...., ... ",liD& a IC1'OCI1 for ....
viIId.
'II ...........
EOtv6s combata die cfcnse. The II'beral . d akes private IDteres~ and defends,dIe Jews tors verbal altercations ID the Hunganaa Thcclus;on. Omody challcnges BiIn6e con d wn to a court of law and c:booIlng shoW 0 and ~ " . .IIII8IICIIm, con lcst . between reason . ,-_ .. 'into ...... it all bat cou rtrOOm interior IS tranS,,'" __";fte P bst expands the space, , , _ ctalieries for spectators m:ch up to die ecilial. shots, obscure the c~ s gaze, Tbe allent;on; both adversanes seek the Pabst's staging of the cowbuom_ lhe various factions, ~dedly out of century courtroom archl~, lite the lowest level. EiitvOs and ~ suming centerstage as the 1DIID 8I:fI1II::" d;~ power relations in the courtroom. be concludes with a futallllJPJ1I!!IIt. die........ triumphed, Tbe deciBiYe .. condemnation one hand, and a on the other, and the concrete seeks 10 nutke 1lU1oIIII_ mythic CO[!SIn~ Thevoicc
ARl PRUMM
Dark Shadows and Pa e VICtory
'lIT7
of the film', cinematography. Montz Scharf's claim that he gltmpsed the a fun:ltO~ o btherthrough a keyhole IS proven to be a radIcally exterior perspective that ",urdcr . lie the phantasmagoric concOCUon of fanatic~. ~onetheless, the film asiO lact ,~a \e~ pe"peClI\'C, a view reduced 10 the narrative to an imaginary testi,u01e' t " on the Jew"h personages 10 a clinical and dIspassionate way, and never ) "xlOg '. . own . ntimatc With Its ostensible object of concern, norallov.mg these figures to b<:Cl1mlOg I o\lng force 10 the narrallve, ellher as comrolltng ''
The Jew'sh corn",,,,, t. s~"oJrded oy aCC..lsers both on- and offscreen. behind and r 'ron' Of therr Photo courtesy of St'lu"19 De~tsche K nemathek.
radicalism that takes up the side of the vIctims and, In a ,elf-critical way, indicts the guilty. The closing speech of reason culrrunates in phrases that merely challenge uS,to realtze that Jev.s are "human belngs~ like you and me, to accept them as people wIth strengths and v. eaknes es. . In this direct address to postv.ar audIences, the film's polttlcal and moral defiCIts become all tooevidem. The edifYlOg speech In the name of "public reconciliation" is patronizing and almost cymca! 10 Its retrospective recognition of JewISh victims as "human beings." The narrative actIOn lIkeWISe rests upon a problematIC displacement of guilt. Not the assailants, but rather the faIthless betrayer and prodigal son stands accused, inSlStlOg on hIS fabricated testimony. Both Rabbi Scharf and EOtvos appeaI to the prosecution's key wItness. admomshmg the youth to desist from hIS claim that he witnessed the ritua! murder of Esther Solymosi. Jews in this way become in pan responsible for their own fate; the reproach of COrrupllon and betrayal IlOIIIe6 to haunt the victims of these same mISdeeds G. W, Pabst was not successful in hIS attempted return to the political radicalism of bis Weimar films. The Trial remains an extremely ambIguous contribution 10 postwar dj""151OD5 of collective ~uilt. Its analytical energies do not enlighten but instead beobicured by cooclltatory strategIes. The catastrophe suft'ered by the Jews ap.... ullle working of inevitable fate-a destiny that has tested in order to purify, 0Ie_1iJIda; unwitting traces of Jew Suss and Velt Harlan 10 the film's representa. -- . With few exceptions. the camera glimpses them as other from the very . . US e of Jews 00 a village street to the closing tableau that maroons the tr -y m abtiba:t space. thus inSCribing distance and estrangement U ;
5
7
A-aa::';!
PIIJst: The Last Ten Days (1955) ....... a aencnI consensus that Pabst's postwar career rep! mats a ........l1lil1li willi his earlier film productions, particularly with tbcilSe 1!IricI... OemIuJy in 1933. I Among the one or two moderately SUCCCSlIfillj ...... from Ibis IaJe period is the 1955 Austrian production The Last . . . Air). 2 By examining this film-the conditions of its production • . . l1li lis ItnJctlIIC and thematic coherence-we can begin to d ., ... oaIy dIOIe aspects whicb confirm Pabst's cneativity as a _1IIIIIbIe to 1I...·in, under di1ferenl cin:umstllQces, !be S 'I.., ofbis early films. Rom the outset we sbouId keep m .-c.....idUSiaGamany and Austria after 1945 was, tf flW Fi..."".Uy the ceutraIizcd studio system pcifec:ttd~~::~ ~dtIIia8d1e Third Reich was bImbupt, IIJd IUIda' Alliedl'\ , .w IDID anlllJ1ber of i... I'"..... entities. MIII\'lChU, . . . . . . . dIqIlpld indllllly _ eida war-cfaroard or, for . . . . ... 0... "1011 Zoae of Oa~, ClOII\IC)Ii«Ieted into a _ -1IHi Bwa! IIIIpOIfIIIIt is the facllbat cinema exhibition Wall, IIJd "II, under thecapbnd C01IIroI tbeOa_at of Americana :di:IIri~·buton=:~.~J.::::';~ 1IIact.... ing, they by Wall dealt a nearly IeIbaI bIow. 3 Under these conditions. diectorto gain a fOOlboId in Germany, and in Ibis _ or ~ his earlier lI_ses 1ike mtz Lang's eqla'i. I 9 7 IceMs the individual case.4 $11 '1 •• iNC iD diRICIing a film about Hider goes back at least to MicbrJ M_IM!, a military judge at the Nlllrem_g' ... the diRIcra make a film about Hitler's fiDaJ days
:.1-
_lie 7
F
"-'I , .= 1
i
5::5~~: twcuty-wlume joumaJ interviews 1IIIl1_ ...... peopJe.5 After seeing The of Trial in !be unW lbilwas tbe filmmalm who could 8111" rd .............. bIe to orgamU' . --sUale aAa.. ... ~ -1m ..... ....... to have Leo Lania join c:ouJd begin. 6 Not IIIIIiI ... - - willing to make IUdUI IIII8Il CoImopoI • JeWII. weaIday -l1li AM ~-
the impol18llt hr01 I,h," gyuaranleed Nazi attacks whicb could ......... agalnslan .. nalure, ForRemarque, wbolldle Slllve ",cn nJ a Time 10 Die ~It ZI/ lie_ Tim£' to Love a I ad the case of "the rtuOlIY 10 p e opro hose innermost core had not Ihose w '00 1 ... - ...:-~ a further allempllo 1 u ge u"" IWIU films like Westfronl /9/8 and her " as one which serves ... of ~?;.:~r:; acl" of the German IitIe refcn to die enlful days of final defeat during Wodd D"',...111 eVg in Hiller's suicide and Germany'. capiu4-;~OSI exclUsively to the Rcicb 0"'" dillY B • Hiller witnessed in its lasl months. We are eluding Goebbels, dorf, Keilel, and KIebI, ~ children. From M"S!D!!!IIIO I and the most imporllllll metaphors of the main havior, the cline which
w..
~1......
••• MARC SILBERMAN
latc p"t;~, 211 ual hcense. T.hlS is particularly evident in the canteen scenes pun""'t· th ... c.' ,. I A " . a 109 c nar-
rative at regular mtena \.
. . a counterpomt to the
aU~lCnty of the spaces a'!tUClated
With Ilitier and the close-up andmedlUm shots 10 those scenes, the canteen I u ually filled w.th nOIsy throngs ofdnnklOg. '1nglOg, and carouslOg sold.ers and nu,""" <eon 10 Wide-angie long shoh . 1 he last scene 10 the canteen .• mmed.atety aflU Wusts pa. thos-Iaden death. generates a sense of despa.rand soc.al dISsolUtion In a pamcul....') eO·ective way. The narrallve cut, lrom the Inhrmary to a pan of ",Idly danclOg legs and then Introduces a crowd of drunken revelers engaged in a klRd of dance of death The camera singles out a nurse who. with a clgarelle laSCIViously danghng hetween her lips, throws off her while apron. tear open her blouse. and begins to mOve sensuously to the mournful tone of the accordion. When the music Changes to a ,azzy melody, she is joined by a wounded sold.er wnh hIS head swathed 10 bandages and hIS broken arm set in a cast that thrusts.t forward 10 a mock Hell salute. Another soldier throws himself on the woman and all of them ContlOue danclOg as If they were robot . unable to halt their twitChing hmbs. Slowly the mu"c Changes to a cnsp march rhythm, and the crippled soldier'; dance ~~ms IOto a goose step. The sequence ends with a chorus of drunken soldiers singing Heute erobem wlr Deuhchland Und motgen die ganze Welt" ("Today we conquer Germany And tomorrow the "hole world") superimposed on the image of the goose-stepplOg cnpple. The apocalypt.c
~ eo> c'at, I Jd€'s ~ a aet€'IOratlnl ) s,turtlon Hitler I Albin Skoda) and Goebbels Willy K"us~) COl lempl'te ",mlr ' '! 100m. Photo courtesy of Stlftung Deutsche
Kir ~rmlhek
'}awdhl. Don 'I e'ers.W '}.wohl The world can gel along w.lhoul '}awohl.' Always keep f"lIh. Thele are a number ot formal and struclural quaillies which clearly mark this as Pars!'s /JIm. The undergp)und bunker elaborately reconstructed on a sound stage dlct.rdmg toongmal draWings. nO! ory underscores the film's documentary veraci ty. but also hnks lito other underground domainS In some of Pabst's strongest films, for example the nune IR KlIlIJeradsciJafr or the gang's warehouse In The Threepellllv OpPTa. The bunker's dim Jightmg and low ceIllRgs, exaggerated by recurrent low-angle ,hots and tight frammg. creates an oppresstve, claustrophobic atmosphere which, together With danCing shadows on the walls, relnfurces the psychological picture of a detunct poillical leadership. Seen through rhythm.cally aitematlng high and low-angie shots, the narrow staircase leading down to the bunker serves as a convenient transllion from the out>lde world oj war. which penetrates thIS self-enclosed world only through the mcreasmgly trequent sound, of mumed artillery fire and exploding bombs. When WiN scume, IOto the bunker at the beglOnlOg of the film, for instance. guards - hke the myth.cal Cerberus at the Gates of Hell demand compensation. v.ustrellOqulShes hrst h.s Identlly papers, then hIS piMol. he IS thus stripped of his IOdJ\Jduallly and sell-delen,es before descendlOg IOto th" part.cular hell. A 10 Secrets of u Soul. Pabs["s Usc ot stai" suggests a descent into the subonsClOU' sphere where everydayloglc no longer fUnet","s and, as in riJl' IJm'l'pl'llny Opera the space at the bOllom of the stairs IS ehara'·t··r./"d "y n . I d . nd
th~
.......
....
IJ
l(j
C
c.:amara eric a
The canteen sequence a modern form 01 the medieval dance 01 death (Batllelemy Amengual) Photo courtesy 01 Stlftung Deutsche Klnemathek
MARC SILBERMAN
Imaroc ... of debaucher) and ~all lcnn ... " a powerful and Irnni. =-. . l: . • . otal) on Gcnnam .... fa"cI"t lega(). l..o~eL,'tx'th... mo\'e~e~b of the d~ni.?tn!! cnppk and the wOI1;an ,In the canteen \Ck qua,llt'. that al ... o char.l(tenlc ... \\ u"t s_and Hitler· . . e\).·s lu ....nl..e a'\ e d'\pr~",ronl'tlc Ilt.:...· ~ ... ·*
J..-
n
\IS'Or.. ",l.)ml'lmot-
h ~;,s throuchour the film InrerC'tingly Pab,r ar tIN Intended to ha\e\\'~rner Krauss : h i d 'role, the actor \\ell know n from the qUlnte"entlal npres"omst film. The ,nt.e eta.rDr . CallOanWasCabinerdwDr Caligarr.1920l.aswellasrromPabsrs ,., . . ( tjvme n, The Je,le\.< ~rreet and Puraed"" 10 The dlrccto~ planned apparently from the Outset to exploit these puppet-like movemenh. which Krau" had Introduced so effectively 10 the carl) twenrie>, in order to strc" the theatncalit~ of the drama but als.o to Capture rhe expressIOnistiC and hypnotic dream state that dommates the characters actIOns, In fact. Ihe role \\ as played by expenenced stage actor Albm Skoda whom Pabst enlisted from the major Viennese theaters for hiS film. together with most of the technical crew and uther actors II In contrast to thiS kmd of stylized actmg IS the verisimilitude in looks and gesture uf other ma)"r l11'ure<, especiall~ \\ illy Krause's uncanny re,emblance to Joseph Goebbeb. In bot.~ cases. Pabst was more interested In develop109 type, rather than characters With psychologically connncing motivations. The characters abstract qualil)l reveals Pab,t's purpose 10 employing documentary authenticity as a hlstoncal backdrop for a melodramatiC narrative. The clearly defined charactert) pes and hlghl) coded dramatic slluations go back to The Joyless Street and di,rmgulsh the dlrect"r's best films, !Deluding The Last Ten Days. Here documentary verauty plays against a uOlverse of discrete elements that capture the fantastical atmosphere of those last. hectIC day' of \\ ar There are other details and images which. in their reiteration. give the film coherence, Like the slil!~ motif, the telephone switchboard is a charged visual image of contact tranSition and verbal communication. It recurs often in close-up shots situated Immediately pnor to or after scenes in Hitler's rooms and usually marks the announcement of ,,,me cawstrophlc news 'rom the outside world, The subway space alst) takes on connotatve fOKe as a repetitive structunng device. It is introduced durmg Richard's search for hiS mother through a long travelling shot from his perspective panDing along the crowds of mJured Iymg on the floor and the hungry waiting in line for food The subway at thiS POint IS one of the few ~paces where solidarity and human respect triumph: to a qUick sequence. an older. half-blind man threatens to denounce Rlchard's brother lor a defeallst comment about Hitler, but the older women sitting nearby turn the threatmtD a moment of sponwneous political protest against the accuser himself. After the SS-umt dynamites the SUbway. It IS transfonned Into a scene uf chaos. accompanied by a soundtrack of dramatic orchestral music and muffled screams. The sequence of quick long shots could be an hom mage to Fritz Lang in whose MetropullS( 19261 a Similar catastrophe ""curs when water comes rushing into the underground city The sub .... ay 'pace is qUickly tntercut tWice again with scenes of Hitler dlctatlOg hIS testament and committing suiCide at the end of the film: now it is ~~bmergedtn water as two viclims attempt unsucce"fully to grasp a sign that reads Wu schworen-Treue dem Fuhrer" ("We swear loyalty to the Fuhrer"), and finally of . the. still water, catches a poster readlng"S C h WClg .. ("S'I a slow pan . I ence, .. mean!'ng the enemy IS listentng: a Widespread ""st'r ' d . . 'd , , . Y" C campaign unng the last years of the fhu Reich) as the sound of slowly dnpplng water break th 'I . Th ' , f' s e bl ence, e JuxtapoSitIOn 0 Hitler's willful murder of w h'ld d ' I'd th b d h" omen, C I reno an war mva I S e sud wayan IS own self-mflicted death IS Cru II ' • m p. e y uo d erscore d b y t he signs , Irony an represents abst s strong"t indictment of G 'I I' h' f . I' Th . ennan gUI t or t e cnmes 0 National Socla Ism. ese object' and detailst· ' h board Wlfes, ' - s airS, SWltC the sub-
Late PabSi 213 \\ ~"I)", 'ilgn~- take on an anthropomorphu.; hie of their 0\\0 In Con t, ra..o;,t to the t:haracter ryl"'s "ho become progresSively dehumanllcd. On "n\lther plane the nralt of frederick II (the eccentric elghtecnrh,century Pru"l"n king .... hom 1I1t1er":.'ctmlred as an. other great. lonely military "nd pohtlcalleaden hovers o\'er and behmd Hitler 10 hIS ,tudy. referred t~ \cveral lime') In the him a~ a hlMoncai example of persever,snce dunng pe~o~~ 01 pollucal tension ~n~ as an cxcu ...c for Irrational behavior. Fmany. the film Itself IS framed b) an Image of Capt"1n Wlist\ face shot from above .tthe beginnlOg surrounded by clouds of smoke as he waUs 10 a bomb crater for a chance to run to the bunker entrance. and at the end supcnmposed over the smoke and flames engulfing Huler's funeral pyre. ThIS final Image of apotheOSis clearly sho .... s hoy, the film narrativeseems unable to choose between its tragic framework and Its melodramatic structure, As the bo
c.
....... ...... 7 II
' ,
I 5
•
.~III:t~1:;~~;=; WIIi11I....... ; . ,. . . . .
...... ..._........."..,.,... . . . . .•..... u
f.miliarity~i~2!!
drama il
mane! IUbI/cty.
of intereSt boIb 16 EdinbuJJh· The in World War 0 remilitarizalioa adminillUlllioa • the war. it WII
ma.
historical eveall~:;;:=
battles (II in Ji
seils derR~::~~
ThaI's the
mixed;;JeS;P~-oa:ase;!UDOIII=~*;;;;~ ........ b ",.,..apbic 'h 1M 'M lOtI n=alistic:a1Iy ?be memories of d 'u,?be qur:stioa of coIlettive BUilt, g ..... • _ ......-'-~ ~WlSpoi ~~ 10 1 •- _ a....... II'Ity WiWCCII conuptioD ..., •• a • .-", coofIic:t. On ?be oae band, Ibosc WIlt." ifDOtiDslae. On ?beolber, Richanl, aclllild._ ea' ., 1 .. djsiIh!lljoaedvictimwhoneverfindstt,e - .... ILP ill WIIBt, a youDIlIIIII who may have provided • I ... . , . _ ..... ., who WlDIM 10 tbiak they _.11 'd z n S......... dinICt aJDfroaIatioD with Hitler 1IlWIt_ ..... k lID. a .., ;' " 0 ' Fur?btimcae, Pabst'ss : : : : .,0 i -W fiDd?be power to cI!I... a. 1 tile iiilWOIb aad SInIcIUIes of N~ 1bday- . . . . . . .y . . . . . .... . . . _ 1M' d to Kbep fUIa-? In wIIom? .. ,_7IIe . . . . . . . . . . . . .'111 i'C?be
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Georg Wilhelm Documenting a Life Georg Wilhelm Pabs; was bora Labem. Czechoslov~a). Hill fiIII__: way. served as a staU~1IIIIUfeI' Vienna. His mother Elisabe?h. years older. went to e ~~~ actress. Pabst grew up m His parents wanted him of becoming an officer, an Instead. he started ing there two years . In the course of bis SI. Gallen. and in ent roles in two Yell"" strained vocal COIIIII.I the city. he visited Buhne by Otto strong impression to the theater in In 1911 be j4)ineo
lh:
Sal_
. . . . .IIf,A£L BOCK
u-
LMiN Millerilt. based on Schiller' chma 8CC""'Porill8 die play's social criticism. During the : ill . . M.....AIdier m die BliichersIJ'aSSe and in eubabclsberJ ..... 2IQr die cIiretfOI' JToeIicb: •
. . . ....,.. ROaIt .. PfeubeheI$beIJ. But !his Ii.... for. chlnge. plllllJled . . . . . . . . . IOObilpla)tnmFt ..... icangarb •• small I _ ... _ . !he ...... majorily as recruils. soldiers. and . . . . , _ . . . . . . pound .... di........ ·s lOwer Carl FtuclichandG. W. .. ' II is .........1 malta'stI8IIII! • rewlulion. Ftuclich and . . . . . . . . . . . clair 10 !he bil playas duO they an: soldiers of a small . s.
Pabst,..
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'j j.., . . . . . . of !be e..I".... ndo cenIWy. . . . . . , . . . . . " IS c:mDOII
......
people sold by !heir sovereip fodder. so duO he would have !he _
wiIIo ........... gifts··
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...... 8S a fijmmeJrcr wouid be another IToeIicb-FiIm 1922. lie bepD WCldt 011 TIw TretlS/l1'e (Der Scluuz) WiIii f' Wi baed 011 a novella by die popular wriU:r • "1IIB-.y bhis lint fiim, " wriPcs Mic:baei Pabst 'came • ,.... Baat. iBdiYiduais whom the ~ bad IIIIIt ae eXI!C fMIc, IqIlese wid! elaborate sets and ~::=~ aad power wbicb beca_ a OiIicIrm • .., I1111I8IJc pc!Iiovcly to the 1DU1ty~_en-'_ he I'.""s sbortcomiap:
...
. . _ _
-.IIIIII!C)'.
... ...., aewaI" ..
S h7 • _2 • G W 1'IIIIt'. 0Iberwi&e excellent diRlCtioili dlii ~ it ia die film. is given far 100 much iaPiPude,,;t S !Car....... nI. e&peciaIiy in !he subIerraDeao ....1lQI. .
...
.i ii..
II....,. _ r
.............
...
~ ~af~...~~~~~f~.~~~~~e:ooe:~ligrufrom!helWkIOO~~ .. die ad!cr 1IiIIId, was !he IinaI effect: one aimoIt
5_1=, how !he ceiliog CNlllblalj
,... _ied Genrudc (Trude) H . iOU,~, wu born 00 ennmg. wboDcrembcz'7 Willi bom BiIII?aDt for Pabst's films • •
i::TI!~~?eIJ'~.~Iint::
!
During the making of COI_ the star Heaoy .... Ilia camc:r.:
::=5~g
"as Pabsr's firsl big SUCceal. (l)oSldered by subscqueDl Ih~ film's generally enlhUlIUQc
LaM,,,
Unlike Th~ /..asl (0. lioo" ISp;IUnJ~islllll' I wI!Icb a popular film which ,I might be said, usually follow will, cheapest contrull sin-all of the stand1nlllfP'et' threatening and
Casting Asia Nielsen, Gert in important roles • of poverty and extravagaoc:e. Censors in many COIIIIIriea The film was made iD tbi........ pleted it wu fumce
tumedthe of !he girl . America it ",.tllill mance of thIJ
The company
sian Michael SaJlId(jj by Pabst and striking imlnessierJ
Dr. Pabst•• senlences his utterauces• compel, he COlI....
guide .... Abc"-ld as wellu IIOIm ., • • Later in 1925
d r " Secrets 'ofjll .II. ama,
Hans Neumann. mtssion. Ne1umlDlll" pies. Dr. Karl IRteoded 10 sultant
lIIatizedtbe
20
HANS-MICHAEL BOCK ~ d with II hmvura and lac.:JiJIY which nm.'17cs. Neumann. 10. h«n accompJi~hcd. In d cC d I I d
. \\on,l!..' 3. scnp' ",hh:h proVI c.."S d mo~1 IVr: y an in'lruchve •her WJlh Dr. Co IIn Ross. . ~c h d ffi 'ull pruhlem Dt.'splte lis ,"fclll'dual Ifilpr'.ngs, rhl ... Mory has Introductron for I C I I.: . ·f· In fact IllS a nonnal fcature hIm, whu.:h without In any wOjy preach_ roth fccl In rca II I c. . . I d up as a nonnal katurc film lIJ..c thaI 01 any other genre. And mgto,hC\lcYtcr, san s . h . I I I., stnkmglv fantastic. drcamhl..c. vl .. lonary as we ave rarely sccn
nonclhcJcss If a so m any other hlm.-:
OOA,
.
, h·IS pIan t0 make a Gennan i:OunJerpan to Sergcl Eisensleln's Ballle.,'hip POI A,ter • . . emkin (based on Ihe 1918 naval upnsings In KlcI) l,cL" throMugh. Pab/st tuhmed to a Hab,burg penod piece. the melodrama Don'l Play 11'/11 0\'" ( all.lp'C IllIe I mil de, · h ) Th' work was produced oy Phocous-blln and shot dunng August and Sep_ L Ie c. c . Id d· V· 0 tember 1926 m Trianon-Atelier In Berlm-Gruncwa an m lenna. nee again. Willy Haas wrote thc screenplay Tht' stark·t LIly DamIta assumed the leadmg role, .. appearing with Werner Krauss. Krauss would remaIn Pabst's favonte actor, work In!! with the d,rector repeatedly since their encounter on the set of LUBe Milluin. In 1930 Pabst spoke to an interviewer about his collabordtion WIth the actor: We have among others the Eem,l Werner Krauss. He IS rarely engaged. But in fact he is one of fe" people who lend themselves well to Ihe preC'islOn demanded by the film medium. In "(Jund films. where it makes sense (0 employ the good speaking voices of the Mage. we dare nol repeal tbe mistake of early cinema and let ourselves direct or act as if we were worklOg for the theater. The actor m sound films must be able 10 respond to !be click of a maclune. not acue from the stage. Werner Kmu" can do thaI. He doesn't try to assert himself agamst the apparatus-as many slage aclors working in film do; he lets himself be swallowed up by the apparatw'I. he becomes its instrument. M Krauss. who among other roles. played the lead in Paraee/sus (1943), was foreseen .. the lead for Pabst's postwar project about thc demise of Hitler, The Last Ten Daya (De, feme Akr. 1955). Y Pabst went on to make a film for Ufa, which In 1927 had been taken over by the conservatIve and nationalistic Hugenberg group. The Lore oj Jeanne Nev (Die Liebe de, Jeann~ Ney). based on the novel by thc Russian author. I/ya Ehrenbu"rg, involved an I~tngumg blend of politics (the Russian Revolution). love (a French woman and a Soviet ag t) d' ... bei . en . an . aclton (amlssmg dtamond. murd~rJ. Pabst, as ever an active par.pant 10 the .edlung process. proVided montages With both gigantic. grotesque portnuts and detail shots as well as long flowing takcs (cameraman: Fritz Amo Wagner). wbich.shaped the style characteristic of hts best films.
~\lbe press celebrated the film and lauded the manner in which Pabst had de...........
~
IS own dramaturgy independent of the novel. Ehrenburg who had been on .' d h' .. ' . . cd 'I'!I;IC:.~I::~.~~ U~.. .. . • raise ts VOice tn anger. In a flter enutl • '" of the a. he cnUctzed how the adaptation had diminished the polilicai novel for the sake of superficial entenainment values:
-
DocUmenting a lite
.
l"l hi . . Jeanne. [he aUlhorofcou~dl·d' Indar__ _ (rca - n tevcn ........ ... unp<JrtJnl When Ihe author demanded to hav I!
1hIte....,
The film found its way into American cinemas eartyin 1928. After sful initial shOWings. Jeanne Ney appeared in a second lIappoa-tad-y .... c;~~ced to a pure action film with new intenitIes and ~~mJalyI921 r III names. Adolf Lantz. Ladisl~us Vajda •. and Helen Gosewitscb coIw. _ ' . (Abwege). based on an Idea by Frilz Schulz. a ~ch'hlIJei enslS wracked by confUSion and turbulence: ....
----qpgpa.'
COIiiiidy""'. ow.
A young wife neglected by a husband who length so overstrung that she rushes to an artist frimd..... b togelher. . . . Hollywood has done it. so ago. That is the disappointment. This film and its conventions, whereas all Pabst's ha. nothing to say against a system where IJIII:II suggestion. no comment. It was in 1IIII1y "~I.t_"1IiI! veJlously worked out. But Pabst is. pIIi-"~JIII!IIII
c~~~:~~~~~:~: ~~~~~~:::;;;
valuable else. But in Abwege the obvious is an anistie triHe. If the husbaDd II quite nice people out of bis house. nowadays to be shown that this liII.tI. that no wife of to-day is going friends would put such a man quiic:tl~.t1 Silly actions to be allowed to pus. and this is the time to keep on slKlWit.. iL~ And should cenainly be seen. 11
10"
lor part of Ibe studiO production
They :xperie~Ced author! How is he to combat the widely revered bil _ _ e at ~ d~~posal. after all. public opinion. capital. and !he ... !!I•• QIltlIin ,Mr. m program for J,ann, Ne\' claims that I wrole Vajda " . '•• Dl1CII1mai . Yes. Ufa is not Chalybjew; it knows well OICaplldes. So it looks iii if the aulbor hillnlClt
In mid-I928. Pabst began a series ofa. ~rlect Icad for his nex.t project, an II1II...... reponcr for the Film-Kurier described die All around workers hammer. Pe~tOC" thlOgs casy for the beginner. 1'bIIrI Ing. And nonetheless Pabst it: not a vamp and a vulprly". scarches. searches, searcbIII
_.a.1iII.!
..... I.
'nil
......-
. . . :n::tJll1
_
'\1Ie Censor BOII'Il ",anding cuts young audiences)• of circulation 0I0Il~:;= banned by die H in an official
dec''''.''
...... II a
.....I.II~....
"1
The film edited by
While with end• •
.M........,...
_ _aeoel(
M_
for PIbII' ftI'It PIIICI film were _ m l l l *
. . . . pwl ' . IP England fill" Alpha bean die ade,
• apcn 1iJIICI', in die IeIId roIc. BUIte
ipgs lillie
shooting die film IICKt "-Ill film uJtimIIdy did not take shape. AnIOId FancIt's mountain film, The ..,,-, _ Pu PIIIil, 1929), _ming n:a~lOIIIibililty fCl.... _mille fiIm's~' claimed d!tbat:~:~: bodt clay IItd mght, R P I _ , . well 81 all of die tudio intcriCll"S (tile II1IIII1II111 The film W81 celcbraled by tile preu. _ CIJIIICI'VIlIVc nationalIstic papcn. Hans FeId.
VaIk. PIbII will
sW1
wid! Leni
.....,.,.19
tppeaI. ......_
filmt:VrrJ bit • _ _. .
...... .. ..
. . _!lave it 1'IaI:k." willi
. . , willi 71w ,
ftIIt'" .I'Iz"" " ..,
"lenl ",ork. but every m:~=:::~ new medium. SOIInd 81 nlY acknowledged !thIl:.::=~~
"pC h' .. _-'1,,0,1 . h' director; nol IOg ....... ICm.w ,,1 I he new lechnology. Only by "I II' ~d
work of art Ihat would Unl,osl Ie . falllIII'llf.l. unabashed I y spokc out ID pa While West/rant /9/8 was IliI1 ill make his most important filllll [III> Miracle of Lourdes: A /le.\ Mysterium ) for September~ ;i~:;':== cripl by Walter HascncJever 81 ;he film would not be realizcd.1'7 May brought a Scandalous Eva (s/cQndal um viewer in Close Up retnai_l il would be dull. So in I~~::':= in Europe, in spite toao Nero-Film obtained - -.. play, The Threepenny 0",. . financed by Warner Bros Ludwig Scheer launct• • meeting of the Natioaal Iheaterbesitzer):
1930
N:===
tn._
Just imagine tballIll
never to reIUI'P headshaking, its moral scnlplllJii should not be
II1II,..
,
s
"
After mm~Oln~~th~-~long=~:~ more or Ie the actual shooting bell_I to his customary pracdclll material completed Even though .......... cd, he still felt his promised by the SePtember 30 on,a in legal
::overlhe 8recht
'tidied
._.IItAEL BOCK
_ .... dIe film bid disapp"'red. It ~ final!II:Yr..:::~:.' b a y 14, 193I,.~formawreaucliences(j D 'Ioe.,." in Bedin 5 Atri~. .. . • 57 .at 1931, die NIIioaII Socialist ~IDIS1e1' of the ID~ for ~l'hIIriII • die film Iium being shown m that state IUId petitioned 10 b. . BoanI, d'iming that TM ~~""Y O~ra "in!illll.e , ... ..tamiDeS aud endangI:n moral ." The MiniSleI' of
, f.,IIIeQmnr n'
_1IIe iii"''' •ofApril JlchnlMVl in Baaunsch~ig jo~ ~rotest, I, although the ntle, Giw, so
...... _
IIjJUtM 011
WOllen
. . . . . . . 10 ,au'" bid 10 be deleced. . . . . . . . m UIICUl ~ioas in Germany aud Great Britain; the fte_
IIIe "I
..... lim' wiIb die CCIIIOI'S, who demanded numerous cuts. 1ai1D~=: IItil ' ."j_ of !be ftocncb Parliament to a special sc . . . a C, ... !be film was banned aud not paemiered until November, baviaIg UDdagone substantial editing. After . ' : ; _10 ...... tllefilmwas"nnedOllAugust 10,1933. . . .* I at 1931, ..... 1+ !be Vice 0Jair of the Associaatioa . . m I . WiTlldIe .... ofLupuPic:k,bewas1lOlild-wiIb If J6 C ' UaiaB at Film 'VIotJdaas II ' D d'oi e~, f .od_&lDaaW)_
II. . ......__ at_
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. . ... ..., . . . . _ "
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MIl..... lOdled:' Ph ofDadlcl., dlwVerUll . . - - . , "Film for Film', S·..·I" I .......
,
rinwbid!fiIm~ ... klllclliac: rileD from itS primitive fIiII..,. diem
IUCb &I Dod/o', . . til: puup"liabl _ ...
........... ... __ ow,_ ..
Ladisl aus Vajda,.ancllPelLlrlIalllll of 1906 in COlI!'"m:I, 1'1 tion Committee for die H:ns Feld in his where westfronl1918
showed the German the
able public re&OIIIIIGII If. tries of the world in Duvivier in fUatce; II1II Mexico. For all oftbem II1II creator's disl8ilCC to ideas; film 81 such .............
bilOWi'_.
Kameradscho/t Pabst was made a position in Brussels, time by an 1965 as Pabst's auoet the New ObjjectMl!~ Hitler's rise
Mistress Shot in
_
"ANS.MICHAEL BOCK ........ suII'eriIII fIOm uopic delirium. The sets had to suppon Ibis object, on the IoIDd dIey mUSl sive !he impression of complete reality, on Ibe other hand Ibis ..... be ",,,daed improbable. The rasIt is an interesting one, it stimulales !he iRIIIIIn _, ud wbiIc!he expedition had been wori
_.39
'I1IeFilm-KlIIVrleportedinJuly 1932 Pabst's plans to leave for,..:p,han~·:~sj,~~~
_,...., biB project, Ell1'opD A.G., based on motifs from lIya ~ r"d'fllfStlcrwlGoods, and the Ivar Kreuger affair. The unrealized film was
. .I'IbIt'l _ produdion, planned in a French and a German version. 4O IIId,y .1933 PabIt wroIe an article for the Reichsjilmblatt-Almanach " "ID*' J'deIion between film and the state: '
_"'1IIIt
BIlly .... artisIic: fonD of expression is DOl considered to be so impol1llllt n=ne such close scrutiny. But film is 1M an form ....,. L...a ..... ... a maIuIioury an fonD. The masses can be informed more ellI'8I\I 0-1 by film how their lives look and how they sbould , 1III;tty ..... mjIJ.··oflliers could explain all oflhis to !hem. ~."ID"" _groups and economic power.;, from rall·u m• . . , . . . C8II it IdIieve its full polenlial. This liberation from ....... film dutt wIticb it in IIUIb is, what it was destined to be-tbe ':::'~'I1IiI~ II...... -.m film explains my own attitude toward the , A F SIl taallaaa ~ [K~lISch). If be is DOl merely an amllD' : : - - ' to earn his daily bread, but instead regards film as
aad......,
..
borne his ideas to !he audience, just as a politiCllI, • • '. SbouJd film only deal wilb social problems ~~:~ as ta ~Iy !he case in !he Soviet Union? By DO enhghtenment about social problems and in dilat ,waY c:uIIIR of the masses. I, should, however, also take _I_",.",/ifo tmtJ render IMm in an aniSlic form. 4'
~"ldJe, IasI ~ of 1932 and the early months of !"IllIg, Doll QlIlXOte, a rendering of the Cerv8lDlll RcIor ~aliapin. (Charles Chaplin of the film.) Maurice I.~=~cIirectoni paNed on the to
h
CIIII;::~~=:~!
Ing , ado w, of an extinct_~_ II _,m_ ..... ageaoflpe kDisbts uixole himself-un..... ' .......... Q Don . this I - - ' " ...
th i" own law •. We expenence 'IJIII' - ....... _ • ~;aw,"g., indeed, which onuimply has 10 deiuibe al
iNC
·tler's rise to power, Pabst remained in FranI:e. whIR. - . . . . . . Afler H, . . . . . . . . - ....... Sorkin with . he helped his longtime COWUl .... , ........ , leel',. supervisor for Celie nuit-/tl and muc:b 1arer, The W1tite.9:,.",13), .. . . . . arusU~ 1939). He then made High and Low (Du htuIt ell btu, "' ~~~:n :~d Michel Simon .for the P~I ~ of Tobia-KlqIiIm . ue of steady companIOns-assIStant dim:Ior Habert reun . Max Emo Metzner, costume designer raled with a number of German emigrants. Pefa' I..CJae p1lf11d. gen Schiifftan se~ed as came~, aDd AMa .adaptation of Bus-Fekete I theirreactions, farlmg to see much of PabIt I c:I
Lad~~laus
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brought out,film? and it is, above aJI, I. it a bad I think
..,riou. reproach. What one ,,,,.,-111,, 1*1 quality, which one would baN JIruIIt Ii..
In 1933
and 1934. Mill,,,,,,, ••• 1. . . . . .
Semael's Mission The projiect 1borc, d in ninetec:nthl" fus, a result film until
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~
Documenting a Life and a Cateet 233 Involve the ...can.:h for the real perpetrator. '[he surpn ~mg Cfmclwlon reveal i the the ft to have been the act of an obsessed collector 56
The pr"ductllln ,eheduJe uf Bavana f(lf 1'141 19~2 l"led a ne," Pabsl film, MntcriouJ DepthJ I Gch,'wmi.ll'olle Tlrfe I, o',ed on a scnpl by Pabsl s \ltle, Trude, and \\alther von Hollander, to ,tar Bngltte Ht'rnes and ~rd,"and Manan. A nOlice in Ftlm·Auri,'r de,,'noed the project The Opp\l~[rJCIn oct\\C'cn the Jde..tii!'lt and tl)L' maIL'naihl the one belicnng In hl!'l own pt.l\H>r-.. the other In tu .. mont") t't."g .. - ,... .l~ old d!!o humanity ihclf The !'Itory of thi~ fllm leads u.. from the Ice Age "hlch t't[(lke ('t\er Europt:' many millenma ago into the prc~cnL The: tonn ... and .. hapc . . may han~ I.'hanged: but the haltlc ~f light \'CJ:\U~ darknc~s ha~ rc. maml.'J the .. arne 4J1 C' ... peclalJ~ elaborate: ,hooung \chcdulc .... et design. and cast dis-
ungulsh tillS film . '13
MHterioU.I· Depth, was eventual!) sheh·ed. as was a biographical feature, "HeInrich J., genannt der Vogler," based on Ihe ruler who conquered Lorraine in 925 and later In 927-929 controlled the Bohemians and Slavs ea>! of the Elbe. Apparentl), Pahsl played a taclIcal game with Gocbbel;, IrYlng 10 avoid tendentious film prolects by repealedly res iSing ,mpIs and Ihu, ,10" ing down pre-production work so thaI ,hoollng never slarted. To cdebrate Ihe four hundredth bIrthday of the famous phYSIcian and philosopher, Paraeel,u" Bavaria announced a film to be directed by II, head of production, Hans Schweikart Llllmalely Pabst made the film, receiving a salary of 30,000 RM and an addllional 1~.OOO RM for wntIng the screenplay" IIh Kurt He~ser. 54 During the produclIon 01 ParaC/'lsl/s, Pabst apparenlly clashed with BavarIa. Fritz Hippler, Ihe Retchsfilmintendant. wrote on October 5, 194~. Ihat the behaVIor of the dIrector G W. Paosl WIth Bavaria IS not In keeping" IIh whal we expect today of a film artlS!.. Produellon linns are emphalically reque,led nul to have any deaJings with Pabst unril he has Lome to tcnns v. uh Bavaria
"'~
The film was beIng edIted when Ihe So.vlel Iroops occupied Pro g 1"45 . a ueIn 7 andwas Th I d never comp ele: e rc~aInIng malenals are In the Czech State: Film ArchIVe.. After Ihe war .. end, Pabsl slayed In Austna, retrealIng 10 hIS ['·1 d . . . ami y resl ence In Slyria, Ihen movIng 10 VIenna In 1946. In 1947 he lurned 10 TheTrialW P . .. d m Ihe Ih·1I1Ies), work'mg OUI of Ihe Sovlel seClOr in VIe er m::e".a . I he Projecl mItlate . h J'h L [) nllll. n I film ,Iamng t e CWIS aLlOr "rnSI cursch- Pabsl confronted the queslion of anlI-Semlllsm, reconslructIng an authenllC case of a ··ntu.1 murder lrial" from 1883 The Pabsl-Kiba-Produclion Company was founded at Ihe end of 1947, funded im: lially by a muniCipal grant from VIenna of len million schillings for three films. SuDsequent controversy in the Vienna CllY CouncIl led 10 Ihe di"olution of the company 57 in 1949. The finIshed films Included the old project. MnteriouJ Depths (Ceheimmsvolle Tiefe); Duel wllh Death Wuell mil dem Tod. directed by Paul May. scripted by May and Pabsl wllh the laner servIng as artistie supervisor), a film aboul anli-Nazi resistance fighlers; J. A. Hubler-Kahla's spom comedy, J.]-3-O,u! (I-2-3-Aus.'), wilh Hans Moser; and Georg C. Klaren's Call from the Sh (Ruf aus ~A~u).
.
Pabst had planned on making a film in Ital~ aboul Pope Boniface VII starring Emil Jannmgs. an undertaking prevented by Ihe aClor's death In 1950. During these year. Pabsl prepared and sought financial backing In Italy (with. among other people, !he producer Dino de Laurenliis), the United States, and \\est Germany, fora film ve~ion of the Odyssey, in the director's words, "the classical depiclion of a soldier returning home fro~ w·ar... "58 He wanted 10 casl Greta Garbo as Penelope and Circe and 10 have either Clark Gable or Orson Welles play the lead role. After Pabsl's own attempls failed, de Laurentiis took over the project, which resulted in Mario Camerini's UI\'sses (1954), starring Kirk Douglas, Silvana Mangano, and Anthony QUlDn. Moving to Rome, Pabst completed the Italian-French co-production, Th.e Voiu of Silence (La voce del silenzio) during !he course of 1952 and 1953. A Vamry IIObce reported: Mosaic plOl, overdeveloped from In idea by Cesa!e Zavattini, follows severallIICII "". Ihree-day spiritual _ tbrou~ !heir meDIal qualms. as !bey mull over post and pled try to reestablish !heIr purpose m life .... a..n.:tcn ..., cold and oversent an for .....'-1 I' of 'fi d and !heir brief ftashbacked tales .100. pody resolved - . .~'. Is a case SImp IIe, .1_ ides 100. many-scriprers-spoil-!he-Slory, and !he mtncaIC but empty _--.-, jAuw _ , d' .. Inadequate guide for Pabsl s IreClIon.·
n
The film received the raling "politically and artistically worth"hIle." On August 28, 1944, Pabst started shooting Til" Molander Alfair CD" Fall Molander) In the Prague Barrandov studios for Terra hlmkun,!. .
The film is about a Stradivarius, the "SublIme ViolIn" IStt'rllrllJ/"igt'j whIch is mis.
Iaka! for a very skillfull imitation and Ihus bnng. a young \Iohmst und~r Ihe suspicion forJery. The film's dramatic siluations denve from Ihe conlhcl of Ihe slalc allomey WIlli the mVe5IIgaUon belween love and dUly, between hIS love furth. violInist's -abisdilferences with hiS rather,lhe head Slale auomey. II • mos I gnppIng . scenes
'! ".jed-
Pa b st was mue h mo re successful. with . his 1953 opera productions of Verdi' .... T d La/ona del destlllo ID Verona. ro/'(/lOre, an. the wriler Bruno Paolinelli, PabSI founded Kronos-FtIm m 1mb th Togelher WI ted the film, Mad Things (Cose do pazzi): "hlCh he du"Cc
. 1i_1D' furnished room. In !he same house bve. a .... Deba ROSSIr, die mad one and carried 10 the IIIIIIIJC asylum. e~tatea ; ••1 5 Only Dr. Forty, hi 'ssistant, belIe10 be normal· In !he meantime Deba' belieWI . . . . . blppencd 10 her and am...: Silvta."
:r
wIIo_
fiMte.--. III"
HANS,MICHAEl BOCK
Dor;l,;m~ntINJ a""" , d'"
. . lid " Slin, 'n lov,l: \\'llh ~'I- - frt.'l'J rnrll..(la . ,'onk" _[hal [hey have fallen .
14
udH·nrure .... 1"-' 1.1, ,... .... [h, c.a,:h C!lhl~r De I la ,... happ"_
J'" ... h~
(.'':10 n(lW lreel) marry Dr. hmy, hel
b t deep mill dent, Vll much ffi ., fa he lOll on . 'Iudin~ Th,' ('OIl(i:.I.llOll of IIll air (0(/.\ B,'kl'llll/l( h tOil ·a/lntere,t. m c , fi B . R . IS the!h. ,"IrA h1:-; IY-;4) I.. a pulp nlnd nase d o n . :.md R(Hl'S or ('f(IIl11 { 0.\('11 .(tir Betti"a, (/Lrina o r , 'a"clut ''(lu 1956 l. a melodrama a ~n g woman who,e dancmg career ends When she is. c
,tri(ken \\ IIh p/ IfUltnr (E, gesc hah am:!O ll1lt), with Bern ard [C I s tarnng as Count Staufennerg. L
"
•
PJb<:[ ~rJI.:k ... Cl(l',c·o ~I .. rol) n lTeating the political and militar} e\'ent~ of the fatefUl day,
JUlY 2t • Hut he looks at the .\lfua[Jon from the human ~tandpoim. the conflict going on
inSide 3 h.. ndf:.Jlf men who kn("w [hey are on the verge of changing the COur~e of histo. ry far from detra,.:ting from the . . enousne ...... of the ... ubjecl. this personal (rather than ~crach!<.ion around an e,clting c,'p" :md-robhers 'tLlI) The latter him tdlrec!ed by FaJk Harnack) may give a herter understanding of what was Involved in the a~,a . . !<'matjon attempt. in terms of the undclt'urrcnts of reSIstance to Hitler among cenam Gennan .... But it remains a lesson in h,'(ory (an exciting one ho\.\c\'cr), while Pab~t'~ \'cr~lon i~ a work of dramatic art,ell Pah,t's onl~ work In color, hIS tinal completed film, Through Ihe Forests. Ihrough Ihe Fields lOurch die Walder dureh die Auen, 1956) was a --romantic symphony" about the composer Carl Mana mn Weber, a light tale of intrigue and romance set in the COUntI} re"denee of a whImsical Bohemian count who competes with the musiC'dn for the favo" of an Opera singer MeanwhJ!e Pabst had vanou, other productions On hts mind, for instance the film, Herncher, about the problem of atomIc energy. Late in 1956, he worked on an adaptatwn of SchIller's drama. Fiescl/. to be ,hot on original locations in Genoa with 0. W. FIScher In the lead role as a Gennan-lta"an coproduction. In 1958, he considered updating Friednch Hebbel\ luduh. placing the herOlOe In a contemporary setting as the daughter of Holocau't victIms living 10 Israel '.2 In the final stages of his career, Pabst endeavored to bnng Le"mg'sNulhclIllhl' Wise (NUlhull der Weise) to the screen tamng Ernst Deutsch. Against the backdrop of World War II and postwar Germany, Pabst hoped to impan new meanings to the drama, msistlOg that Lessing already had understood the play's central conftiet as one of religIon (/Ild race, meanings that gained addUtonal resonance after AU,chwJ[z. Suffering SlOce the mid-tifties from dIabetes and struck by Parkinson's disease in 1957, Pabst found himself increasingly unable to work. He rel[fed to a residence in Vienna ISChottenring 28) and his estate 10 Styna In IY6S the Austnan Ministry of Education made hIm an honorary professor. Dunng IY64 and 1%5, his son Michael (born on May 15, 1941 to Berhn) conducted a senes of conversahons in preparation
for a ca reer bIOgraphy. Except for the pub"catlon of one Chapter. Unfin"hed
fT d I" f g Wilhelm Pab,t 'u ere an acule Iver In «:tlon and dIed •• He wa' buried on June 5 in an honorary plot 10 the Central Yienna G
e~r
r,.~
Notes INTRODUCTION. THE PROBLEMAnc PABST: AN AUTEUR DIRECTED BY HISTORY I. Paul Rotha and Richard Griffilh. The Film Til/Now: A SIU'Ve)II!fWor/dC,-Cl ' £ Spring, 1967), 584n. 2. Barthelemy Amengual, G. W. Pabll (Paris: Sesbcn. 1966). 16 .............. . quote Glauco Viazzi's 'PPrais~ofPabstCrom ~949: "f'IbII II adiatduo wIIo.............. always wanted to answerqueSbonspoaedbybistory.llulm..bea 3. EdgardoCozarinsky. "G. W. Pabst." iDCW-:AC~iIiI>oIl........"".21"'''''. ard Roud (New York: Viking, 1980).2:752.
,..,,10......
4. A
!be !be
m~:~:::;:~:;1
preferred locutiooindecision. is pbrase disposition, his constant In "between." cad, oae... ofiea whose mind and persoo pose an IIIIIOIvabIe riddle. See, Ihe Cinema from Its Origins to 1970 (New York: Hill aad
w... 197CQ. Ita:
1!be::CO:Id~=:~~::~:!::::::=::::=
impassive directors" of a Junkerof officer. Hen or was in fact iDgcollOll5, is parlofdtDPIbIt....".... " reer, 5. shares See Rotha and GritIItb,
carries wi~bialll taintyand
style." 7. HaJrv~
__ l=SR'lIf::C_:~:. ;;~~=~
•
238
NOTES TO PAGES 2-11
Sc/maUber F"r: Long in HoI(,... ood (VJellna. Muruch IIIId ZOridI: ~ allegedlycompla",ed In alenerof 12 October 1966 to ..",.....v&. 1986). 147g ':"A~can SOJOlll1' had spread rumors lhat Lang was in duriSocnI lal'.SIS Schnauber Im~hcUly cI ...,. thaI Pabsl (who returned _~thII (or diePobst: Notional I . " I m e films-) was a more hkely suspect. • .. 1939 and made ~ '-50 thaI die nomadic Gennan d,rector of Wim "/edd.... II Indli.llptn~-u . Slot. D/Tltings (Orr SUUJd drr Ding•. 1982). a filmmaker whose quest for Images ~"'"_ - - - t ' namtive bulwut,. IS seen as sharin!! the fale of mlZ Lang IIIId F. W. ... HoIl,w_' Lon Ei ' The film makes no menbon of Pobst. Compare as well e 'n
"":': See Will, Rlrs!" CharacttrizalJOD of Krauss', talents of tran'fonnabon in Robert WiHi Fonl E",. B,ogrophi. (VIenna; Krernayr & Scherlau. 1986). 81. Krauss. lilccwll repuflOd 10 have had a famous fear of close-ups. William Shawn. in his inlrOductioo 10 BJOOb·51.,,1M lit Hollywood (New Yori:. Knopf. 1983). ix. talks about how theact_,'SIIIiJ ............. WIth her &ereeII image. "It is difficult to believe Louise Brooks c:JIiIII from her.......,., Pabst himself identilied the two. and even Louise Brooks bas bad Il1OIIII of coafusioa • 13 See KIId Reisz and GoYin Millar. T1w T«Iutiq1U! of Film Editing (New YOlk: 1fouIe. 19Q~ 48: "Pabst may haw: bcea one of the first film-rnaken; to time mostofbis
that
..........
IJII'Cific - - wiIhin the f*'IUJ'O m an "'""P' to IIIIke the tnmsitions as umlOCiCIIIII
14 RodIa IIId GriIIiIh, 263 See IS well Pnflunkin's utopian document, "A SdIOCII oftheMGlioD PiI:bR ••• qaiaot in TMCotIIpOIUIdCw-. 587-S92. ally to be. ... BrI! fUr "1'IIeaay ofDirec:lion· were Pabst. Eismstein. Pudovtia, n' If 1Io••d.O* "Aeqnida.11aeproposallirstappearedinJi'O/Il'lll~'1id,rt",..
19SJ 15
UtiIIJ....-: 7
I, I . . . . . . meiptejos that Pabsr's fare
bean out . . . ,............... P 'liaabis_lOiI. 'I1IeSlalemeatappeaas;n't...,..
he 16 . . t[
,
$
.DerIt9, G
It': " .... (Muaicb:Pboto-UiidFilmml_am, 1963) A • 1,12: "1D_,an,from 192310 1932...... malle •• I aut, erndaec.1IIl oflainadc is there." Even more explicit is Wamia
a ••••
to Lee AawdI. G. W. " . CBoston: 1Wayne. 1m). 7: .0ue_1IIt i , t ..... if ...... bad died. like Mumau. during his Americaa
_1liiy haw a far _
glorious reputation today.•
512...... prmeps "the iIIOSI extraordinary and balBilltg caeliIJ ."1 who fell ie with the National Sociali,ps. of Pabst ie Histoir~ tk I' an tIM Cinl_ ')::~~::.~ia.I'Ja' Irion. 1955). ~ CrlIictIJDictiontuy. I: 752. 2ed rev. ed. (New YOlk:
a.e
IL.
reodered m Theorks oj'Alllhorjrhfi "'::decIae 4: ICepa Paul. 1981),45. ill Pbe Veiled SIIfeI,
_ _ ,ft U
-In.
..
....
10"--.. ".
mg. Idle gazing when prIICIicaI by a 1liiie _~:::~=!! whenand eltercised by a WOllWl. Pabst does..,. sq..... I tile li~ a~ a phantasmagoria which" find, f. 'n" 192.1). Cr. Klau, Kreimeier, "DieS-IiiI" ([)ccember 1972); 10-16.
•• K.t
I
"'-ltlJi.'lfIi. .'
-DieW.IUidaa~:~~:=::=!~ CAwAfwt .. Maa:
25. Compare the ed. e,say of p922. IIllment d~r Mass~. Kantea Wine
26. Siegfried Kracauer. From Ctdigarl to HIlkr· A Film (Princelon; Princeton Ueiv....ity Praa. 1947). no. 27. Pamce Petro. Joyl~ss Slrt~U: W_ _ ,,'eJ"""'... ,. _icJl...._ . .'" Germony (Princeton: Princeton Ueiv....ity fha. 1\119).
thatrecun~:::~:~.:::::::== ...
28. Thi' in motif-one considered Kracauer's study. wbida be 1
levels··
(8). 29. See Kracauer's sigeificaet
Aus dem neuesten DeuucItItINL Ihe Frankfuner Zeinmg; ?be IDiPIII furter Societits-I>ruckaei. Atl n 30.
Compare Nick Bto
analytic Film:
=..,.B .. nI *' •
~~dhe::·~::~~~::::ii
and voluminous analytic either the film 01' iPB 31. COiIIIJIIil8*"
'-l1li
_. S
.,
NOTES TO PAGES "-17
I."
Opmrlbyhis _ _ _ IIOChWoscuro~S"-g. "/W' •• lt 4 . . . . . COT'" Dof die film 'SliOCial dJJllenslOli. see Pownkin. Pobst and !be So,:iII i
fI.;.m
..,,1:JI Soe 81ed1!'s
"11:< Li .. • DOleS 10 1M Tlrrrq,nun OfWra . reranzat:oa of Ihc Ib_., /IM:III .. ~. ed. and _ John W:lleu (New yOlt: Hill and Wang. 1964),43: ,. ., Opmr IS ........ atJd wid: I:ooqeOIS conc:epllons DOl only as content. by . . :....... .,.., - . . die .....",.,. in which il does. " J9 .. P:II:st """'" seem 10."." die boundaries of film as mass CUlI_ .... _ RIr .........:lotion of IIlIs dialectIC in !he wider contexl of ~imar Cia_.. ....... JoyIBs Str«I6. 4-9 40 ........ dIIt Knauer".,..I5. mal. subjeclas!he object and 5pectatorC:tll . . . fI' ..... .,.. OIl 10 say. ClmIJl1venl5 "questions of sexual ambiguity ....,., • d:ey IelIIJ: 10 die female spectator. in flMll' of a sliding or unstable ide.... OlIO dIIt ........ bound 10. male spectator position" ( 17). ..I ~ m.ddy Bua:IIe's indictmeal of die two films in G. W. Pobst (Lyoa: 1!/Ifi5). 50: .. W~. "dJe outbor . . . due 10 ....... t:...s. of clwacter or lack ".,_--..
tI:is......,.
_ms
JJ1d1e bistoric iOIaIllli~za:b:·OO=~.::::~ • • ......, E¥iI............... from ... :mf.. _!:Ie Destiny... ..... • III _ ....... P:II:st -deIiI:crateIy igncns Ihc moIives and horrible 42. Ciwp-!' ,wi's • OIl W~.....,. 42: "Pabst power!- to '"' .." . , . 1nIS1D _ _ .. tIIe ,..._ byllinlillgtoeJqll'eSSioai&m
, '= '-.. .... sociological_
......... * 4J . . . " .
t
• M*: 1'iIdiir.
UP s
-
,I
tc:t . . "
.
KnIiIaadAlPitze_FiIM.ed.IfelmatH.
1979),
2S9-JIiO
Anibeim"~""~"':Ofi=.,:eon~I~_~IIy~~:~:;
I '932. •......dir:Kef
.... -
...
. . . ·aaciaJcwrIt..._ · • • pu"' ...,.,. . . ·"20. -
,
... "NrII ..... IaciII . . . . : :: : - - ' ~U7 C I Ho
1aI_. .7.PI. ... .af"'. -.1 .I. . . .-,,. --_...... .-. • -n..1S-1V/D
. .'n . . .::.... •
'
F '11" 4ag, "11Ie c- ofl'abll, (Newyact:u.,....198O) 19:
=='.--~
it::af:"':== 1liiI_e." -1CI_1f"·. ·_110
;,'IIIIIiIy. ..... _-............ .,..... • ...
·~~............... ilpnIly . . . ...
.. i·
,.
-I --*-1foIJpJuad wllil:hc:anied
... H
' iii • i JtM.. 1987),369: Pabst I_.. ~• • ........ . . . . . . . . . 10 well 011 Pu Pall;. His pan_ ., ...... beta IUCb a good eye for viIuII billpjJiocb DOW ,",aped_., Q "wQal films. " ... Jqnuive 0(1foa,.
""l1li
... ........ ...
-tqanIed
HollYWood had~;:;_
==~ HoIIywood.-
enlies like Oti. Fcrg\iIoo See_~~~=:.::~::~1 0"-' F"Kuson. ed. Robert W'''!''''(PhiI... 1pN• as ,uch central matten • tile ~ Idea ... prellY straIght Hop. A few iiIIitudta•• few anolher. ,•
28
49. Review in TheSpectalor, July I::.~::==~== FIlm Criticism 19J5-/940, ed. JoIm 1tuutD"",0-235. 50. Agee's notice apptaredoo3 ~ 1945 .~!-/f"lIILl"" 2 vols. (New YOIt: GI'D5StI & Dunlap. 1969). IWe
See
5/. fur a lengthy account, _Ihc leclion by Pabst'. widow. as weD
Gesamtiiberblick (Diisoeidorf: Droate, 1917), 66. most prominentl'L-i:iiligrant: Ihe Philo Lexikon (Berlin, 1935) 52. Michael 53. fur more particuIan• allemplto vindicate
New York Time., 2 ApriII9!t.
54. AtweO. 126. TIle felicities and _ .
Fritz Rasp• famous
ft8 TO PAGES 24-21 "
isa.OFC)8SESSK'NANDOPpOS/TIONINTHETREASURE(1111) 1IIt(lonnllllide COllWllS '" amblgull}'.
..
5
"f)er
Schatz" COlI mean bodo "lrasme' u
1"
~ PIboI. "InrScloDtz. G. W Pabsl's ersler Film." Action (Vienna). No. 10-.1"
(1967):
:M
_
Ibid 24 BIIIJCh lithe bme was a widely read IUdoor and the film ve:~:~~!:~: pnomiIod 10 be I success. especially when Its btle raised e'peclalions
d:
n_"
4 Rudolf H.... Bansch. Inr Scltor.. ,n Bi",rsu.u U,Nsg.sclticiuI!II II ie • •,19)0),225. 5 Ibid. 240 6 Ibid. 241 7 Michlel PIbsI. 24 "The ·Froelich-Fllm-Gesellschaft· guarontced its partnelli die 1 _ JI8J'- ofa /iud I11III . . • Froelich receIVed 5200. the others each 5100. That_ _ I . .hs!wn!W I11III. as Amencon cwreocy had OIl lnestimahle value durios die
,....
I BIIIIdI 240 II MidIId NIIt. 25 10 CoaIp-e Loae H Eisaer. TItI! H-.J Scrurt. tnIIS. ROI~C:n-e.IYeI' (BeJkI-" .... 111 • n u.;....,fIICa1ifomiaPles5. 1969). 1If. -II ~ Lapicm La CftI ~s tiM ciM_ (Paris: GnosseI. 1948), 4SO _" i."", de6 Fibru llI!I5-I')JJ. tnIIS. Lilli K."fmann iOfJJlllidll:.' n • n ."1t17Go. 222 - - \~
I:
t a-: In: -Wi: - dcIec:Ia IIIIIIcr CUI'JOUIi stylized NaIuraJism aad die :: ..... . . . , 1IIft_ _ , wiIIIlbeirfaoe...pp.. eudyoanllld'DUl'IIf.... • -._..... f111l=Dicn. Saobeim·.Gn«i--"'- !llIIeIt .... _.J US -.--" .. a _ swift IIIIIPSU""'. . 0 . - ; ". . . . . . . .
.....="_. ....
---....
or
,
R6h1'i,'.
1 11tis _ _ above all ' - HerIJb aad lhapiJII~or~dIe~beII::::: U 172 "EIOCI)' ji8J'dIicaI JaObOII m evety cbamcter ..... 111111 ... 'I1IeIeJllY" .......' ........_...,.... 1XJIIInry all EXJII'_ _" . I • ,........., fInIIadow!be!edmique whidJ PUll wu
m-r. en. .
...
,-.........
10
110m.'"
--
lm'lrss S'"~t. ·22. Michael PUll. 25
23. L.SpUa.FI!~ 24. See "The Ego aad l1li IL... John Rickm... (Oarden CIIy.
~:::::::=
eralization. we 10 Ihe s.distio·anallevel. 25. See Michael Pabst. 25 26. "The Ego and the 'd." Dk instinctual dcfusioD." 27. A happy end at any '*~ B61. Balw as a cooc:euion ika"). See BaJ4za. Schr(/tl!" 1922-1926, ed. HelmutH
..
2. FILM CEN8OR8HIP THE JOYLESS 81'R1Dt'
.....
5 Ibid .. 11"-
f>.c:~:::
......n. 1NhO pUbh§bed
bioI'"
officials" 81
1Id cause T1w 1t1J '" 7. A psyc:IttM'" 1926. eel. Hilda
oeJ11l8ll. editiiall CII 1907-1926• 355- 37 1. 8.
un.."·-'l
46
NOTES TO PAGES 46-51 . named Dr Onh Onh In Gfl'C'k means ("orrection rslon the d(~.: [Of J~ t:.n~h ..h-Ian~uagc \C '1' orthont"dic.:", in ,hort. Dr, Curl'. n orthodnn la. l'~. • . h P b detormrne5. L\ J .. G ' print. At" ell (41) maintain, t at a sf had been irn. , "Pswel Pa\A'JoYo In the cnnan '" . . 9'1 ...b . II' Robert ",Icnc ') RarkolmA(JU (I _.). sed wrlh Pa\- 10\ cspeCI3 ) In . S" h pres lanl dlrcCh.lf for numerous Pah.,t hIm... (lr... m,' W 0 spoke OUent 27 Mark Sorkm y,a.... asslS . ed h I sam from Sach~ for Pa\'Jov. who ~pokc onl),' Ru~sJan and knew noth_ RUSMan rranslat IS es S d A r\. P " v nPrfonned so convlOI.:mgly thaI. al'l'or mg to Iwell. a group of . • mg ofReud s "'0 - 3\ 0 r") American therapists contacted him for a leclure I AI'" l'll. 41-4_). 28 A fe" minor differences '" Ihe avaIlable EngllSh·language and German-language prints also bear M)mc descripuon. In the English version of Secrets, Ihe hIm opens With an Image of Freud. as ,fhls silenl OUlward gaze provided indlCatjon of hl~ ,ancoon, The ~econd image in the English prinlls of Dr. Orth. ""Tirmg case notcs aI hiS desk. Thc~e ~hots arc n~t unlike the shots in CaUgar; as Werner Krauss sit!\ at hl~ desk wfllm!! Gj ...c nole .... They arc dcsl,gned to place the analysi-character as a ticllonaJ <;WTOgalc. sponsored hy Freud, The Gennan pnnt opens without the direCI visual appe_1 10 Freud's authonl.tron Bolh pnn" begin wllh explanatory titles which menUon psychoanalysis and the leaching. of "Umvor"t"l Prof. Dr. Sigmund Freud." The fint image in the German pnnt is the razor being sharpened. Although the variance between these two versions is relatively small. the difference between them amounts to whether there is a framing story ornol. The English-language opening recall, the frdming story of The Cabinet of Docto, Cahga,;. Dr Onh writes case notes. framing the inner story of a disturbed man and secunng the narrative agency of the Doctor as storyteller. If we begin the film without a f'ramins structure:. there is no narraling agency. While the German print refer.; to .. Der Mann" and "Die !Tau" throughout. the English-language print assigns names 10 its characters. Also. instead of using intertitles. the English-language print superimpo,""s its titles as subtitles over the image. An analysIS of the film must take into account the variance in these prints because narrative Information is presented in a more redundant manner in the English-language print. Fair e'Wll- ' pie. while the German print begins dIrectly with the bedroom shaving scene. the English-Ian. guage pnnt not only establrshes the framing "case history." but follows with explicit subtitlN over the shots of We mer Krauss shaving his wife's neck: "Facts of the case: Martin Fellman a chemISt. one morning while trimming the hair on the back of his wife'; neck . . . • 29. In the Englis~-Ian~age print. there is no separate intenitle to interrupt the images. In. ~. the subtitle. Help. Murder' Help!" appears over the image of the woman screaming. . Agam. the narratIve InformaMn m the Englrsh pnnt IS not ,upplied by a separate intertide. but by a subtItle over the Image: "He did it with a razor- .. 31 In the En I'sh . . . bu~ hi bedSI . pnnt. the subutle "Manin dreamed that . ..• appears over a shot of the __ '" m.
or
I
<
32. This isa translation of the· te . I . th lIef_ my diJorder bee m rut erne German prIOr. In the English print: "The day
arne apparent. a temble storm raged." 33 AlwelJ (42) says the optical effects in th d . . 34 Loac H Eisner TMH dS e ream sequence took SIX weeks to produce. . , UIivcnity of Calili . Pre QlUlle creen 'trans . ' Roger Greave. (B erkeley and Los Angeles: .. to Pabst Ot1UaDOlto M"tzn'1969). 31. EISner seems to attribute these aspects of the dream • • e er or Seeher. JJ --r--.-JllOn of the three tower bells wth th h • , " " , . JIIID on belle and bell. a visual l e t rec women's faces suggests a (Jf7O) pun that would later be used by Luis BuiiueJ in
n.e ...__..
print u.w=..eXPlicit about his profession. The subtitle readi: "I and Baxter 321
•
• qUOted from the unpubliJlllll
Notes to Pages 52-82 4.
..,.
MELODRAMA. HISTORY. AND DICKENS: THE LOVE OF JENINE HEY ( 1 -
_0'
I, lIya Ehrenburg. The Love of Jeanne Ney. trans. Helen Chrousc:hoIf M"'raaa (Olldat ClIY. New York. Doub~eday. 1930). 36U7F-3~8F ' '" . 2. lIya Ehrenburg. ProteM gegen A. ,an."urte, alll"'B. 29 February 1921 3. Scrgell:.l,en'tein. him Fo,m. trans. ande
1957). 20 I 4 Sec Lee Alwell. G. W. Pah.<1 IBos\on: Twayne. 1977).43-48. s. "Gnrndungaufruf vom Januar 1928." in Film und ,evalulianii,. A~...., /It f)elllseli/and 1918-1932.2 vols .• cd. Gertraude Kiihn et al. (Berlin IGOR: Hcmcbd. 1971), 2239. . 6. Paul Rotha and Richard Griffith. The Film Till Now (London: Spnng Boob. 1967). 266. 7. Roger Manvell and Heinrich Fraenkel. The Gm,ulII Cinema (New York: 1'nIep:r. 1971). C.
.
8. Siegfried Kracauer. F,omCaligari 1o Hitler: A Psycho/ogicaJHinoryofwG~FIbIJ (Princeton: Princeton University Press. 1947). 174. 9. John Willet. A,I and Polilics in 1M Weimar Period: The New Sobriety 1917-19JJ (NIIr York: Pantheon. 1978). 146. 10. Kracauer. 165. 11 . Ibid .• 175. 12. Bela Balazs. Theory of Film: Choracter and Growth of Q New An. BdiIIa (London: Dobson. 1952).55. 13. Kracauer.176. 14. Ibid .• 175. 15. K. M. (= KennethMacphenon). "Die LUbe derJeaN/ltNey (TheLtmo/J_IIqt and its Making." Close Up 1.6 (December 1927): 24. '-rIII"__•• 16. For a similar discussion of the nasbbec=k inJ_Ney. _w.u.-1lIrim.FJ.
a-
in Film: Memory and HislOry (New yodtlllll J..mdm........... 1989). 17. The Love of JeQllfU! Ney. 48-49.
18. Ilya Ebrenburg. Truee: J92J-H. iBM.... (Londnn: Macgibbon&Kee. 1963),3 lZi. 19. Eisenstein. Film FOnll. 235
r.....,.,..] .....- ........
5. THE ERCmC 8Al1I1'II";lIJ_ _"-"'~
.~~~~~~~~~;~i~§~~
did on pandora'. Bos in the Mil This essay has during the spring of 1978. 1bIl wadI_ tremely provocative _.y. "Lulu.1IIII die I 4-36. which I. in turn. Cite and enUCIa_bln, sa.l:lllllIlya.1I,,'i .........H• l process of film criticism have changed ..ilDilll respond directly to B1ueuer' critique (whlcb I ... work in any event). wield. I CXIIlCelltrIIe on
COI!:":,peU:ina:~~~=~=
view often I of ftIrthe U IIIJn VI II1II I t bIa IiIIIDI of 11dI II. dtIe in the Baal'"
i
I, .,,_.......
I """ b
.... 41
'dn of I". .cripe
. . . . . . YaIk: - -
....1. fIl.
II· (fl.w.
. . . . TOM. . . . .-·,
'._.1',;«-:",
........ I'"
6"'" ad RoIITl
1
I'\IM
(1ftnkfUn
l1li
Main SIIIubaip.
, aPapI~·· TIIi." . ..
ofnarraII:ve~.::'~:== in ....... dialecll.
popular , the cenlCl' visual the .' lar imagination u 111m popu 7, tlere. as ~"-_."'I'I"I""j r:--f GennaP 1bia II. fI• •ef;j (} re a reminder t1W. for ~ was
=~::== 8, Gideon Bachmann. MIuIa,'" _ ....
from all over GermaIIy alU • Ihe Gcnnan nation-llale beiDa-
Cinemages (New York) 1.3 (1955): J9
ThiSkindof;:~:Ea==5;
. . . . dill tile WBimIr _ _ film was leu in_led in : : : " ... _ .... n _ dri_ by Wille fanwy and ClUlive . . ....,...,. . Visual Pleasure' WeimarCmema, •
... ... ...
"*'.),47-14 I', .hl_lmp_ flllllp Roaea (Aederick. ,. , ·,....,..tIIdwr 5(1924): 3-36.
...... .
' .........."odn DmJrens • iD . . . ... AlII ,. • (Raakfun am Main:
ass9.isUlnt director. editor. and and shot entire &eq1lCllllCl on Pabst.» Cine_g"" 44
10. Bachmann. II. Lee Atwell. G. W. 12. Bugen S'lIIhDITi.
13. Ernst BIa&s • 14. Herbert lberiq, • Reprinted in HerbId
(Bertin/GDR:
Aullbtql,~
15. Siegfried 16. Siegfried Film (PrillClOII.
17.
18.
ilia
..
19.
GoIl~
IIOfES TO PAGES 17-1t __ ...,... IiIoor twfJo. os • bon. reUs !he passenger> !hal "'ar hal broteoo
.II''''~'
-= .....
? 6 Iy 'C of !he iIup btwi.d d,vided 'DIO UHJJbativr campo ..... . . I, ...........!hey ultiuW<:Jy lam of !he bon. !hey arc 5bocted ' ..a a 1bI. . . . . fit ..... filly _ _ made 10 talue Ibeir COOA'JOij bumarul) - / Al1Oell. I 16,. 31 "*y _ ~ speak of -eel aspect documcnI.w"e - 13331. Fa/~enbcrg _ _ ....... I for ....... -II) roucb - /50 • Bezornbc$ mgles out Ia vc_ doa" ._ of -Ies ct..ncttn:. rtalistes. Q1W' cIocument.tiJes- (46,. 32 .... ". _aa:eived ......H . .rlilm. Kmg \illors TIt.-BigPara
k _ s.n .. ,.1aIbII
i3 C:oIJw:h.lN WIdnU/rr. 276. 14 Jt.o-Hanid Miilier. Da Knt'g IDJIJ tht' Schnftsullrr. Dt'r Krit'gsrOlllDlt tier W . . . . . . R r ' 2 SWtprt: Mealer. 1986 • 20-- 35 lS TItio _ tile _ _ illt\1IlIbIe n:su/I of !he ngorous censorslup exCtciicd by 1be0a~ "'-Y HiJIt a _I dtrootglnC!he CIilire .. ar. particularly aha !he Marne baaIc. a:.z,t. D oW PrnM 19/4-1945 1IcrIm. Col/oqwwn. 1972).21. See also W. NaJa Ls t II PrnM ....... Vol.tsnUtumoag IIIi Kt'lIbUg IBerIin; Miulcnod SoIm. NiaIIIIi • JqIIIIt ... n:' I...,. if obviously biased. iDsidcr account by rbc ollica- iD . . . .
lIee" Mia...,
_ibip
...... ' I . _ _
16 fiIr. a ....... of tile
SodJbcItA:nt • a robaUJI 010 . ._ COiiIfi6iable 10, -.F I ICC Josr ::c,,_wI and fnDk Trommicr. DUo K,..lIItrdel· """0' ... Ny .. ~ 'UJ!iCi VerIags'wwfbmg. 1978,. 119 :J1 &a ..........IjIie.AIlQoUno'u/".Wt'suntFront.traos.A. W. Wbca Its • 1917), 2\lI6
.. •
I•
w.......
5
....
""'CiJe8.
2-J
K I
hal been 10
I
•
IlIOn, that Rcmarquc'. book. evea..,...,.
ce.-.- .. tqJortage on ~ War I. rlllherlhm 11 _ _ e 1929 (•• forcxamplc. Boston UniveBily). Jam I V "
" . , . l . d ''dIlnIlfJU_1932. SlIIIkn ZIIT LiurlSlJll'
IfJO). UJ
de. "wt.M
1~1'5 "Wlllrwillowlr.d!lnclr,. . J ... tItey IMiIy tIteir "WI'1 f t• •". ......_I... _tlle..,w.? . . . . . ,.. ,
w,
I",
a1972}. . . .
whelhcr Ibis _
wbo'I~~ID~.;"~"~~~~~~~~~ii ID .,.. ....... __ .... 5
I'
Mcdw_, 19114), 115
. . . . _ _. . . . . .
fC!l'iDIb~"."'I~"'~~IJ"~~~~
3. WaItc6
""'rog<._
,.u "'1Ite~..... cbcripliom of combal ........ and rbc
doubl
omSlIC in tbc:ir ",.Ioot. "Gad. . . . . . v,ew that Nero. • I and Evenargues John WiIIc:a.
2. See. No. 73 (Man:Ii 197J): Hilt. (paris). No. 125 (IlI1fIlIII
Frnt World War tuJd TMir ItkoioglCa/ 1"'P'irmi<MI. , L At ... Vcrtar Heiaz. 1982, I29ft'. 40 1- If I . . IDE of 0RIy orJt' of a number of rarbcr CWi_ "-1trirIicMm Fdgpmd GnIbcr • aaempr ID .yoddize all rbc variouo rypea "' .... _ I.. IDlabdof·objectiv..... illughlyprob\emarjc. givcnrbcpolirica5 ..... . tile See - Nt'1U! Sochlicltkrll arid rbc World War•. " G'em-.l .210 1966-1967,; 138-149. See also Miilier. 3060 . .. ........ !If! . W _ A CrdJura/ NiMO,) 1918-1933 (New YOIt;: ...._ ..
-' =
...rl
8. TRANSPARENT DUPLICITIES: THEn".-PI!II""ClGi"II.~c
tLondon;
..:y.;. of N.gWr C-..d. ... Mania I'aIricIt and AlllIIaII!,lI
_*
co.- Nt1NIs "" •
11
x·,....,......., ....
S
v,ews ... were surely p
1jIie.1. Wntn rtic/us Nt'III!s (Berlin; UJIsrciD. 1976 Ians.
&a .... R
19 fiIr. e4
nit'
!~=:::::::
41 Compare EmIl BIocb·. ". cptaad ",. ~drop of !he IaJt Weimar itcpJbIlC. Iinl" WI I . (jc11i13II ang,naI. £rbschaft dit'ln Uit IZon:II: Q .. aDd .. as ...... 4 . I:n.. h Kastncr.FablDlJ.mGt'_lurSc/rrifteroJlirEr_' - ......' FQ z.uncb: Drocmcr Knaur. 1969).2;124-126 49. ThJSJSas,gn,ficant~from" I r .fied '1lu: Bavarian hal a name. aad "11tc, c • of lite.. " S I chaf3C1er Although be appean m rbc boot ..... I ...,....., _ I 50. Whitehall. -WmfrontI918.-14. 51 PelerSlotenlij".Kriliktkr~V~.2'" a;.".fII*:T" 1983,. 2;748-754. 52 AmoJ. Mayer. Why DidtheH_NtIIDrfta.(Jfew""*:p S , _
•
·raTOPAGE8 f04·fO. _ _.................... auke ..ound film ... / becl.....·cd>IorIUr~..... ..
7
t
..
lie. n:u JGendl.Flbd";Brrdrt(Berlin/GDR: Henschel. 1975).48......
. . .e
.114
M. lleOllllllloY- til
" -Hollywood Babel.- ScrHll29.2(Spring 1988):_••., doD'l mike I million-doUar movie OUI at. ...........aaicaIIy be .... mI boctyInI" (Oser inIcrview. 299). ..... DI 1'IIiI.., be of III cuggention. c:onsidcrina "Gt , - attbe 1920s 1IIdI .. MnropoIis or FtIJUt. A.~. -...... Beflft!he MiclUpho"•• " 125-126. ... ·AII ..... _ _ • 1M ~s O/NrD ISICI. was also supposed 10 ....... II....... ... wi.11y Ibii became • Slraighlforward dubbing of the 0.... ... a.dellcylie. "Qo'C'/qIoes "'-surJ'o¢ra de qUll'sous." L'Avant.$cjnet/# ... /77 ('1'10 • 1976).4. "The film was reI...... in ITance .•. ad was. , .. G j II 8OI111d1 • sua:ess ad il was anacked quire oflea by
I
....,.ated~!be~s~~~~~~~1
. , . . . . . . . . . . . . . . . . . . . . . . . . . )'01/
!be
"'""""me
n
--.
til, 29IJ). 1M n.upnury ()pnyJ JIII'IIIiered in Berlin on
!be Februaty .9 M
_ ..... ., ... Fa ; rfaeI/L on AapsI /0. '933. After a press show in ........... - '--d by!heceaoors and only opened in N"'embea -_~- _!be ..... SIndio des lInuIineo. The cinema also showed
!be
• ::.1Ie':e~G W,P"'~·1Wayoe.'977),83: "AIIhoo.sh ___
•. , . --amatOUlIlricdy_diocIoBm:bt·s_. . . til. • • ., ... _ ... .... eo were aljllivared by Bm:bt'.
.......... ,,- ~iU'lijal!MaIIIi" S " . . .. .. .............. - ; were r.tea ...... WIUI_ •. ~' e..iew willlJeu n.._
..• .....I '" _ ...........ea., -, •
7
•
5
'
.........
WIiII abjected 10 (liS).
........ Willett
......
1_._
........ lIB' 'S.yfilr .....,'-"- ......... ...-.......... "7M 7'r ; ua) OfNra; Film QlIIII1erly 6.1 (ftdJ "a.. .... at !be ee.u.y No. 10: Die Droig,..,ICIt."""...'.... (ApiJ '.'): 'S-17. 38; ~PDlGenc:It. Film IwIBrecht.
i52 . ~ 6 d J ~ . , ~ ( W : i d i ~ . ; " ~ . ~ i I i ~ j ~ i
CUll
01 ad aJlerations made during . '79-276.
M7'r
!be ~1iIII
U(JeJury O/Nra: Brecht Vi. Pabst." Jump CUI, No.
.......1........ ¥iew:
15
"AI all events. the finished film is u distiaelliwll
he
chy. irralionai. beautiful and jINCiIe• 29, -Ifif !heHeeling director bu markable coo...puand" oa., 30. In Ibis he ii within B.ecbIiMi !hM . . . sliMe Ibe -deconsIruCIioo of
!be ..... . . •.,
!be
with 7'hn..... cbaae 10 wam his hands; and so far u
drawllpeciaJ attention "10 .... S_the
:::r:===
function wilbin a new appanIiII •• BaIoII ..... -:~ :ur Literalur UIIII Kwul. 2 WIll.
Film be; Brecht. 51 .
1*. ~::=; abOUI!be ....a:;fllMiti
31. See !he famous remade in The 171> " A.E.G. not relling aoydtins
groschenbuch. 135).
ct::-::;::
32. SeeJoseUefUaJ, "Di"" ·...... Years After. ed. P. Kleber at C. V"_ fonhcoming). 33. Barthelemy AiiiCII8M. . . . . . lllrl. . . . . . . angle. and it funetioas u fascination. See G-. 34. The one considers .... available . 35. See my 36. AndillJ'JIIiI
AmoWag. . . . by Hans-Milfl
10 IOiJIe of!he original reviews oIf tho, fiJJm, 1_ _ •- _i&tP~.atPauJRotba.
:::~~:==:!
~_........
he -mulli·million sionaJly went to UK;;movie." cmema WIIU ble in a feanue film" ("·Sch..... June 1983,45).
9.SIP-'"
......
190.
10. -Miil _ _
illl-
..... wep in
male... IJ()IIIICe
TIll.,,"'"
abuSe· fire.
_
"1'ES TO PAGES 133-152
..._Laadoa. _ . 196n 9: "1bi•• Ihen. was !he cornpl.,•.g....--diUJ:"""...._
..
JorqUMII~sIeLacal E)nt -S1'1~lIlU1g -,. "0:"..,... sIn. 978 • l .
M - : -Cat ;we Somuel """"". RiidJ:LIv rand F"vud. --"'" ••_,- ~ BerlIn renna.
n5
ide'fi. ""~ . AIr I'M _ bel...... prinwy and sccondrrry nb c."on. see ~.u,sllan Metz. r • • .fiIo4ji:;. hIlS. Celia Britton ef al. (Bloomington: Indi...a University Press. 1982l. tI: : . DIII...mriDg here to the spectator's idenbfica"on WIth the of !be IIbQ (wIidIa... ....,,). but to his Jll"liminary identification WIth !he (IftvlSlble) seeIng &gI'nc:V CIIW ..... iIIeIf .. diaeourae... the asency which pills forward the s,ory and shows i, to lIS ft .... _ - . cWms Mett. the specWOr identifies with the ac' of seeing itself: _ . . does DIll appear 011 the scroen; the primary iden,ification is no 10nggcer~~::::= "'alllbjocl-obJC'CI. bu, around a pure. all-seeing and invisible subject. the VI at'1IIe ........Iar perspective which cinema has taken over from painting" (97). 8 AaIinoadoes DIll come Irom Mantinea. the city of Diotima. who. according to Plato. - ' Socnles into the _ of love. 'I'beIe are. nooetheless. sintilBrities between AIlIliDDa.• . . tiy at' M1nfira. BotIt are priestesses. Whereas the ntistress of Manlinea ....UWl. nc" . . . . . . . (DOlO the IOOIS of the words "mantic· and • ..mantics"). the ntistJess .. cadiae them ..... furIber re8ections regarding the mythology of Atlantis and ..... be Uaarllle Gcqoors. see my rarpublisbed ....y. "Pabs,. Umgeblickt.· JllelieIIIIld III
- . ,.. CRam.. ''''''........
•
~
.ch~
.......IIIeC DMfilrFiIn4I".ie. Vienna. • . -......... -ialbisligbttosugsal·miora." or "custom. onIer. Jawft !IIe Symbolic Order. 0 . -. ..... and ed. James SInIchey (New Yeft: ~.....
.4IIIiI..,. - ...... .. lIIt._,. 4"•• . ............ e
s. '-. 112:
-1(_
ZIIFrad.72f.
wiIbos 10 deceive a man. wItat one JllelIeIIIlUD.M • I . IIbIl iacites him 10 ask what is behiad .... WIIIIII: if we .ad paniaIIy disfigtR !be 8J'8IIbic Pllllili ....... + •.-. b c 'wa "V" and W1e have (see .........., . - ...... doacribe !be film 115 a wboJe in ~ it Iecs iIIeJf be duped by
Von"'"
, , -• •, . . C _ (Nav Yort: Oxford University Press. 1985).
,.fi.
W,1'.... (Boe!ou.'lWayne. 1m). 114-1IS. It. ""(4
12. PABST IN HOLLYWOOD: A IfOrNIW
I~""'t
1. SO"",agsb/an
HIIIOfttIIt.
d~~ NItW y",*", s-.z.-'r. ~:M:'::::~::,:
Pa~'t', engagemen' Wtth a photo. NItW y...... BI'
,.. t'hlings~rwach~".
'~
I
BIOIbenAn:llhtr,,!:~::::= widllbeae II1II GIber
Story file on ·Napoleon," Warner 10 Lief Adams for providing me
Th:~ks
Archives,
1 Letter G . W. Pabs' to Warner BIOIben. _ B. Komia. WI/UIC.. In,er-Office Memo. J. L. Warner 10 Kaenia. 200rtaber 1933. WII\III" 5. Pabsl payroll file. WB/USC. 6. Variety. 7 November 1933. 2. 7. A Modern Hero. Slory file. WB/USC. 8. R. J. Obringer 10 Ralph E. Lewis. 31 May 1933• ..., .... ..,.., 9. Memo Gene Markey and Katherine ScoIaIoIWB . . . . IOJ",JI!IU• file. ws/USC. 10. Markey and Scola 10 190rtaber 19.U. ,.... "'. . .,., II . Wallis Seymour. 13 November 1933, ..,.,., 12. Film Daily. 17 November 1933, ' 13 . Wallis 10 Pabst. 23 November 1935, WIIwc.
4:
'0
w.rus.
::r:..
14. WailiSIoPabslands.,-.23 ...
10~Pabs~~I'JI~D~..: , :••:.~m::G,~.~-;'''';
~=
15. WalliSlo Wallis Pabst, 16.
17.
Vari~ty.
18. WaIIislol'abtrt.l9 19. Wallis 10 • •!!II 20. wallIIll!>j 21. Pab....
22. 23. 24.
25. 26. 27
~:~::
I
_
IdDie8TOPAGES112-171
..... :IIId Set 6 WJis.. ed. IftDIt N. ~II (EngJcwood C1ilf•• New Jersey: SaIeaI. dlli2P
« ......
cwnfieId. A M...... Hero (New York: StoIi:es. 1932). CI. . . . . ....,., 2!1 No\IaIIber 1933. I December 1933. wa/usc. e n.IIs. MaI
..
I
a-rforFillllaad~Rescon:bavailablelome. Thefilmi.pn:I_~ ..
n •
5
'1& a _ _ _ YET NOr CI INA: SHANGHAI ORAlIA (1938)
'=
• similar role Ofa~~~::~::=:~ waf espionage drama. in Ihe Japanese Civil CabIDet. ,p~ 8. Pabsl repeatedly rea/.I1I"ofJ~anneN~.
mOlherless Thymian aU but 19. In my reeonstruc:tion "ng lOn Moore. Social Origitu ,n8 of the Mofhm World ( S - :
....v.n
I I'" GodIrd. Eit{iIInutg ;11 ~;1Ie &schic:hu fhs Kinos. trans. ftWlda1 ... BIIIo ....... (MuaidI:Hanser.I98I).84. 2. lflii)' A'- ~n. "1'IbsI ..... !he Social Film," in CompolUld CWIIJII: .. ' 14 tJ/1ItIny AIM PtlfltllMm. ed. Lewis Jacobs (New York ..... London: 'leal_I C
..... 1977). 416.
, "* ,1 ,flo F-.e.
n~, . "PIrifcr Brief," BasIu NIJIitHJQ/,uilllllg. 10 January 1939. IltM 16 0cI0ber 1929. I ... m.ntfuIlO Mr. JiIrgcn Kasten of !be .1 I ' ' ' ' JftiaI UDi>aoillillD BerIiD for Ibis reference. S C . . S' 1.~" FiIIrIbIIut. ed. Haas Winge (ftaDtfurt II1II
4.
T
'RMdr' I.
ft:
19I2), 241.
"flay 'P
T
:
"
t' . G
-Art . . Fibu 1934-1939. trans. UBi K''''!!I!ISD!
WIll),
t.
G W.
""'(L,...: Sadoc. Ptrlm
(Be.
t " - MIlly'" h , ~. G..... .....\1 W.,.., ......·'I'tvaJae. 1m). 118. "'OF" (Fiu;wte;LaNoovaIlalia, 1983).91 IIIIe ..... dari8a Ilia I'IIriI exiJe Ibat ODe oflll. . . .
'.G
'11_ :...,..a-rw "... ·:!.?i==:~r:~:.:.UIJ -. 18.auf 7
7
",
.~-
:::~.':
YVID~Go:U~.:'i!a:==
tJ/M ".!bepaiodical poeI
• .,. BrWfo. ed. Barbn GIauat (MuaidII
-
I. Lee Atwell. G 2. Jerzy 1beplili~
Rogner &
Ben",
3. David
1965). 89. (Pms: 5ditioos l'A~
"raw BIIIme. Eine ReiIe IIIICh Japan
(AI"
~.O_"'r."G W.....," iD CiMma: A Critical D~ _1h"_1iIfc 19IO).2:7S8. -1 U (JIerIin) for Ibis m_.
_Ild.
1*-,•••,..... ;~=~""':~IIm:~~.:ID,~imI~!U~",,",~n:1~duI~dr~Ii:"'!j_ m",PMirf. a.IAII_
Low. aad Iraas. RidoanI ScbinocIIIIId MIIIIII II clear 1IIII1'IbIt·, depieIiou of !be I . . . min': .... DrIpa orpniution was Toy_ MltIura. 10IIII. . .. iii_irani aad. beae........'......' _• . . . . . 1Id ........... tano t
1'" -_ ....
!'t............,
Be
helpful was Alfred Oreyfuu·..rdcle J (1980): 447-517. bardmenl of Shanghai in Alfred reprinled in AJfred PolPI'• Weinzierl (Reinbek: (Amsterdam: Querido. lY.II1'M
1969).24S.
4.
UJI""
FOIl. . . . .
. . . .,.MOES f77-f10
.';::
.-=::-::..........
PIli., ... (HI,..
Pleu8en." _./an-OIrisIDpheHonk. "Liebe. .....• ill.., , , .. FilM. ed. AlIcI ManpwdI - Heiaz R""udt . . . 1111-233_205-218. • P , , NeaIJar ..... _ fuJICIion .. JUII'IIWI for ..... Iroupe -.aiDS! tile wIJooeorgy seneslOcmbody ..... OWJJ repn::socd.ieoi~;;; . . " 5 ......... IIJe,,_oNrexccssesofon ..iencultuJe. p , ..... _bodyl . ' . beliellJesexuol1UpdismascribodlOberia
..
en.,.,.
"sr
£
7
-.
7F 011_ • her.cImirin8IY. Neuber evodes his gaze.
2 • r . "11Ie~WlJs." 314. . . . . _ID..,. " .... ·1 bcIoas 10 myself." m keeping willi die film's icI"lII " ..... , « l.ene5f-ucrifice. It. . . . . . . 0I1t.",., M«I«l, Pbiline's qJ10le is IIOIIakea from a ; ; Pt ... ....., • Ii pili 01 on ...... chmg submission fonrasy combiaed t f - ' "s-." 'wlily ("""'" lite die barbaric OIlY aldie R:ussUmCllliIllll 's 411*0. . . pUy. Anik.ltoy tks HIUIS (1667). (Comeille ..so WIOIe
Ilia"
*_
• , ' 2; S"'615)
. . . . . . . . . by aa,t,. SaodIIr iD "M ........ism _ die P'b .me PIe_ _ • ........ .., M rt • V_ _ II. ed. Bill Nicbols (Bcrteley and Los
, ?
tIM"
"7 !MP
5
,.., 19115). 606, SIJMIIor' .......
......_
."10 IeIbiuk +-We of tile hjap laaa-'(inka=Pill
N'
........,tIIe.......
. .:.... '_*.-0 \ 1"-.oalklideoltlleina&iDM)', C .-::'0 2 0.-. n..Dairu,Dain. 90. £ ..,.., her wiap. dwping PbiIiJJe in ber,_
. - ., ....*
f
.... ,.
.
• filM.
Iy bc:m CIIJIIbee dyl1M1Dica, _ . . . _..
dcrs,ood young genius (.1iDpOI wIdaIa mines). compan: Gerd Hillen, 1979). 18. and UBulaScll~. ,LI_"."'tJ"jiii. J789 (Bremen: Jacobi, 1m). 29. See Honnelore Heckmao, t• • • dcr Neuberin," Llssing y~ 18 (19Z6): 115.
La""ra_
':'!1......
30. The film's Lessing 1rID........ ~:I:::~ ;colds his friend for focusing 011 PbiIiJJe'I.
Leipzig H"a~'~i"'~'~'~'.§?E5i!
one whileofaNeuber's srudenl in_sea bea raJ,JIfe 31. See Heckmann, 112.1bia "Neuber.....,.. rhe classics. willi such diverpat
no~e:~l~bY~~O~UY:Boe:heim,~'~:aad:.~""::"'=ii
Neuber. a • Weisenborn Neuberrefuscs to bedilcsnled in tlleead. me oul into tile raiD and aigbt, I ...', ... fury. . . . As accusaIiool ••
::::::=
~.~.
32. The real NeubeI'is dI "young Ang~lique" or "Doris." dID pression of passioos pwDldI _ . _
Des sinlichen Blirgen alers im 18•
having q-1IIi 33. Both tile been ISO. 34. HeckI-. charged coallil
HansWIlIIII derstood
OTES TO PAGES 181-84 IQ 01. ~b<"",' . 1 \Ctedlhcpanl<'Po nen -n Tbcrr I a ~IleJ hc1",ccn these r"o ","omen. '\;eubcr ",as the champJOn of .~ r.hc..,I:- .... " JU ar: the dumplOn ofUcnnan ti~m. Set- Bel3l.h, HeM_\. Ponen. 132 Porten ..rler "'"ng fallen ou: 01 fa> r ..lth Gocbbc ... as forted 10 relrnqursh the role 10 rhe
Genn,",
'lJ
1...,,11)
w=1 thc.llC'" ...!reS Don..h
41 k, ph GoehtJcl. Rcdc "" den Frlmschatienden Berlrn 2 February 194~. quoled rn GcrJ Albr""hl \a!'ofUJu '101 ta;;h, F ,Impolll'~ ( Iungan Enke /9691. ~R4 4 j 1~ld 4~< ~ Ibid 488 Language a;. -ncdIUm f propaganda hnds "'''re ,!,<,cllic consideratIOn ID Juhan Pelley' anal v,,,, of the fi,m "dIs<' ur". vf natIonalism .• See Pelley. Capllal und rultuTe Gmnan(in,,,,,,19'J 45 London Bnl1 hhlmln"Jlule 19731. 147-I~R 45 Gocbbi: 's lD Allnchl 4 9 46. IbId ,49' 4' Ibid 497 -On IIIe one hand. the produCl1on must '.a!« grealer care of the an"l; on Ihe othe; h.·w(ver ML ':) rr. ... I feci a slrOnger a1Jeglan~ 10 productJon lL'\clf -~ 48 IblJ ~ 49 ~cuber!..Jke Ihe Duke mlso~yn:~ statement \\ Ithout question. applying It lO her own pcrs;.)n tn a ! r -
5:1 c.ontemporary descnptlon< of the film m theJ,mrnal Derdeu/Sche Film s!,<,ak of an "act-
m~and ,utrcnng Neuber' •October· NovcmtJcr 1941 I. stresSIng Ihe "high goal thaI she has dcdlldled herself to " worthy 01 hersacnfice" (Seplember 1941 'S4 '.i.manne 1.ehker Frauen If'r,..... urden
~allOntl[.fO=la/umus
"' ie aUJ Op/ern Hand/anger der Tdetne ,wUge Trauerarb~lI (frankfurt am Mam. Materiali!il. 1984). 38. 1m
_ 5. Compare Th... dell. qUC5t1"ns, which lD the Irghl of Pabst's film. are rhelorical ones: '\rc only dead mothers ~ood m(others' (1061. "Could il be that makmg the mothers as cold and hard as Sleel berrays a fear of Intlfna" as somerhmg temfying, and of a mOlher's ....armth as >omelhmg m which a son mIght easIly !'<'nsh'" ( I 07). 5fi Ihld. 107n
15. ECCE INGENIUM TEUTONICUM; PARACELSUS (1943) I Sec DaVid ShIpman, I he Story 0/ (lfwm" i'lew York SM. . . ee[.us is undoubtedly nallOnaliS! Wlrh IS S t ' t anlD S, 1982).313: "Para·
Reich"; Paul Rotha and Richard Gntr Ilh ~x, ~efnrh,-eenlury loa". to Ihe concept of the German . J I • /I 1m Ilfl Now (Londun' S . B k 1967 584 .' ..... ~asr. pretentIOUS, ImpreSSive. ~h()1 In the Barr . . . pnng 00 s, ). Werner Krauss. of all aClors as the iipoMJ' f H I i;indov Mudlos ncar Prague. It prc~cntcd Flfm in the Third Reich rBerkeley' Umvc:r "IU f (I~. elTlilll enllghlenment"; Oav. id Slewan HUll. . " yo a Ilorma Pres 1969 2 . mg of Kun Heuser's SCllpl remforee, Ihe' t . S , ) . 46."A careful readcon cntum that p. , . I . Fausr WIth Nazi allributes .. See HUll'" I' arace 'us was a 'on of sub,tllule , ., car ler anlcle "I hdd' .. German Cmem.a , 1939-1945" fOOl Q ,I m Uurterly 144 ' (S 111 I en hUll. I he Harve" of the boon of the poor-boy-made-good, a parallel s~en" . ummer 1961 I: 25, .. " preaches Ihe - - of the Rihrer," ami Kun Heuser tiled to make wllh Ihe ca-
"Iotes te Pages t 64- t 86
-
, SeC franCIS Courtade and PIerre C~ U ClJlbn4 .\a:I IPons Losfeld. 19n 101 Pabst .. as dead Pa',:tI "'. made m Ingue ID 1942
The grcal
• H II f.lmln the ThlrdR"ch. A7.concludes -Apak ...... o(.~~ - - e - - ___ th l!il .<:d U. to Ihe pos!I1OD a "udlo hack tlllrd one .... uncompleted Th, Moland" AffOlr '!be relIl3lDlog IS 10 die pololttle Clech FIlm ArchIVes ID Prague se~ 10~C \laurice Bar&che and Kohen Brasillach. HIJlOlTed"cWma. 2 """ ,Pam; 1..es>q1l · . [9(>1) 2 ~97-~98. '[n a noole patnotic SPlnt. Pabsl had left Fnnce 10 1939 .. onItt
..r
red; .-\
r,.,..
cOU Icurs. n e hi'" country" The authors cons.!der the "rnanelou.sParac~lnu.'" -,,1ucbCOlllalDi __ tos.c . enable 'oequence~. .. to beh15 - rna terplece " lor~ Lee AI"ell. G W. PahstlBoston T.. ayne. 1977). 126-127. -OoeoflmJDO
Ilm!
•
In lerm' of drama and plctonal lmagmallOD. II ranks along .. ilb DmfrosclJnoa,wr
and Kamerad5ehajr .. . 6. Compare MIchele Lagny, \\ane-Clau-e Ropars. and Pierre Sorbo ...-uIt ~ " ,Ierenko. Generique des Annees 30 I Vineenne. Pre.ses un"enllaue de VillCCDDeS. 1986 . e7 See Gerard Genelte. FIgures III (Pam SeUlI. 1972). 72. "Story" is the SIgnified or narrative content; --narra(ive" 10, the Signifier. the enuncia1ed. discourse. or oarnbve ICQ II,elf
8, Lagny el aJ .• 28; Enunc13uon m\'ol"e, parucular dJsplacemenrs of the eamer.a, specific trec!> of the editing "hlch mobIlIze an autonomous 1D1en'CDllOll of the fihruc discourse. e 9. Basel IS never mentioned by name m the film. but the nems aDd die illuslrious li!'ftSo( Froben and Erasmus of Rotterdam refer In Paraeelsus's ele>e'l-lDo,1Ib sojomn m the S..... ary See OtlO Zeken. Paraeelsus: Europaer im J6. Jahrluurdrrr tSlurrprt: KoItIIwnmer. 1968~ 47-61.. . . oacb ~ Do VIIdimir 10. Completing Ihe thematic descnpllon. the slr\lCtlllal appr - 0 wmg Propp" model-confirms the articulalion of the narrabve aDd reveals the JogicaI ~= fi 1m The" lack" is already found in the first IWO sequences: thethratof plague. ~ 51 die The hero IS therefore doubly qualified by a double 111811dare; rhaI ofthe~~ (lo:mIer .. ( Froben) Thehero·sordealsmwl.., ........ ~lIbOIISm ctty).lhalofthe "!,<,opIe toeun: . ~mthemlerofperformall<e(W1lhtherowncouacil~ of know ledge (with the medical COUIICiI) "'-'--' -'-'0., The ~ first COl ps,.. for"-'''IUI"~ , ..........-. ~,. Victory (overlhe plague) does notal boIb ~ people IIId the Emperor. FiDIIIy. the • • • • "nction comes Slmul_s1y from • W"-I'Y IIId .....1!jcmo1'Y cIdiIIiIe palldiagram-which. as by i idllllPCJIaiO&iSI5bUUlsobdw= 110n,' -allows an IdeoIifialllOll bal. the collective agenlS:
de~
SUBJECT: OBJECT: DESTINA nUl: DESTINATAIU: ADJUVANTS:
an.:.;..:::reiBdi
Paa.ceISlIS , p ....... II ,.te The suugIe...-cli.-......
5 ;
i"IIIIR (GennID Soil)
~
~:.:=;::.:=.;=I Jhe stUdenlS; ErasmUS; Von HUlleD The medical _I. (.JCJ........_t
ProSelytes ~ The people IIICI (Desdisciples; Blood) .JoIwUIeS; Rena"; F1ieg ......m; council. the IOwn
OppONENTS:
oppo~~n:ICIIlS:;~IO~.:Y:!
Jhe jnsJabiIlJy of adjuvants IIICI ::::; wtUmofpenonai !DIereSIS. ; row'senemieSattbe ,. "zone of ~ LippC. quoted !D Klaus '[bcweleil. " . " . _ . , [ [. Sec R~",.",., bUS. Stephen Conway eI aI. (Mi_..,alil: I~ Flaods, B(JI/IP
One noteS here
NOH' TO PAGES '11-'10 1t87~ )06: "AI the close of the Middle AleS· • bodily frenzy spre.ct Ihrouah 10 die 1.0_ Rhine. In tile form of tile 'dancllill madne : or' I. VUIII' ........... dIemseI_1O death." 12 ....., focIhulJOll comes at moments whe~ Speclalors ... Ihrough the eyes of _ wIlD. bocomi... the subJClCl of perceptlOft. take on the role of. subjective COiIlQIIIIIi ...... die -1PJIIOIIIIaIe5. See Lapy eul.. 27. I DIaieI~.Labio,""""'(Paris: PUF. 1984). 127. 14 AIedricII u" tutti A.b."",! His/Ofl·. 2nd eel .. trans. Adrian ColUaa ..... Knft (IDdianIpoI1 . The Liberal An Press. 1957). 59. 41. • IS ....Meet.127. 16 IC8I ArdinIIId ~. lJGs N -G"c~/('lI1s"'ld IIIId di. d.Y/SC'h. G",chi'chtlWl.l"; . . . . (SIuapn KohIIwnmer. 1967).9. 17 Adolf Hider. "'ftft ICIIIII(J/. trans. RaJp/I Manheim (B05lon: Houghlon Mim' ~ m. ..
1eIISdIe."'"
II Clad A1brac:bI. ",_/so:iDJ.SI'~ F.lmpolilik (SlIIngan: We. 1969) 106lf 19 ClIwtIIde and Cadors. 59-106. • :10 ftiIa Hippler. 'Der DeuI5Chc Film 1m Kriege ... 0" O.IIlSC'M Film (Spec'" IMlI4I) 4-5 21 'I1Iaas EI I • 'FiIm History IS Social Hi 101)': The Dieterl./Warner Dl'Odaetll ,
pic..WiIIIr~12(1986).15-31. u. 22.' r ..... o.dIn. ·UDdiicours ... ~flUl."C'tdIi.,...dMCilll"'" No 23~i(l!m:l:! D m .l4. ........ BenoIt BrecbI. • • •2S. Aa "Le C ' H des ..-...0.. bammcs " C'o~' - . _.,... M Ia Cilll~w No ; •• deJa • • que. ·Coatoursetfi....... d·un ...n~ "C·o L ' -,.' • 45
e--
I9II6l: 93-97
e---·
",""s""
.:..~ ............ MUIIa'." FibMri/ik 10.11 (I November 1966)' ..&wiaLeiser.NlUiCw......1rIfts GenrudMander-·sI • • I '.1974).109-1I0.· .... m : : ' M ,",II hI..--. "''''IC;IIIoSc~,,"(New York: HemySc:lilum.Q.;
- ...... t"'...
::=
. . . . Bodo I' ·Die II d Irrdi " ~veraeaz der EiDze.lgInaer. Lilcralur lis .~ "ft" , ¥ . ..die \folbaemeinIc:I: Hermann SIcbr-EmiJ ' - ..... ). /);, l' '~wUJ • 1 • .ed HanlD' .1 !wand ilf/ Orin.n R.;ch: n.._ft-.n...~ f
t
. . AIhI"
pi
.... .... II •
i
Karl ...."", Ihr /IIyduu:;omm (SlIIlI8an: Rcclam. 1976). 118-137 III .;' IICIIed dw' .:u 20. Johrluultkns (Munich: •
i=:=:E~~~~ R
ID s JIISSIIe Rosenberg .xplicitly "'fen III B. ~: Zw. VorkslIIIg iiM tk Iw. 1942). .n , n AnllUUI PhilosopM,.
\~ Pa
th\l ..l:
N. Se< Pachl.r. 35-37: Ihrouah!be _:Ib:~vI:!::===t writings from antiquity wen:
.• r••cdicol n.l, (l..'nlUf)'·
40 1l8",1 had heen real1Khed 10 Swl...... 1111506
Inlhcfilm.heisciearJylheprecunorofl""·1 nf,".__ l~lInl See Pachl.r. 85-87 . 42. lung. 172. 4.1. Compare Zek• .,. 80-81; and Plcbla'. III. .\4 . Ilarthtl.my AmenguaJ. G,o" WIUwIm,.. (I'Iria; 4~ . The Fugg.r bank. which held a The Fugg.... obj.cted 10 th. of Ihe illness alth. time). heeause il howedplllClllbe 46 . Even if on. h.sitates makio& • di...... vi Pfefferkom figure has IlIOn: in COIIUIIOII willi (who would come later). this rich men:baal, Nazi cinema. namely Jew SOSS. Like commil treach.ry. fOlCioa eveo lheclaald.41
lew in films of the Third Dorolhea Hollstein. "JIIIlReIch, Sllu"
:~:5==
:ialislisch.n Sp;,1fi/m (ftaakf\IIt
cE:m:pare~Da::D:jo~II~.:"'a~'
47.d• ,I.. 48. For tionierter
49. inglon: 50 .
S!. 52. 18 . 53 •
ID
extIirIded
..
NOTES TO PAGES 117-208
... _SHADOWS AND A MLE VICTORY OF REASON: THE TRIAL (1".
.iIIs,.itr
I 1Ae H. Eisner.lc1r _~ «/rOMs VaJ~rlond. M~moi"n. ed. MartjeGrc" III 1'Ieq. Wuuderbom. 1984).95. 2. (l W. PIbsI. "DerFllmderZukunft,'· Film.burs,(Vienna). No. 1(1949): S-II. 3 CompIIC Josd Schucbnig. "G. W. Pabsl uod die Darsrellung der Neuen Sac:hIic:llb1il Film. mbInd eiDiget beispieJhafter Fil .... von Pabsl" (Ph.D. Diss .• U. 1
wz ;,.
1976)' 17Of.
4.
RudoIfB~. Prozessall/Tod und lL~n (BerlinlVienna/Leipzig: Zolna)\
5 Compore die reprinl. Rudolf Brunngraber. Karl und dos 20. Jahrhundm' beIJI'IUIIus: Sc:ripIor. 1978). 6. AIIoseedle boots. RodiuM-Romon .ines EI~_nlS (R.ldium--N"v,!1 abo"" ,.." 1936), ()piMmkrieg (0piMm War. 1939). and Zucur aus Kuba-Roman e;"". Gel.... {SMftIrIr- Cllba-Novel aboIIJ Greed. 1941). 7 See KIrI ZiaIt·..,fterwonllo Karl und dos 20. Jahr/umdm. 298. 8. SeeplCfoDe 10 Prozess tlll/Tod und lL~n. 9. /IIid.. 87. 10. /IIid.. 139. II /IIid.. 151. 12 Owapooe It'- \UIduag. Oil ApoUUyp~ in Oelll.SChIond (Munich: dtv. 1988).
17. LATE MIIST: THE LAST 'lEN IMrs (1855)
1 1-.Jd"ID~""Cjnl li4I...... ~ (Paris) and. in particular. fir • ZC of 77w Ltut T"" Days as well as !be DeuISCbes Instilut fiIr (ltwld'at_JoIIiII)far...,...,. me _lOc!on •....,," _""Rn!be receplioa,.". C y_"-ia. ...,;-.......
,.1...
2. AIr..... t. . . . . dlediMu • I,.
•
I,..
. . . ff-62;'
t
ofPabll', regan! TIu! Ltut '* ............... Henri AncJ u"Utl.ysasa.1iI Les ciniastu wcxts which
1960), 140: Bad 9 '
,
ijy
..... •
Grands
AmeasuaI. Georg WilMlm Pab61
...... ~IV~~~~:~·lm).138-142; It': , . . (LfaI: Scadoc 1965). 93' CA......::.ant- . ' 1968). 359-360; • PP I D'o • ., 2 .... ed RicP";'cj--- Cozarins?cy. "G. W. PaIJIt," ia . . . .0 II VI9ikSi3D)g'IOI98011)04' "
P',~IV ·j..
IM-/,"~
."
-
.
German film indUSlly. see Peta- PIeyet . Fable. 1965). IU a bigbly ·ticaJ and .' film . en partiSaD iDdustty of!be fifties. see Klaus Kre~,
"Six Talks on G. W. Pabst." II.
~.. •Michael A. Musmanno. Ten~~~~;~~~ rque see C. R. Owen. ErkII
L 269 . ....~'::P- ~a.y" ...c.,:cnplay and wheun;;r --w:- y~. Rem"
dam Rodopi. 1984
t
__
It
"Hiller. SlDry von Renwque. On'Sp/I,a, Seplembe r 1954lhBI ltenwque wu paid 011 l arose when that sum was ~n 8. Owen. Remorque. 266. Sec also Reawa..... "Ihe good German" 10 prevenl a _ World War /1/48 (SUII\I1IOI' 1956): 27-18.
.
pabslinCinema(MiJan)'No'::~:~a=:
9. G. W. Originally appeared as "DerF'dmderZakuaft,10. See notes 10 !he Pabst fill1'.ogu'pily f II. Very few of !he acton bad 8Df JUt
Leopold Hainisch (Keitel). Erik A~ I:BIIIIJII." lOTS
who had been seen ia minor
w:=:::
volved wilh film. bavingligDala
subsequently in films such • (Ma.Ophiils. 1955), 12. "Hitler war 13. On literary Pennsylvania: PeI-'flvllllJl ma,;c ImagiMtion ma and film. eIIIedlll Scree" IS.2 14. Tbeo1= \I
. . . . . . . .E.2.. -22. _III III • • 71a1y 1955; aw-0r0II. "Oespeallerhl~~o.lr"_~ Z . , _ 1955; Haas /fcIlmuc KinI. "So leichJ ..in! Hider 1liC1II .... _ , MIo..tw. 5 July 1955. A·H/icnce raponlulthe"..,.... _ nip...
..
... _ --' ,....1Ijc. >elY fir ....Y... if "" .nocher ...... A • III .. * .".UIf/Y ~ IInIII8 cn.lic:w" from Hider', '*--I
..: • • ' U 2), .... i " the film ~_~ of ~~Iitudelh; lhcne,diershad ' - 110 .... -.....; IIIe _ _ hid .... bJDC iO _"'" WI 10 and _ _. . . .. Ai - ' lllIIeatiaaW,-" bIasIed daroedays II/Wr Hider's death. Coanp.re
...' - ... .".. 1iIme; "ImForudarin(Diisse/dorf). 16June 1955~~.A;r~::= • (..... ..-cas• ....mJy professionals, w.. published .. C _ ""5
. . . . . . . . . . . . . . ." Dtu Wc>ciJcnmd. 2S May I.,,~ .
IE .FLfE • AUI8T: Docnsc , i HdG A LFE AND A CAREER
,.1wiIr.
23 or- 1922 .I. ,. 2 I ...... -1m SdttIIz: G. W. Pabsu crIIer Film." ,"ction (Vieama). No,
-':8-25
'7""."'~.27ftfa_) 1923. 7 7 • • ... b. Bdi_ C-vr. 22 May 1925.
6.. -.. . P ,.
Hans Fe/d. Film,Kumr. I"":
n_I
7
$
. .-
7 IGriISi6,n..FilMTdlN_(I.ondon;Spring./967).IJ6r...,
22.., 1925. ....... "7 21nr .25 .... 1926. 19JII.. • 7 2 a "G W. . . . . . DO''-. . « Hider', LatDays." N_
:==~"'~::~.:.;~.~~(S i (S
21 F i
-
i
teo
LIbeiD.I928~
1928); 73-75.
tl929. Kaopf. 1913), 99-100.
7 1929.
~=:=::;:~. 16No..emba 1929. 26May 1929.
•
"l'IIbIcdel::;~:::~=~=
36. Enno ParaJ..: .......'ftswilh ...... 35 17 John Stuart. ..~ .....
1K. Lichtb;ld'Blih~: 27 RobilLlII - ',,,I.. 9J2 ..... . . . . . . .c,.. . Emo Merznef. On the_ C J 39
I~K_159. 932 Film,Kur;~r. 9 July I . 401 ··Filmund~lnnunl. r_· " 4H· nscleit (Berlin; J'hoIoIrim. 1933). 91-99 IIX42" "M. K.". Uchlbild-BIIhne. 2S MIidII9J3
ittl~~~~~."",II.J"'•
BOSI·~~~.~~~E~E~:~~:~=ii
Younkin 43. Pierreel aI .• TM Fl/rru of Pe/6 Lorr~ (I D 44. Frank Daugherty. "Tbe I'IIbIc AnMI.· 45. Film World New•• July 1936. 46 See WeinbcrB. note 9. 47: The Spec/Qlor. 28 July 1939.IIqa. . . . . Criticism /935-1940. cd. JoIm 48. "Kr" (Siegfried~. "BelG. W.
RuudI..,..
;;~~f~:;;;!i;
49. See Lee Atwell. 0, W. MalCh 1939. 50. SeeHelp Houde and Spencr. 1986). I~'" 5 I. BoSUSlaw DIewaiIk, dOlf; Droste. 1987), 45G 52. Leni Rielallli....j 53. Film-KIIriIT.
54. DrewDilk. 55. !bitt. 56. Derllil 57. 1984). 58, ~,
I=::~I-:'16"
=:;~a-UP7.2(AuauIc 1930); 104-105 .
...........930); 221.
1
60. 61
Complied by H••, ••
filmography die _ COIIIpIete IISbDg1 possible for films 011 In 1lIOII instances. orisinaJ aed.i1S uti Pl'oducticlll • • _ ' • bISis. In • few cues. il was DOl feasible 10 locate • . , ... oI .....srency. dw'acIer names appear in the llIIJIlIlp
.. .. • '
on,
S , ;
fl.
192 2. per TauaenJdlU. (TIll a.~...".
Carl Froelich. "IfFrciherr . dlr:O W:~:::~=I .... von E.cl\c""",u - - lUI.
_~_
~::~::=
Frido!" ) 'Mn Robert Herlth. I P Erhard Siedel ( m•
M~rtcns. Gustav WaJdau. . . . p,("' Froelich-film OmbH, BediL , Austria. near Kapr\lD. ~ 5 August 1922, Leipzia stendamm).
m
1922, Lulae MIl dir: Carl Froelich,
on Friedricb Robert Herlth. /.p: Lil Gertrud ~cbrlt llka GriIDiD&
Wurm). p, c: Imlllilll
. . . . . . . (fIIIJ.,IaI SIrftI} .-: MIlt SaItiII, A.-Ie LiMIk x WIlly c.tOeltel, w.lWRabenUda._4h-1
a..;.
w. ....... GIItIo (0niID (1'1
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).
Kad
, Galt (IftI ~). !fcn!Ia _
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II November 1927, B.
,lendat11 m).
1928. Abwege· (Crisis} dir: G. W. Pabst. ass. dir: .....dlll basCd on an idea by cosl (jor BrigiJre Hellll): Pab.l. ass. ed: I.p: Gu.taV Diessl (111I11III....... Walther (Liana. ibre gierungsrat), Nico 'II_rail (Andn!l, Zofe).
Rea'"
p.c:
I'
.,. AaIl. .... _
'. novel . phDt: fftIZ EhtcoburS. "arl< Sorkin, G. 9l . 'a' rd. /Y' ) Bri&!.. 11 'Tn' ~~. h )ehanllC (Jeanne • I p pull . (Andre8S), Fri'IZ ~:~~: ~
Erda-FIIm
Ly.... sll. perio4:
.' 71
m. before ceIIlSIIr II1II prtm: 5 SeplIaItI" The film's WCIIIIdII 1929.Dle . . . . . (Pandora's 1ItJ..,. 1
dir:G. W. ....,. . . Wedekind's pII:J,..1 Andrej AncIo. . . ~ Man:cllbsztay,
(Schigolcb), (Dr. Scbilllll~'"
:=
PianiI»"S. p.e: Nen
1IItUIager:
Slalkea. 1929, Willi 1be1llm
7
. (Diflry ofaLost Girl) - ...... _. _. M..t Sootin. Paul fioIkenberJ·.c: Rudolf 1""'Dh • •.,,. 3 lIGhme.pIIoI:ScppAllseicr.andir:Em6Metaer.CIIIUItl..... 7
7
",Vala d
.... _5
1
..... IInIab ('IbymiIn), Edi1h MciDbord (Erika), Vera Pawlowa
m.e
" (ApGOh+ fIamiJIg), mtt JWp (Provisor Meinen). ~! IR:':.:_:,~~~ ..... 1raI" (Qraf Osdar1f, oem Onke!), Andrews En,elmann (der \Ui1I
•
uln _sA ... (jaJ
d·Acclimah:on:)~.~k;~lIg=th::~I~~09~~:~::=
1';1" n (2470 m.). after q(I m' [)ccember 1930. B.27683. Jv. ao-pr.: J'. 1.1 as released in four dilfereal I. . . . . . ._ The him w italian.
M raJ urn MlttenulCht. (Morab at 111+_ Sorkin. ass. dir: Paul RtlkenlwJ:~.::==~
1930:,.; "IfzcrlcU; ,.. based on 'h!rIen'5 S,~MU"_'I. __ "t •.....,
S
....f1_
Jroa..
..... :::~ 1911
....
ac.-y
DIu TagdNdt ftMr v~. diT:
o....I1I!eidt. '*'- Knuso. ReinhoJd ScNinzrJ.
RieI_
. . . . . . . . . . . . _ , . . ..... (TM WIIiw Hdl ofPu PaIii) G W I'IIIot. tISI _ . M..t SOItin . .c: AraoId faa£,,,, .... _ _ .... ., ANaId Fo.dt pItat: Scpp AIJ&eier. RicbanI AIIpI, . , - , : .... C 1 _ .. _: EIII6 Mo I _. m: AnIoId Fact.
eo: ..........
. , '10
a.. .....
(Ilr 1 ' KIdt, der AIleinpnaer). Leai RieI_1ItItl1 . . . . . . . (It.. . . . .~ ¬ Udel (der Fliega-I. Mizzi GiIIzrJ
....'1_..
Berp\lluerl.
~18·'L ...P/Ia,O'tIJH.Berlia. p . -B": Many R. "'IIatl. dwlio.:OIII• u_ . -
-
.. ___ 'M. inrgtJr: 7 acIi. 3330 m.
C~tIIOI':
II
... ,..., Z2 O*+or 1929. Maanheun (Univenum--l..ic:bl);
(1~ ~ c U........ Pictures Cotpontion, New YOIt. M&:Non.. pr..... 26 Seplcmber 1930, New YOIt ~.... H. T.-FIIm GmbH. dir: Arnold RtncIt. _;I,.n ~::= 23 Dec. ber 1935. Berlin (Uf.sPavilJGa). I , .. (..... III .r Ollwturd}. dir: Rolf Henw
",.. !fIfo._......
........ ' , II
o.mue. AIIIW d'Ollivier, fiRs_III
Heinrich Richter. I.p: Gustav Diessl
. Gefanaeoa:)' ~:~=~ (em
Aufscher). Karl Falkenberg .(Z_ Freund). Lya Lys (Nora), ~I . Hom-AG, !iir FilmfabrikatioD. BedII. p.c. 2010 Atelier. Berlin.l~ngth: S acts. IDs Berlin (Schauburg) .
"!"-I'
SOUNDFlLMS
1930. Westfront 191L VIor lilt• dire G. W. Pabst. tII8. dIr,~IItIq\
.'-8
FILMOGRAPHY
ubabcbt....'rg: IOC1111011: Neuruppm and vlCinaly. Ml)khllW\CC. It:n.&:th. b ilCls, 2625 rn mon.) . .... 13 June 1930, B 2bI4.1, JI p,,·m. 1.1 June 1930, Ber"n IUfa-Pala" am '\l
z.:.,7
.,.r
19~' 1. Dil' J-(;roschen-Oper. i rllt" Thra.'pennr Opt"'" dir G \\ Pah..r au dir \lJr).. SOT"-m. Hc:rbt.'n Rappaport ,\( Leo Lanla. Ladl~la V. . h Fr -\ W Us aJda Bela Ralaz'; ha,,'J on Bertoli BreL'hl .. rla~ p 01_ Ill, mo agner. .\111/ phot_ Rudolf ST ,\Illh Han .. Cu'panu"I art dir Andrej Andn:jc\l. cost. Ma:\ Prclzfeldef. ed. Hans Ose;~~P: Adolf 1m'!.'" l1uoh' Kurt \\c1l1 m.d. The-o
\fadc~n. ord't'Hrtl.
leWIS
Ruth Band.
d.
I.p. Rud,llf nlr.h.:r (Madu: \1c, .. erl, Carllia ~chcr (Pllllyl, Remhold Schunzel (Tiger-Brow Ra,p (Pcachum), Yale,ka Gert IFrJU Pcachum). Loue Len]a (Jenny), Hermann Th' ~). (def Plarred. Em,t BU'I..'h (der Slras\cn . . .:mgcrl. WladlnUT Sokoloff (Smith. Gefangnisw.' Imlg Paul Kemp, GU,lal Punier. O,~ar Hoc~er, Kraft Ra,chlg (Mac~lc Me"ers Plane). H::~ Grunbaum IFllch). p.( lbnblld-S)ndl~at AG. Berhn; Warner Bn" Pocture, GmbH. Berlin. "Ein Tonfilm d Tobl,"\\'amer-Pr~x:fukuon" ~~cti(ln c"(ccutcd b) f\.ero-Film AG. p: Seymour Nebenzah~~ sh. pt'rlOd 19 Sep!cmlxr-l) \o,·cmber 1930. ~\lUdl~). E.F.A.-Atelier. Berlin; Filmwerke Staaken./~lJgth. JOl7 rn. ,112 mm.). (Jl}t)7 m betore fin.t cen~or board review; 3097 m. after «cond censor board reVIew) "'/IS,,r 14 Februilf} 1931. B 28190, Jv.; I April 1931,0.28190, J\" pr<m IY Fcbruilf}' 19.'1. Berhn IAtnum). The film \\ as banned by the FilmpriifsteUe on 10 Augu'l 1933 French w~lon: L· Opera dt' quat' fOUl an. dir Solan~e Bu~sy. French aduptatJon. Solange Bu~s), Ninon Steinhoff. ed: Henri Rust. Frl'flch /,no Andre MaupfC) I.p. Alhcrt Prejean {~tacl"e ~te"erl, Odette Florelle IPolly ), Gaston Modol (Tiger-Brown) Ja"ques Henley ,Peachum). Lucy de .\talha I\tadame Peachum), Margo Lion (Jenny) B'U: BOC~ctt, (k Chanteur des ruesl, Hermann Thlmig (Ie P"ieur), Wladimir Sokoloff (S:ni~) Anlonon Anaud. Arthur Duane. ~t.,ecl \lermonod. PIerre Leaud, Albert Broq' M" AntOinette.:- Buzcl UID. anoFrIlZ
PN·(·be·Societe de\ Film!'> Sonures Tobls, Pans, Warner Bro~. Picturc!o. GmbH Berlin p' Seymour e 'nzahl I,n~t" "~8 m 191 . ) 0 • . • 1911 p. S -_ . . . . mon .. prem o JuneI931,Beritn(Atflum);9(?)November .•
an~
( tudlu
dc~
Lf'>ullOcs).
Sub~equent VC~lOn:
1962. 'West Gemlan) France Die Drelgrolc·heno e,. L'O ' . dtr Wolfgang Slaudle I . C d J . p, pera de quat 'Ot1.5 .. p ur urgens. HIldegard Knel. Gcrt Frobe, Sammy Davis Jr. 1931. Kameradschaft/La Tragedie de la
. mlDe. . appapun. comultantJor F ·f . lC· Ladislaus Vajda. Karl OUen P t, 'I. renc 1 jc·ene.\. Robert Beaudom. . «r.> arton '-"onnel' b"d K' . AlDo Wagner, Robert Baberske art d E r-' asc on arl Onen s Idea. phol: mlZ . If. rno .\-1et/n K- I y, Adolf Jansen. mu,ic: G. von R,ge"us. er, ar ollbrecht. ed: Hans Oser. sd: I p. Alexander Granach IKasper) Frllz K' mpers Ernsl BU5Ch (Wittkopp). Elisabeth W'n' dial IWllderer). Dan."cl Mcndalile (Jean Leclerc), "'-_._ • selOc Frau) G (vu""",,'ger). Helena Manson (Albert Fr. . ' U'iav Putt)er IKaplan). Oskar Hbeker Groos S au), Andree Duer ,t IFr . vtller --toes), P,erre Louis I ~Plerr' A c an,olSe Leclerc), Alex Berard CJw.J .. (Emile). Georges Tourreiliingenle~r VDldDl,ourMdcdleuIIGcorges. scin Enkel), Georges ~ Wendhausen IDe t h I a) ....... 1IlICI'. n.1l . ' an:cl Le'''cur IAlben), Marouerite DeI . . . l"I u "" er Grubend k e • a , l t l d l e Caner. Philippe JanvIer P'I ore lor). Max Holsboer (DeutsCher yre " • ...", MlR:eI Mcnninod. SClere 'FnatmF Leva»cur. leddy Michaud RorWa _~ .... _. ' z Ischer G • -~rM-""'''·---. erhard Bienert. Georg GilrlllI: AG Balin; Gaumonl-Franco-AUhe rt, Par.... p: Seymour Ncbenzahl. p. · G W d'r: . . Pabst. ass. di,.: Herben R-
\V~rk",g fit/e. KameradscJwjr SoMe VI
1932. Die Herrin von Atlantis. (Thl' MfHreu of Atlam;s) dtr: G W. Pabst. an dtr. Mark S~)rkon, Herbert Rappaport. sc: Ladislaus Vajda, Hermann Oberlander; based on PIerre Benoit' novel. Atlan/uk.phot: Eugen SehUfftan, Ernst Koma. lIrt dir. Em6 Metzner. cosl: Max Prctzfelder. PIerre !chaco ed: Hans Oser. sd: Adolf Jansen ,fl/IJic. Wolfgang Zeller. choreograph): RoslUa Severus·Liedemit. I.p; BrigItte Helm (Anlmea), Tela T,chai ITanil Serga), Gustav Dies,l IMorIlange), Heinz A.
Klingenberg (Saonl-Avl!), Wladlmor Sokoloff Ider Hetman), Mathias Wieman (Tontensen), IOdette] Florelle (Clemenline). Georges Toureil ILIeutnanl Femeres). p.c Nero-Film AG, Berlin. p: Seymour Nebenzahl. p. fMNJg"; Wilhelm LOwenberg./Uli1 manager: Gustav Rathje. sh. period: January-February 1932110cati0n), Man:h 1932 ISIUdio). 5lf1dio. E.F.A.-Atelier, Berlin. location; Haggar. North Africa. knglh; 2369 m. 186 miD). (2384 m. before censor board review.) censor; 23 August 1932. B.31992, Jv. prnn; 6 September 1932, Berlin (Ufa-Palast am Zoo). Working Title: Fara Morgana.
French version: L'A/lan/ide. ass. dir' Herbert Rappaport. Pierre Ichac. French odDpllJ/ion; A1exaodn: Amowt. dilllDgw; Jacques Deval. photo Eugen Schiitf!an, Joseph Banh. /.p. Brigitte Helm (Anlin~a). Tela Tschai (Tanit Serga), Jean (MorbaJtBe)· Pien< Blanchas (Sainl-Avil) Wladimir Sokoloff (I'Hetman de J_~ MadIias w...... , . 0UeiI Ljeo_ Ferria"es) (Torslensen), [Odette] F1on:Ue (CI~mentme). ~~.....~ lapuque (S.I.C.), '1'Iris. p; p.c: Nero-Film AG, Berlm; Saei61i Inta'lllliooal 2 I'Iris1u.MimcIes) Seymour Nebenzahl. length: 90 miD.~: 81_ 193 • .
AnBdo
.IJD._"
English version: The Mis~ tfAIItIIUis. ,.... ofSoiDl-AviI (Jc8I s.-t) /eJrt1k 7300 II. t'~,,- 3Ju1y 1933,L..... Same cast as Gennao verstOll with ... (81 min.). preview: 2S Dei: Other versions: , _I_.u. _ _ _ . . . . . . " " SIIaia " , P a h . . AaFiD. 1921. France. L'~ - Georges Melchior. ___ . . . rl «7 tQ *1ItIIJIr 0 lIIoIr ~- ._..... 'nI 1961.Itayfn ..,,",:.~ ,.llP" 21 ..,.5 •• R ' and Giuseppe Masini.l.p. ... 4
"!..!....,. ,
r_- t
.
'OM'
_"--M )
,
FIlmography 271 . Wilhelm LOwenberg. umt manaxer: Walter Jacks, Gustav Rath tI.'!.t'r . nbCr 1931 JtudlO. Fllmateher Staakcn it)("Gtion. Gel k~· sh. ptriod: m~June scPI~" 2520 m 192 mon ). ("en \Or; 16 Nove~ber 1931 . B 30~~ I"'GIlen . Grube Hibernia /t'"gf 1, . 29 J . " , . pr~m: 11 November 19 1 1. BerlIn ICapliol), anuary 1932, PamIGaumonl-Palace).
.
Ie
•
D
'::= ~ L-~jlC~!'I:,",:~P:'::7:E=;;;
1933.G.Don .......AtDOW'.,.". • dl" W. Quh Pabst· NJco/II AlIbI. ..... dlUlogue: AI""""'" 6ft HaDlOs« ""J. co"t; Max PreIZfeIdllr, Lotte
Re~....... (Doll QuidtOIIC). J)oMUe (SUcboD,..,.:::::::
Ip: ~or
l,;na:;;.. do SIDCho). Art_ MaIdIII
Minille ~,....
Mady BertY (!
Due). CbIfIeI MutiDelli.
Pienede JJmIIf Jean
5'IriJ NeIIOD LODdOD,Up, WIt mr.
P1~WII~-:~£=ai
~ l\'IIIC8ud ....... (MeaopDI), :M MaIda pm
-::.:':.
~J
(ta ..
nc:nkoV I• -d' ~ .'
,::,!:
Mark Sortdnm.tl••
I ' An Casimir Oberfeld . M . I .ggcr. l1"n' Parlo (Anne- ane ....
_Ir,.
===
PIea::e
I P [lIla. alias Condoyan), c"urdanC"h rles Dullin (Colonel ,I a . MA' In llnl ,' Georges Cohn ( !JOI' = cl B"urg I'Clienc foul, ReJM! Bapa... 0rJU wiCl (Alexandre). u (Ie Robed LUP' Slier (Ie G~n de c:a6!). rt RohC e . "-_'- .. _....._ A.... 'de Dorvllie. n ............- . Bag r• CI . . F'l PariI' " R main Pmes I ms, • pl. h"29S1 m. (109 min.). pnmJ:6 /rn~t . b AnaIoJe was started y The film I J :::: wood. scripted by Hennan .
:~:.:::=
Later version: 1967. Italy/Yugoslavia. FI'IJIIkbta.... More. Nigel Green.
55 P 7 Dc
UlllilIII
·'fI's"'_"
11Il1l" (Ia I'l c
). UI._
1938. Le Drame de She,,, ' dire G. W. Pabst. ass. dIr: based on Oscar-Paul G~lbeJn!l.! phot: Eugen Schiifftan. LOll• • dir: Andrej Andrejew. Roben Teisseire. -ric<: I I.p: Louis .Iouvet bourdette (V&a). (Niania).GatNieIIe (Tscheng), roun Sen, AnIlle.1\) Gaby Andreu. p.c: Lucia t'W1IIS,
Geftman. stv4io:' (Manignan).
282
FILMOGRAPHY
_ (I':,rlj In DIJITru) ...... Mu-. _<-. u rn "39. J dJr J..;qucJine Audry. Andre MlcbcI
C
$<
o,mra WIDs/",,;
"-aed
r -'dla/oou. Jean-Bernard Lu<. Tmtan Belllald • Il_ . "" Ul G " /':lbSl Q.fl f adaptatIOn arw 0 owqqlQn /'eICrQulnn', nove I U 15 artd" Andrt jAnd"'li Andrej.... Guy de Gas....._ v -IbeI' Marce ne . _, ..". co., ",.,., Michel",,· Hauta;,1er ,d Robat musIC. Ralph Erwin. .. ..,I.d LoUlsell< PI' J'
1<""'1'"
Jacque> .~an .' Preslcl Man:ellc Chantal (Mme res eJ. Micheline Presle (.lac I p I\ndrt Luguct (Mai';;:ne Dclubac (Pola d h-ry J. LoUISC Carleni (MargotJ. Paulette EIan,qudlOC. leur hlle>. Jacq M 0 lIOn (la Mae de ThCrt",J. Milly Mathis lIa Mere d'A!' ~ ([)eDl .. Tarrandl. . arg (M V'II d R ICe).
~" rlaMcred·Yvene,. Margucnte loren" , me I an J_ obenPizani.J GabnelIeRobmne. u Pie- Bertm Arthur lXvere. Claude Pierre Nay• --..ut::It D ....~ !itamtrt> Rene V\.Onm....... 'lehmann. . Aqui J ,......... J.""oo • .Man:ellupo'·lcl. Georgcs VI tray. Michel ~i5 • C'_. M SmocJ Ga!llon -... • --ICI anue. G . .. .. -.Mehot Chn lIane Rlbcs. ) \'(lnne Yma. Barbara ShawI ----NIUe .... _ Jam Nanc ennon M4I U~ . • . m. II "orm' an Vldona Carleru. Llhanc Barnasstn. Madeleine Lebeau ..... _ Muratore Nne c :.. , •• ~ I~"uehne Dame!. Chrullane Rombaldo. Rosine Lum_ .._ _ BelIanger. Solange li'-ne .,"" ...... e_........ · .. -~ Genname SIam .. 1 Gerna Vaw;. Monlque Dantes. Monique n. .... __ .. de 11'"'"'" ,~ .. ,aye. .'_ AntolDette feria). Ananc BOscnfcl I. Gustav Dlcssl (Ernst Btron, Herzog von Kurlaad). Haussler (Armin von PercUtammerl. fuednch Domin (Johann NeubeJ), LudwII (Muller. der Han,wuno. Son}a-Gerda Scholz (dIe FeiginJ. Lucie Millowitscb BenlDa Hambach (V Ictonne J. Walter Janssen (Koch). Alexander Ponto (Kohlhanlt). nr.ch (Gr.f Paul). Curt Muller-Graf (StudIOSUS Gonhold Ephraim Lessing), Harry (Professor Gon>chcd). Amult SchrOder (Klupsch. Ral!oherr in Leipzig), Hana (Schroder). Kurt SlIeler. leopold von Ledebur. Reginald Pasch. Ullrich Haupt ........... Janne Furch. Edlllz MelDe/. Ahce Franz. Maria Sigg. Genrud Schneider. Margarete Roth. Barbara Pleyer. E,mt legal, Ench Dunskus, Nlkolas Kohn. Karin Evans. pc. Bavana-Ftlmlcunst GmbH. MUDlch. p. manager GertJard Slaab. unil nranager: wm, UKhinsky. Thea Kaspar sh. p.Tlod 21 October-March 1941. srudio: Bavaria.A. . . . GeioellUlClg. Muntch; Ufasladt Babel.berg lenglh. 3072 m. (J 12 min.). prem: S SepraDbIr IIcrfut IUfa-PaJast am Zoo" II September 1941. Venice Film Festival. . "'*iIrt IItie. Pili/,M. The film won the Gold Medal for Besl Direclion allbe 1941 Vemce FiIIII lWIival
~941,
...... . ;E;= . =~::rart=di;,~: . i '
.... 0 W ,..... . . ......
tlJ6
dir' Au ••• Banh . . gu-
2 nil' ch drucker). Karl Skraup (dero,IIIIrZJ. Franzs* Ider Win). Victor Janson (tier II4iIwu .... I$St I#o:~ch DUO~uSn Vogel (Un",). AnhurWieslIeJ(Rouorzt) ~L"" h nJ "go "'-_u_ • .J.1l" ,,,,. k"",JC e ') Bernhard Goetzke, Oskar HOCker. Maria Korea KIIa__ _ ,.11JI' /-laupun,nn . , '*. ...... ~ul h l ck1nd.lmkun't GmbH. MUDlc . p. /llQJtQ8~r: Fred LYila. . . . . Ilcd ea,ana.F1 . d' 7 July-Iatc October 1942. srlldio: 1Iamutdo..-•....,_.. .c .. ,h per'" . . 1943 S Izbur ~'.."'_OL. _. '--"' P 'hro,k)·· tO rem. 12. March • a g( • ......,..,....);6 .. -I943 .......... -j;I~ I07m .).P d --, _tar,. '919ro ( Pal»t, Fne en.u). •110. I aro ZOO· Roxy as ongJ03 lIy announced. w.s 10 have been diJeded by Hao. 51, I til T11,lllro. . M lander (The Molander Affair) 19~5. Oer fall 0 Ernst Hasselbach. Per Schwenzen;bascdOll AlflmKanada.,.....1IIr drr· G W pabsth· sr· Willy Kuhle. art dire Gerhard ~_ ed: FJ, t 111 . . . . . . - . ,ige pOI . Sltfneng . ic- Hans Ebert. Ruhland mus . (Generalstaatsanwalt), Irene YOII Mcyeadorff~"'1 I " . . . I.p: Paul weg:~:nder). Elisabeth Markus (Frau Molaadtr). Te>\Cn IFntZ mann) Otto Wernicke (der KUDIIIhiatPa). Eva w.n. ErIch PonlO (tDandneSeyfenh Heinz Moog. Viktor AfriIIch, &.t ftiII n eWalter · ~--k......... ""-"- _ Paulsen. Wil Will Dohm. Richter. Walter.,,,,,,, __ . l_.r~. . schundlerK' I Skraup Gustav Benram. Harry Octemar.' I ar Kathe Joken-Komg. • . LudWig . L'I nkmann, AnniII US h •
._ -Reuss. se: Kun Heuser. phDl: Bruno StepbID _
Herbcn HOChroiter, Specht. music: Herben Walter Windl.Schlick. coSI: Herbert
PIoA:
l'iZ,
..... MaIhia. Wieman (Ulrich von HutteD), HanId~ ~::;
U.:e'. (Jobannes, FamuJU5', Harry LanpwiIdJ (J
9'_ oM. IeIDe Tocbter). ft'i1Z Rasp (der Mt&ilfllr). (Reicbap von Habemilld). JIM.I
der Bu
... ' :
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romeTerra-BlalZ Zreg GmbH.s!aning Berlin.28p.Augusll944_ manager: p.c sh pe,iod: Herrmann. . . _. The film was being edited allbe end of the war; 11 n:nw the Czech Film Archives m Prague_ 1948. Oer Prozess. (The T,ial) d".G. W. Pabs!. ass.
dir:GeorgReuIher'~::=;1
Rudolf Brunngraber. Emeric Roboz; baled CIII · h. HclnwO "nd Leben. pho/: Oskar SchnlJ'C _ Anna Hollering. music: Alois Melichar._'" /p. Ewald Balser (Dr. EOtWs), peldrener Scharf). Albert Truby (MnriIz. (Witwe Solymosi), Aglaja Schmidt (EadJer, DlCn>tgeberin). Ivan Petrovich JoICf Meinrad iBary, gcnltem (Salomon Schwarz). Ernst mll,"r PeC7-cIi), leopold Rudolf (Rcazy). f-arka\), Ouo SChmale. Wilhelm SclunidtClN 'precher). Erik Frey. Pepi Gl
......_A..H' .2
Ss " ....,..,l1li '948 YlnlceFilm Fe.Uv.1 for Be•• Dlrecror(O. W. rqllOl", D .,
_ _ 1IMr. (ealtfrom"" Sh) .,. e ICIINI .rIIIIu.".,mrlOll O. W Pabo• .1(': Kurt Heuoer; bueclOII R 7' 7 ,.., WI Solan ." til,. ~tz JO,......Jon lorfI'. mll.le: Roll/ICI Kovar III CMIr ..... OlIo . . . . . Heinz MOO8. lbnl VIII Eyck. Lucia ScIIIIf • c S . . . . w.IcIbnmtI. ~tz Berpr;'~ehf omeA~~" Rudolf Rhombera. •
.....,'.....,.1aIaaU. ,
Hermann Ettwdt. """ ltd
.""neI•. Rudolf VoM.. JIIra
~uktI_ OmbH. V.enn•. p: G. W. P.b I. p. _ , " . J . " . . . 7948 #IItIJo Wlen Slevenn, /(l('QI/"'" Dach tein. trill''': 2216m. B il a wnIoa). 2142 m (78 min. Au trllII venion). p~m: S lIJIuuy "leA, 1951. v ...... at WI IIIiIt ,.....,~
or
. . . . .IiIIIIIII........ 1Wt. (M,. . Ioou 1Hpdu)
-."w. .... 1e 1hIdI ........ WahMr ..... HollIIIder pItot'HuaScllMIIIllq• .,., w.n.ScldIchliaa.lubeU. PIobeJaer. IIUUIc. RoItIlll, . . WiItIcII. Biolate UIId Chetnlt.). n. "'--4l1li . . . . . Itt (IabIrt Roy. OrwaInduIIrietter). BIte 0eIIIIrt
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fI" ClmbH. V'({eucher . .Iludw: W.e~'ROIO~O"'1.1DctltiIM I ~ min.-Aultrilll VOR.on); 3110 m• 111 II . 11}4'1. Locamo Film Festival; 2 December 1!IoIII. Anocher ail.ma.e title wu Am RID/Ik tIM z.t.u
1953. La voce del lileDzlo. (TM V• .,.... "If: G. W. Pabst. as•• til,: BIUIIO PIlI.... OresCc Biancoli. lbllio PiDe/II. GIn. . ·lillnay. Pietro ~
..~~.~~~
FILMOGRAPHY
'I un ...' hen· C'I ~lga .. tl.'l!! !tlt'arum ' Grtin\\aJd. Feldafing. /(-l1glll. 2793 m (III 11.: ... t: • . . nrrm I~ 'on~mttcr Iq:"..t.. Bielefeld (A,tona). \1U(/,(I, "
FIlmography
min.).
10.5.5. Ocr Jelzte Ald. fTh('iAJI Ten Day .\,. dir G. \\ Patl . . t. ass dtr" Peter Pah . . t .\(". E~ch Maria Remarquc: ba ... ed on Michael A. Mu • ~_ ..... I Do,'\ to Die djahH~lu'. Fritl Habc('k..l'hm Gunther Anders carner ' mannO'l'\"· .... TAn lt " " _ _ . " aoper. aror HannI.'''' Staudmger- art d" \\,emcr. Schlichttng Dlto PI ... chmgcr. Wolf WItlernann mat,.up. Rudolf Ohbchmldl. Leopold "uhnert. ,'d Herbert Ta,chner sd; 0110 Umer: ,almber!!cr mU.Ht' arrangeml'nl' ErWin Hallerz . Ip. Albm Skoda (Adolf Hiller!. O,~ar \\emer (Hauplmann RIchard Wusl). Enk Frey (General Burgdorf). Herbert Herbe (General "reb,). "urt Eiler> (MartIn Bormann). Hannes SchIel (SS. Obe"lUrmbannfuhrer GiIn>che). Willy Krau," (Dr Jo>cph Goebbels). 0110 Schmale (Gene. ralobeN Alfred JodI). Hermann Erhard( (Hermann Gonng). Leopold Hainisch (Gene. ralfeldma"chall Wilhelm Kollel). OllO Wogerer (Generalfeldmar>chall Rlller VOn Grctm). Enc Suekmann (Hemnch Hlmmlerl. \\aller Regel,berger (Major Venner). Michael Janisch (SS. lJnteNurmfilhrer). Julius Jonak (SS·Obergruppenftihrer Hermann Fegelein). Raoul Relzer IDer RIese. em SS-Mann). Gerd ZOhltng (RIchard. em >cchzehnJaru-iger Hitletjunge). Erland Erland"n (Albert Speer), John s'an Dreelen (~1aJor Bnnkmann). Emsl Waldbrunn (Amologe). Guido Wieland lem Am). Eduard K6ck I \'ol",turmobel">l). Franz Messner (Otlo. Kamineur). Otlo KelT) ISlab,arzll. Eduard SPIC" (der Dilnne). OtlO Guschy (Franz. Fahrer W"SlS). Ollo Loe"e lem Sekrelar). Em" Pr6cklletn S\aJldesbeamler). Peler Holzer (Herbert Spalke). Lolle Tob"ch (Eva Braun). Helga Dohm t~lagda Goebbels). Martha Wallner (Fneda. Kanlineurin). Eli,abelh Epp (.~lutler Richards). LIlly Slepanek (Frau Brinkmann). Herta Angsl (Jutla Bnnkmann. deren dreizehnjahrige Tochter), Inge Kurzbauer (eme Sekretarin). p.e Cm.mopol-Filmproduktion. Yienna. p,' Ludwig Poisterer. execurh'e p. and p. manager: Carl Szokoll. umt manager Fred Kollhanek. Wolfgang Blrk. sh. period. starting 6 December 1954 studIO. Wlen·Sevenng i(}(alloll. Baden bel Wlen length. 3200 m. (117 min.-Aus. trlan ve"lOn); 3143m (115 mm-WeSl German version). prem: 14 April 1955. Cologne (Hahnenlor); 15 Aprt11955. Vienna . 1955. Es geschah am 20. JUli.ljadboot MUIIIII)
dlr G W. P~b'l aH dir Peler Pabsl sc \\cmer·P. Zlbaso, GUSlav Machaly; based on a report by Joc~en \\ like phOl: Kun Ha~~e, -amera operalOr and 2nd unil phot" Heinz Pehlke. OSl'. photo "Iau, \\emer art dlr Erru.1 \\ . Albrechl. Paul Mark"'llz Gotlfried Will. make.up: Arthur Schramm. Xaver Urban. ed' Herbert T.,chner sd Walter Zander music: Johannes Welssenbach hlstortcal conJultam Generalfeldmmchall von Kleist. I.p. Bernhard Wiekl (GrafSlauffenberg .. Karl Ludwig DlehllGeneraloberst a.D. Beck). Carl \\ery (GeneraloberS! Fromm), Kurt Mel",1 ISS·Obergruppenfuhrer). Erik Frey (General Olbnch\), Albert Hehn (Ma)or Remer). TIl Kiwe IOberleulnanl von Haeften). lochen Hauer lFeldmarschall \"On Kollell Ann Mar' S· Fr . .. •. la auerWem ( au Olbnch\). Hans Baur Oliver Has;encamp. Slegfned Lowtlz J"par v De "" • on nzen. nemer Hcsscnland. Malte Jaeger Harry HardL · F nk" Fre d K rau, He II I 'enz II W Ih I • 'R I G deB er. I em Krau,c. Waher Houen. Robert Meyn Waldemar Frahm . Ad 0 leg eT, er ne~c Han\ Co . elL . Rolf C.,lell Han- Fnedn -h B' • B 'd "), ar udwlg Hochn. er. Kurt HInz. Fred Nouer. • > , , ert ran I Rolf N be K IS SchreIner. August RIehl. • eu r, ar chaldler. Eduard LInker;. Feltx
p.e An:.·Filmproduktton GmbH. Berltn'Goum' . .. . Jochen Genzow Franz SeIIZ gen. An;(on-hlm GmbH, Munich <'."'lutn'e : P • p. mallag« RUdolf W' h Seltz. sh perIOd' 10 Mav-IO Jun' 1955 ISC ert Imlt mallager; Feltx Fohn. Ha.ns e MlldlO Alelt' U h . I Munchen·Tulbeckstrasse. Alelter MU'h l i ' cr ",Un, en-Gel\ci.gaSlclg. Ate ler 01; en· ur!..en\lra I h Cobuq!. knglh. 2152 m. (79 mm ) pr"1 19 J sse OWIIOII Munchen·Pullae, . - n. unc 1955 \ 1 . . ' . D,..I Schr"" zum Schic/uai: Aur"ulld "l'P If I .•. u",eh (Lutlpold). 1\ orJ.lIIg fIIle.'. '1' ,.. eorn If a; WUl ,- _I I · . ') 8'·\( lUI h'lrt.../td, (1m 20. Ju/t 1944.
287
osen fur Bettina. (Rme\!or Bettlnu) 1956. RW Pabst ali dIr PClef Pab!\l \( Werner P lib' I ,M G a operator Franz H0 f er arl d" Ouo PI\Chmocr '''' [) Andam Ph01 "-. H. . H IidI11 Koch ( (lm er ShI:" erta are Ita 'ott Tl.-A __ make-up Arthur cramm. Klara Kraft ed LJlI Se 'I~JII' R.o \11\traY T h k an ng td Carl Beck rt Wmdt, Peter sc a1 o\H,ky (The Nu/(racku) \1R .cr mllllc Her be K G ' dunce 3\'el (Bolero) 1._ syrnphOnlcorchcMcr un raunke. '.hQreograph:v. Alan Caner Qr'rlCJlra WIlly Blrgel (Prof. Fimlcr). I:.It'abelh Muller IBellma S' nd I I I G . a en), van Oet;ny lKou erwlg). Leonard SleCkellinlendanl C". '" J3 . I,
I .p
~ mko tf ). Eva Kerb er (rene 10
LI~elotte Berker, MaXim Hamel. E:.11~abcth WI'ichen, Gust! Krelssel. Ellen Frank, Fritz Lafon: taine, Johannes 8uzal~kl. Pia von Ruden. danctn 'ata~ha Trofimo .... a, Anette Chappell
Hemo Hallhuber. Ballell der Bayemchen Slaalsopcr p.c · CarilOn Film GmbH. Munich. p.Giinlher Sl
1956. Durch die Walder, durch die Auen. (Through ,ht Fftre51S. lhmugh 'he Fields I dir: G. W, Pabst. ass. d,r. Peter Pab!>t. I'e F ~1 Schilder, Peter Hamer adaplaJlOn' Walter Forster; based on Hans Watzhk's story. Die romanILJcht Ren~ des Herm Carl .\farw von Weber. phoc: Kurt Grigoleit. ass. phot, Gunlher Senftleben, Horst R:h1haber. art drf LudYolg Reiber. Hanns Strobel. COSI. Theodor RO'i'I-Tura~. maiL-up, Anhur Schramm. Charlotte Schmidt-Kersten. ed: Herbert Teschner sd. Carl Becker orcht'ftration. Herben Wmdt, EIVt In Hallelz; based on \he music of Carl ~Iana son \\eber . I p: Eva 8artok (Caroline Brandt). Karl Schbnb6ck I Gnif EnzIO \on Sch\\arzenbrunn) Peter . (e ar1M' Joe Slocki iTremil' Ruddf \'0«1 (\.!ertan). ""had Cramer Arens ana von "'eber) VYI , . ~ . Konrad) Carotin Reiber (Maria), Heinz Karg:u~ (Zugelhom~, ~lana Stadler (Anna), Johanne'j (. ) R If Weih (Setfensteder). HoN Ch", •Lcmen~eber). FrIll Lafon· Buzalskl (Schnapsnase. 0 I H ,• . I Ke'I G d Wiedenhofen Kar ~un'l taine, Paul 86s, WII Y I" er & C \1umch. p Herbc!n 0 Hom. p. "uuwger p.e: Unicorn Film Produkllon Hom G °1' G ll'I' r Kurt RenJc1. sluditr AtelJl!r \1unchcn. """",g~r· ust 0 e, Auguste Barth-Reuss. u n l l · . 3<mm E.a.~unancolor, 1 I ];\ prtm . . . 669 (98 nun.)./ormat.rallo . . GeiselgaSlelg. lenglh. 2 m. 19 OClOber 1956. Kassel (J(askade).
KG
Comp'led by Hen..M'ohIIeI with the ...'Wlnee of Eric
( II
IAI I K
Bibliography
1/1 1/
of_
......... _ _ afer I cornprehenll.e, IIlbell nece unly Incompleee, Inventory _ . W I'11III -li"l f'Iom production reporI ,ephemcrlll1OliCCI, and Rim. NII_ _ &1 I '1II1101'1c1J IIId lftIlytlclllralmcnl AniRempi hal been IIUIdc 10 caplaN II g II IlldlviduII productlOl11 II well II 10 reneel !he Wide In!emiliona! l1li_ ......... _ tIIr)Wl'l The In.enlnne follow. chronolollcal prcllellialion. alii... . . . . pc..... IIIIquIIe Inf"nllilion 10 Illow ICC."10 Clied malenlll, Tbc revlewt
...
~
II
...... wtllllillelofpenodoclll ,cb!cofpubhc,"on,ond rwne (or,ibblWl
4'''' 1M tin! blbtioJl'lphy of 1111 mIInllUde on Pabll and his fttmo ..... fa a.thI!lemy AmenlW'l' and Enrico OroppaJI'S boob "'_111l1li _.Qemun productoom
..., ... ut
*
.IMTIO. II.,
/1/1 /lK /I K,' A' ,II
1./111 /.11·/1 1'11'1 1'/'1 I'V III'
/If I!
S& s S/ Var
TEXTS BY PABIT
"""'D
"-t-Mldllcl Bock IIId 1DrlC" Bcr..", eel CI&fJ" a.tiD SCtftuq Deuuche Klnemoihek, 1978. aa,ma..t Borde Aeddy B_he, and I'rIncls CourI8dI 1IIIN.un-d Lyon Serdoc, 1965 .... 8flllllicke IIId Joe Hembul Klanllllr., tUlfIIC1'" IPIO IPJO Mumch Ooldmonn, 1983 0IIadw Dlhlke IIId ODIIIer Karl, edt D"I11.<,,,, ~:pwj~1I1 /4II,.dl IflJJ Bertin IOOR). Henachel. 1988 IudoIf fftuad, ed Film 811J"" Kurzmtmo,raphl,,, III """", Berlin IOOR) SlUIhchel FlllIIIII'Ch.v der DDR. Joe ItembIa IIId Chris.. Bllldmonn Kltmllllr .,tU'"ICIW' IPJO IPOO MUlIlCh Ooldmonn, 1'180 ...... 1 IIwIn. Von R,lnluordl hi. S"rhl J vol.. Berlin "'D•••I 1958 1961 Knct.r Von (all,arl u Hili" Ed. Kanlen Willi --Mlllluhlbmp,I979
::-r.
of elM",., Ii:\.:=~::~ .... 1911
Ed Iftnk N MI.iII . En.iewood
• 1..........~ "II •
V.,J./hka,alo, Nr, I
"!.. D o.uc.c"" Inililul fUr Pilmkundl . . - .,,111 KIaemarbek. 1916
_LlCMNt~"HY
..."
, .....111 G W ...... "
v-= CleIeIIICbIft ftIr F"aImd...... 1_
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. . ._
ItJI
h~ "UaclfjeuncravecPabot." PV. No. 115(29...." 10,,0." MdtlrlplaedtlrDlClio 0 W ......-NilcIIfolaer Lupu Picb "F-IC, W . . . Der IIiIC Film uad OCID Feilld Die Zenlur." LBB. 28 April W MIt JIOIIUhat Der ReJi_ l1li ethische, IIIciIIt ...... FK.2M.yI931
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126
. -......
"DIt DIdIo wild P"'dlI£'11'IIII Eiadntcbvolle Deh,iencn-VInIIIIIIIbaaa
.,sm "1UInniIch beJubek • LIIB. 12 June 1931 .
..... ' ...UlIiI ... DICIio
FiIm.JOIInIaI. 14 June 1931.
'DIr lllur -1IiI1U\er Prlaident ocln '0 . W. p-~-' . .•....19)1 ..,.t.m Send-.liafeMii
O'''::'OU~cliO
W Pobs•. " S"narto(Rome) 1.7 {All", I'IIIIt PV, No 194/4 Au,u.t 1932) • . . , iii 0 W I'IIIIt B rl . .... I'IIIIt.otw ~ I".., T°ll,bla". 4 September 1932 CU 9.3 (September 1932): IJI!I- .....bl IIII'IIIIt c,.... JUMllp
..
.......... de~"':;;~ c-~IOiI" ......
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.......~ . . . . . IbcSocillPUm "H-,·"" ·---/'I\1C1WYQ'IItHi.2C . . . . . iD ....--.. -OIIdHarrt"
1i;;;;:' --:S. I
Till COItipo/Ufd CIMWiQ Bd.IfI1lI, 1977.4111-421.
10 4 ,~ (SUiIIIIIer 1933): 50-51 Iller 1933) 332 335 t au) I 4 (JuI)' 1936)
am
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""S~:=I
27J. "Au Rendez-VOIII dea I9hdll _ " paul J)a~a~·racauer...AnalYlis or 1'IbIt." S • S U
_ _ 0 W ...... A Survey " CU 1.6 (December 1927): '6-61. "OIMnIIiOII avec 1'IbI1 "CIIIJO.('IIIJ. No. \02 (I Febnwy 1928). OIMII" ,g' "MOVIIIIOn "CU2.6(June (928): 16-2'. 11M, II "OpiDiotIIdccin&ilCi: P....t" CIIIJo-CInJ. No. 118 (I October .. D HlldaDoolitlle) "AnAppiecIIllon."CU4 3 (Man:h 1929):56-68. m 0 J'1eIs IIIlI 0 W Pabst." F·K. 20 July 1929. " "Voa ..... Aunt vlCI Neua. Oe prIch nut G. W. Pabst. F-K.8 .-aM PamtdelRe...-.G W. PabsI." Di'Film~.6Autu1t 1811 II. UIIk. lAII ... Nlllnliam.... PnJble.- der TonfilmaesWtuna vm •
I
J~~ficato.
~==~:==
._I"."'MI1CLII ON M8IT
A. r
ex
.. (~Gianni Puccini). MGaIIeria. & III ........ ary 1941).66-67. 110 (25 "Una lezioaelli 1'IbIt." 11<,,,, CO ICO h' .. L' ultima ailogia iii 1'IbIt." C...... I. ll!!(l (,."rag . "puck
1916) . . . . 1a_~...,.4
New YaIt U... 1110.
froc Sleg es .. Dtbal5surler&liJme:\WIIea....bII,U......tilllll. . . .. 0 l)cslern . Jea ber 1948). 49-56.
(l949).~"":v~IO~===
Joachim Fischer. "Pabsl." FIlmptnt. No. 3 Castello. "G. W. Pabst. SlOriaeftDedluaBIiIID " (, .. :... Pabst gira in ltalia un film 1\1 BoaIIIiIIu VBL· lO' d
AII~
"pJ .
.~~~::~:=:;;
.. Pabst 1949.wagt sich an OdystICIII. " D~ Herman G. Weinberg. ·0. W. I'IbIt to
(responaea~)':~":~~:=;;
March"In 1950 Leo25Lania. Defense of 1'IbIt. NYT. Ulrich Seelmann-Eggeberl. January 195 I. Willy Haas. ·Regisseurmlt._ _... Louise Brooks. ·Mr.I'lllIf.--_~ James Card. ·Out or Gisela Huwe. ·BID . . . . 16 December "Gesprilch mit (1956). Curt Riesi •
Bibliography BIBLIOGRAPHY
,..S~l"ncn dC' ... I Kapitcl-, naeh Jcr Filmf3!io!.uno~. .. F.t(. up t 19!5 ' " et.. ,. BonIe a1. AtfitVs 53-63; BrrnruckeHembu, IIQ-I~. D~lkcKarl 115-117 ("ch.rn"_ Cbristiane MUckcn~r); mund 203. 19 0 (Hanne, Schnudtl; IFK 199; Magill S:/ Fibtu 2: 604-607 (Rob E;klman1. \"rk,butalog 111-112 • "111 -Ik,demSdlOpfcrder ·frrudlo,""nGNc· - F·K. L!July 1~::5 R. Rqent. "LA Rut sans)tut a ere d('Iublec ct mutil& paT"- dc, ..·ommC'n·an(~ d 'Amerique." PV
" 475 I~ Dcttmt1Cr 19.P\ • Hermann Barth. "Insinuati('l S[ra[c1!i~ d~r E[Jk."Itloo ..1C'nkung In den Anfangssequenzen VOn G. \\. Pabsts DIt j"uJ]mt G",= ., In Dtr Stum"!fiIm. 1.·U1wruktion und RtkonstTUkti Edited by E1friedc Lcd'g. MUDI,·h. Sdl3ud,g BJucr Ledig. 9-32. "".
"l~~.
.......
F.K.19MIY 1925 IHcmz MlChlIeh,l UlB.19MIY 1925.Dr Georg Vl<1orMcndcl IHrliMrTagn,lDn. :!oMay 1925 BBC. 22 MIY 19:!5 .Herbert Ibmng). K.... 24 MI) 19:!5. lH, MOtIIIlg (B.rl'M' Loka/·An:"~tr). 25 May 1925 ,An,,; Alfred Rosenthal) lHrFiJ,.. 27 MI} 1925,-Tb-). PFI. 19 JUD<: 1925 Siiddnuc/ltF,boctillUlg. JuI~ 19"'-5 ··Dr R po, NIT. 6 July 1927 1Mordaunt Hall). CU. MardI 1929 IH.D.;Hilda Doohnlel. C S. 15 December 1949 (Carl VlDcentl. CtIC. July-AuguSll952 (R Regent). MFB. JanOW) 1975 (TOIl) Ra)osJ. u Mondt. 5 Febcuat) 1981 (Jacquo. Slclier). RC. March 1981 1Daruel Sau,·age" Posttif. July-August 19 IIJean·PlulIppe Domecql. Sbin (Amsterdam I. Stpcemt1Cr 19 3, Annene Foerster I.
HI
f nlArlidn jcte/Hembus 125-129: DabJke Karl 128-129 1··ch
- ; ehn·
Mltick:en~~~
IFK 436 u ..... '1 St/tlll F,btu 3. 947-949, Rob Edelman).m.V I ·hk silane .... s.m.; _ P~'·. • ercl atalog 117-118. J HInIIt ':~II~~:':'~ tnbr.usS/
'
. /nl
a-tH.""'. "u MySliTt! If UM a.... - CdC P a . ..... II1II " . No. 90 (Omstmas 1958) '. Seymour BlXter. S
.. =
Co !Uud·Abnbam • 1910). 18-22
,.,. • •_U F__ .
"o.e.m
propo.no del film d, Pabst." Cintma
II1II . , . . _.... 1.1 (......__ 1980 I'botognpby m I PsycboanaJvt;" ........ ).35-45. ,-
~ im fib
Ilt,;ricM',~Ian:h '.'" 19201"·.·")· f /' -,~, \/orcellpml. 25 Man:h 1926. fitr /I t,ra~eb/tltt. · , 25 Man:h 1926 (Ernst Blass). /le" I/lif 81 "m.lllttag. 25 Man:h 1926. .D8 ,,~Ian:h 1926 (Georg Victor Mendell. I , . -~I". Zelllm~ 26 Man:h 1926(S . Bemfeld). \ O\·\/-H
' •
B8C. 27 March 1926(W.K). RIB. 27 March 1926 ( .. F. H." = Fehx Henseleit). Film. 28 Man:h 1926 (··W.").
Dr'
~.".. 28 March 1926 . D,,' ROlf Falllle (Berhn). 29 March 1926 (Gaerma). pF/. 16July 1926. Cill'a.Cllle. 15 April 1927 (J. Martin). SIT. 25 April 1927 (Mordaun, Hall). Cla.H.c Film Col/eclOr. Spring 1974. .IIFB. June 1979 (Tom Milne). Oon'l Play with Love (Germany. 1926) In/ormalionlArticles
IFK 527.
O,well Blakeston. "An Early Work." CU 3.6 (December 1928): 9-14. Rt'views
F.K.IONovemberI926("-e-"). LBB. 10 November \926 (Dr. M-L=GeorB Victor M Kin. 14 November \926. Der Film. 15 November 1926 (Mfa·"). p F 1. 10 December \926.
ThII Lave III JI •• ..., (Gitw
'" 1117)
LiI.,.", S U'ja Erenboq,WM . . ." . . . . . . .- -
SIC ... of. Soul (Germany 1926)
'-1M
I.rr",n,lcmCT. Karl FaUend, and Johannes RelChmoyr. "Die IlJ~'~ ' ~b 1Bcrlm/Wicn) " Psyd,. 41.2 (19871: 129-139.
Borde et
aI•
....1).
_
_UOC-..A'HY
,I.
IODI 1927 (Dr F. !(aul). ,,*1 • • IODloember 1927 (Ku/t Plnillul).
Abridged version reprinied in G.rmtIII Film IIItd ~"'~:~=~~~r." lions. Edited by Eric Renuchler (New YIIIt IIId Loadoa' M I w. 1 _. . . . rh, Ma"mil/an Dicllonary of Flinu IIItd FilIruuIr6r•• 2 wit '14+ I: ......
D I 1927 - -49{I9J7)("C-C."). 1ItIi •• II Dil iIIINz 1927 ("D H).
Christopher Lyon. London: Macmillan. 1984. 71-72~1W¥IIe). Frederick W. 011 . TIlL G"al G.rman Flinu. New Jeney: a ' I, I. . . . . . . Janet Bergstrom. "I'IIYChoEdlogiedic:a1ExePlanlljon In die PIIma or Laa -' ........ lilli, t analysis and Cin.ma. I by. Ann Kaplan. New YIIIt IIId Loadoa ....... ... . . .
Sec_.
UDII
. . 1927 ("dB" Bemllll'chon Bmll.no) • , . . _ . (Ierlla). No 51 (1927). . 1ft 1 .....,192. IS lIDusy 19JI (MonIaun, Hall).
R,."kws
Iffr. 10J..., 19JI
Pfi. 8 Februuy 1929 . F.K,II Februuy 1929. Kin. II Februuy 1929. LBB. I I Februuy 1929 (Hans WoIlenlJera). !i.Uhr.Ab.ndblall. II February 1929 (00aIber). Da Monlag (Berliner Loka/,Anz,I,.,). II FebnIIry 1929(AnJ1-Alhd. Bulina Morg.nposl. II February 1929 (LadwIa lew). Berliner Tag.blall. II February 1929 (BnIItB...). BerlinerZ,ilung. II February 1929 ("J."7). w.11 am Abtnd. II February 1929 (M.K.). BBC.12February 1929 (Herberto.tq): .... 1 ' ........ 2:S-_ DerFilm. 16 February 1929(HIMw... . . FZ. 17 February 1929 ("RIaL"-53 Sa. . ,. ~ CU. April 1929 (A. NIT. 2 J>ecembp I May MFB. May lmk(JI!JlI
"", • ........, 1932 (N Ftank). . . Aupat 1979 (1bm Milne).
CMII (QI nJIIJI,. 1.) m.IFA' 846.
-Cfl' .
71)
Re.
PI . . . . . . . . . 1.,
III"
o.~
nw,"
.....-,.
E/Iw ....... ~..,
Munich: Lu.... lm.II,UIIIl; ~ Berlin: Culirw. 1903.
("""'J 'fto In f by .......-...._
-.....,...... Holme. New YIIIt: S. .
........... by ...... Bi
cIIiIz
iIV
I:'" i~:::.!19JI~
;;::.::.~.
L·A_..srlMctu CbtI...... No. 2.f7 (l
150-156; Dlhlke/Kari 176-171 ,"alLA ....... ",.", FIIIru 2:842-846 (Daa K.TIIa'" II
"'-It. 9 AIbnwy 1929
.~=~I~~929CU"(MIn:I!I929):56-58.
~
~~-~(l4.1U."1929) ..... .,;ij. . . a
, _
64-70
" ......
-
A.
. . orob/Jfwl
'wQ.
_
.,.LlOGRAPHY
-AGg4ll,
fa 1 0cI0ber1929('oI.'). ftI J6 0cI0ber 1929.
1g November 1929 (Hans Wollenberg). 1.08 M'"taR Morg,n (Berlin). 18 November 1929 (tt..SabI)• ()e r • '" Fohn, (Berlin). 19 November 1929 ('W.S.'). Ou' R11 ~
"''''''''.190c10ber 1929(Hons Waller Betz). ..... r.,.",.. 200cI0ber 1929 (Ernsl Blass). t. May-J.... 1930 (Marcel Cam!). IIC. J_ 1930 (L. 0IavInce). 16 ...... 8 De"eollbeo 1981 (Joc:ques Siclier). CIIo6oo.82 (1'Iris). JonIlllY 1982 (Joc:ques Petal).
a.....,
(
(0 [)ecembe r 1929. \,iJlj" "'her BMbachl" (Munich). 22 December 1929. 'ielle Zeilung (Munich). 24Deccmber 1929 ('O.F.'). 'F"'" und Volk. January 1930 ('Or. M.B.";Max B _ ) . I February 1930 (Jean·Piene Dreyfus=LeOwoois). NYT. 27 September 1930 (Mordaunt Hoi\). F.K. 24 December 1935 ("B-p."). LSB. 24 [)ecember 1935 (Binot). MFB. April 1982 (Tim Pulleine).
IIC. JMru.y 1982 (Raymond Lefevre). f:«. JIauory 1982 (Louelilinlerim).
Re.
Po.iI¥. ~ 1982 (Pett KraI)
;:u.:~). ScpIeooober 1982 (Paul D8v8Y)·
1lMUog. December 1982 (Julian PeUey) MFII. Dei .... 1982 (1bm Milne). . ;_._r~!Brvssds)' JonIlllY 1983 (GasIOR Weemaes) I' -. 1984 (Roger Greeuspun). . • 20 " " . , 1986 (Ric:hanI Combs).
,......
Westfront 1918 (Qenneny. 1930)
Literary Souee
Ernst Johannsen. Vier von deritr/QIIInie, iIon'-T. _ _ Wa4i.. lfl•• IS.........
............ afPlzPIIII(GI " ••,.11129)
·A...w~1M 1 h oW 7
JI
-
1 '....
Berlin: Fackelreiter. 1929.
-
--..; !
•
HiiIk - - Piz Palii. Bertin (U"II".iIz>. d. -ws .. 1be _hftft II.. _ _ II1II0 I·; .. afdielilm.) . "Hcmbus
. . . . . . . . 125-136;....
~"'12SI;mr. 7 ... I~'
."_It:" ..
. 233; Iloblke'K.! 203-295
1 ZI 1 .MaIiU.Forn"'~Fibuvu. ........ ,121-322. __ R 1 ~ H. 21 N - 1m ........ eberftichlidlcr IIIId Dlt&cI.........jj ...... ' 7 ·an.3
. . "_ 2
-
-
5
..
..... , - ,'!O' _
--.........,-
':::!,:t.!!' ""It ~1 ...... 1973 "'_Clt·
..
"7 ... 7 "' •
.......
:~~:1--E27 S,- ItA_'' ._ .........
:twA,
7
•
2 (S , .... c - . . " ,•_ 7 " ,). _ O"'.Gn.c....FiIIu s,""AmoIdFoact.ap.13. It _
..
I'~::~~I~J~O~.I
I
'I November 1929 (L. Derain).
mO."
~5
.
II.
New '---'.' .......~.
• tt... 1987. --7~ 1CJ6.-114 •• _t, '"
1929 (I;irz R<.areId).
;:~..' - " ICtICo_.....i
;~:::::=:c=
'n/ormsJioItIArtiek. Borde el aI. 141-146; I>ahlke/Kltrl22I-22l ( ........ 53-54 ('e.j.';Eckart JaImIre); Hot'.aIB .19-2I;1I'K Foreign lAIfgllfJge Films 7:3349-3353 ~ ,. 5 .. "1m F1ugz.eug zur'.'! lftout.' UIB.4Ap1111-' Enquete. 'FtIm de Gaemo.' Re. No. 22 (U,. . . . . Egon Sehlegel. "Ileo' dcutw:he Aidt a 5 .1.......·. . . . . . 7
Iicht MitteiJlllolen. So ....
elJtM..' ..
24 1:::=====
Rel'in!l
BBC. F-K.24 MayI!
...,.,
-'IOGRAPHY i 19S8(EaDo ........ ). ~. .F.." SojA ,..... I960(Ric:bardWbiIdWJ It -(\biI:e),""" 1963 (CwndMlo) ). "
,
a
n
,.
;
t
(IIame
Ie .... 1981 cl;.:;rs'~obcr 197
~tl'IQ'1.Ba 17 Februarv. 1931;M 24 fcbnlal)' 1931;3Man:11193J. -,... - B ri' .., .....-
131' Herbert lhenng, "AnlWOllcn" (conesF ..... r).IM W 111'1
.
,an eIDe> F.lm-
It
.,s-a
I' icIIlJ&mstmn W ... ...,S _
'J .
IIect/IIerpr 137-138; Hembus Bondman. , .... BeJa.Ha.yP_ ~ . .37;IFKI413;IFKv74 • •_ . BcrIin: Ifaude &: Speller, 1986. .
~de
14J.e 1930 (Enst liFr) ...,..., 14l1a:193O(IWE . n., l41tR 1930. wu.. Bctt, KIln I nndoa). F~
, . 14l1a:193Ont- WIIIraJIcrz 4t.14l1a:I93Oaetix'" I"»' ........"v..... . ~II,141tR 1930("-["). "'-1930(--). . " -. _ I lC' rll.ISJ_193O(lWEFIemm· _16'-1930(-.- S' f,' --in&l. "" 1-...1930 p.ied KI_); rqJriaIed in KncauaC'V.' & I 1930 434---43S;
Mr. .. _1931 (II I • ,uAzd 1931 (I' 1
David Head. ~ 'J)er 1977), \7-21.
). IWI).
. . . . . . . . 1M Dreqil¥ ..............."rr • - : :-233(_)'234-u'3(~~ Brechl.
!II~~.=:r~ 1M.,.
:
~.
Heft 3. IIatia:
Kill_
In Bteebl. VersucM. Heft 3
0,.. fa ~r). L'A""", Sc~
:::::~:: 1973, "M '_kl",_ G~~' 1IedM C;UIIID, No. In 173-276 (leU) 293 - . Edited by D _ . . . . .L: .. _ _
•
P 'he.! 2A6-
--- ~
-300(materiaI
- - _ . 27S-383 (fKlimiJe
S).
ot the original
.) SCI1p1.
2.47 ("wg."=\\blf
28s31;IFK 1S4':'l'F'~222); ,AV
muocr S~
;Maaill,F",.
-F
1930'K, 18 Novemba 1930
.
~:~:::~:::=.:===;;
d" Kalluui"" BIaM II1II 32.3 (April 1979): 24. *Lotte H. ~. -jlIr JIl+ 1 _ _ II
Eia~
~:=~I93::I. ~ 25S
I
Ve~.
'-of, 26 Novewbeo 1930
~;
Ciladel, 1962,66-69. Wolfgang Gersch. Film bei Bnc/;l. Ber\iDlGDR: P' h I. 1m."" Ben Brewster. "B=I11 8DCI die Film iDdusIIY (ea n. Bo. ) - _......... Also Die)." SC1'l!~1I16,4(W~ 1975-1976): 16-33Jan-ChrislOpher Horak. ~71ot"" alJ' 0,..: ......
: : : : ;11.,0,..(311 .sr/USAlFswlC6, 1131)
"
1931
Rir Bert BtechtlRccbtslnwak OlIo loIqJIa: ..,7 Kt.l WIlL- . . . R I '8 February 1931 rllct'b dll. .. B,,~cr "BerhnApnl1931. CU8.2Uune 19.31): 128-129. B~~,'ll Bre,hl. D" Dmgroschenprouu. Em soZiolosi.rcltn b p a - ........... ,uch', Heft 3. Berhn: K,openheuer, 1931, 256-306. -",arum paris die 'Qreigroschenoper' verbal." F-K, 9 October 1931. Paul Rolh •. "Th. Thrupenny Opera." In Rocha. Ce/hUoilJ.lJ:IncIm, NcwYalt_'I'IIi-'" Longmans Green. 1933, \05-119 . Lolle H, Eisner. "De la pib:e 01 du film au ballel d'opaa." CdC, No. 36<J_I954). lOlIe H. Eisner. "Encore L'Opira de qlltJl' SOlIS." CdC, No. 37 (July 1954). FoIZ Amo Wagner. "Die vorfilmte Dni8~'" FAZ, 1950, .er 1955 lOlIe H. Eisner. "Sur Ie L'Opiradeqlllll' - AIID: A -L'o,IN. quat' sous." ElU'ope, No. 133-134 (JanUllj-Fela-Y 19S7). J Gandrey-Rety. "Origines gennano--ql'i"" de L'OpIra . . . . . - 1M ' - , . . \'aistS. No. 688 (15 April 1957). Parker Tyler. "The Tllne Peruty Opera." iD 1)1er. Classirs " ' - F..... ,...,
.. EVIl (Gem"'r, 1930)
"
ell"" •""._, 21 nbi_
i
"rh.."r
DlirIlWl 17 A"IUSII984("IIO"). , . J7 AIIIUSII984("*").
Si
anu.....pIS.
Rlln all Casper: c,~I,an"
(Giuseppe 1Iuron.i).
.. &IF~'_II
_a._RAPHY I....~ (1
P Cd 19(i()(F. Di Giamm • ...,l. d 19(i() (s...Jey Kauftinua). "'0 ... ~.n:: 19(i()(AltelleCi'oce,. ApilI961 (Alan Sianbroot). 14 . . . . P973 ( .....m Kaiserl. ".. 7 May 1973 (8J. = JIripIe Jc:ianias). . . . (1' heg). Novaubei-December 1973 (Geriwd ~,. .... . " P974('n.y itayus).
/1' .'
,
. . . . IIP 16S-ICO;
H~nl\'1u~ Band~n -
r ..._IfIFt ...... 1t31) .Iobate~)~;~::::::
61 ( ....IIeJ '=M hoi Pi+ 1 'gl&bn R ... In l4l; MIciD. Fom,.,..,...,., Fibru 4: 0 h -'. I . . ."W...... 17No.uabaa 1931 .__ , 71t......... _ beuIe.· ICwtstllltlllCiiIutIo 31.1-2 ,(,.~~ 37-42.. l'
'm .....
,
. . . . Is
T
"
-A . . . . FiPa·CU9.1 (M.n:h 1932). 3-10. «7 :II - .. SpeciaJ ~ .. G. W. Pabst. Fad' I C f", P 1955-p
P 7 "-' ... "
•
) 1956).
«.. /Cia . . . ..., NewYort:UaIe /)io
) . . F'"
L,. PPM • S SsP 0ILn.. C
MIl F,!
D __
196:
""~
3
-=-).
a...Ge •
•
,,;..~"::.~ ....:..~I:
11• • 1984. 71-72(D::::' - ___ . _
3
r __ •
F'" s.c....... New Jeney: a..aJeJ. 19JI6,
~ ~::::P:;1931 (A.... 'e "'-'x). E:
P931 (I .......a..... );~1D1berina3: 371-37) 7931 at.. ftdiI). . ItSI ~ '&tn 1 &l 1931 at.. ....... 1IeIz)
~c 'HIi~1tIw
•
•
)......
j ID
f
_
4,_
•
0
•
Kr.caucr 512-513.
_r .._
•
L"~--~"-de PIbot.. 14 7 ,1931. IAntMny Slide). . -Fo:yder CI ,,,......(S I I~ \1;m:elCame. Sets flbeFilm# ".·CU9) , Metzner. ~On ~tlano:e ill EMa.· C (a-). 14(25_ . . . . ~IN,m<> Alben~. _ del c.a .... Ad I' C • I , " ""lio Sabel. La seq
C_.
m.a
Em"
'.
1
Dath'K.l27~277 (-c:tJ.m.·=
•
"tiel ... (GoiInlMY~ BIn
. ",,,,tikI,.'14'IFK 1815; IFKv4S3;..,..,.. ...... F_-'a ~ .... t: . . . .
l.f·,....anD.
a. (1IIWaw). AIIpsII976 (2. Pi...",.
• '.......
me MistreSS of
/it
L~Scaw.C#.... 11)p d>"er 1976 (Claude Beylie,. a.a~ 1914 (X. H. Knmberg). ........ 14 No> I 1916 (Iocques SiClier,. I' (PIris).Do 4... 19I6(AlaiDVm-.xaadOdcoeV~
lC
(Tim Pulle,,")'
\1.trW
"" ..F...,. a.
IKIiI_.'III:IPlllwlftft
W": ) \ \cnl\."( •
UF/J· "II<'. nal 0 86 119I1O). ..... (\ Icn . ' ) 1'.1",.1II .• I~ I (Daniel Sauvage! .
5«.. ..
Of.
.
m ~f
NCl\e ~ 1960 (G. !'W). Apo'l 1962 (M. 0n0Di).
".t',""'" h 1Q7
m n ....... 7 M.y 1956 (JJ.s HeIImuI Kirst).
. " 1'. ss •• " • 19
ru
.' 2
P P9l3 (ManIlla ?bIJ-1TencIt vasioa,. Afd? PM (or-o iam~ . . . . 111; , ',9' Y 19S0(J.l. RieupeyrouI). D
R"'i'~~ January 1932 (L. Denio). em<>.
.._.,').
\'.17 ~I June 1932(-....... 7 P 7 August 1932 (l1oI1ICIt L t
wi
a)
'LBB: 7~1932('H.T.~ PF I. 9 Sel"e m ..... l932.
........
DtrFilm.IOSqJI +111'193211' Di, W.ldHiIuw. 13 Aufsdtu . . . FIla 259-261.
pictun,-.IJIIJ
(IW
.,.,
~=~~'''''1933.
•
Shanghai .".,.. (Ft-...
''-1933.
1..,
UU"'" Source
oscar· Paul Gilbert. Shonglllli. C"-'nwh,C.
Rtview' ~.
1934.
I'
Kracauer~:).~&uIu::N,~{rdI~:I7IIII:~Z.::"'=4~·:::e
oK" (; Siegfried TheSptrtaIDr. 28 July I Film Critici.m 1935-1940. BdiIaI by JabDRuIIdI1IIJIar. 1972. 235-236. NY[. II January 1945 (B.C.-BosIcyCauwd&). The Nation. 3 February 1945 (laIMI Ape); lipl 'iBJI!&W·GIt'I'lIiI.. Grosset & Dunlap, 1969, 140. CNS.15June 1952 (Corrado'Dnil).
,1m.
e:.:::,.,,.,-'"
ItII5 , 1935.
1935.
Girls In DIsb .11 (FI-... 18) LiJerary Source Novel by Peter Quinn.
InfonlUlliolt "Kr" (=Siegfried Kncauer). "Bel Man:h 1939. Review. PV. 30 August 1939 (N. ftallIIriJ. Pa~erT~e~.
CinellUl (Rome), Var. 6 Maidl, ....u .. BeN, Apri1 Films inJlml!lll
7
. . . . . .1........ 1
1m.
=::::I94l~MiIDe). L
, 20 January 1955 (Martin Ruppert)
rllZ. rKurier.14M11d1195'(HKO). \r,t.,badtne
It • ta ......,. 1M3)
MysterioUs DepU. (AuaIM. 1141) ~
IFB 722; IFK 3313. . . LebeD ibnIicb clem des Puace\sus." F-K, l81uly 19Q. ...... Ii". C _lUI""'." F-K, I AUJUSlI942. • •, ' "Geg(der. 'llDzerundSpie\munFJieaenbein." F-K.S
. ., , ' I .., vC'Jalptcbe urn dell Parace\sus-Film." BerliMrLoArtII.,j Sir b ItQ. • ,-seII'n vie! Geschichten urn WII seiner Hinde h ..... .........Fdmsin Png." F-K. 16 October 1942. ·'ldIwrtuaeein Rigorosum.'" F-K. 26 November im s.Jzburger Festspielbaus." F-K. 13 ~·s Dances nfDealb." lJtuI« ........ IIIIIfo""'N>nje.1t:i l'arlcelsus." ~'-it: R......, II
·"'wwbars
M.-.
.-1IDs).
FI 14 September 1949. PI ·.Echo 12 August 1950 ("G.H."·OeIq F, m · 19" (U\ridI Da neue Film. I January 1951 lIIustrierte FilmwocM, 3 February • Die Welt. II July 1951 ("W·La· Hamburger Abendb/olt. II July 1951 West/aUsch. Rundscha.". 31 SaarlandiscM Volks..",,,,g. 26
Lorenzo Codelli, "Zig-Zl"'-'
(Walter fYi2).
Rtv~ws
Abendpost (R1111kf~ BeN. March Var, 22
Ncnauba
_~"'r"",~, Bedin:Zandet,I938.
a).
i=~;:;:.NO.I79(30November
I
'ws P"") Revlt Palette (BecI'In IGOR) , 15 July 1949 ("Dr. C ......
Article
1965 Kade). i:=S:t=S:~IM~3:(1:Wa=" to 1975.
I
:cmbu.IBandmann 209 .
The Voice of 81......
~~:= IPI2 fJ (V_bonk).
. . . . . . IM(Y
I rformDtion
1946).
1Ihn~~cIepuia 1945.
!!III
_IUI_APHY 170. I ..... 1954 C"MB."). Ii ..............) .. 955 C"f.5."). _ JkM Alicllln. 2O .....wuy 1955 ("J.B."). • • 1lii),6Mni1ry 1955C"f1.K."). (IIcrI.iD). 6 Febnwy 1955 (Wb ") k,.,.6NrumyI955C"HDW") " lit ...... 1955 ((luakr0r0U). . . . . "May 1955C·wf."). ,.., 271 i • 1955. =~d 7Ai11a1f.3fa11 ....y 19S7C"b1.").
II.
M
••c ..._s.
,
... e
S
I"
.....,
1958 (H.H.T.=Howanl1aubmu)
(NDw Ymt.l. 10JlDwuy 1958 Cr.d.).
.
........ .,.,.(AueIN, 1155) T8IDtrysIoD~
. GudeaC'Ity. N. Y.: DoubJeday. 1950.
222; /Fa 27S). • .~-=-- .... 'len-I. 23 Sqlll:mber v..+.111 er 1949 _Zail&r.r"l Film'" D' It r ... s- -' . Ie Wdl.. 13 August: 1954. iN.... evE , -. ........ 6 Ortabcr 1954 37-39 ~ ~_.,;._8Ddi
•
Drr
....
i
....... Drrli .. ,
1""--:116U1fJ1e"' Nn.y. £$~§2~.~Drr~r.~-SID....", 1T.
1
11
1955,
2S Dec liber 19S4., ~. lMWdI.10MayI9SS, 1bt, Dta Woe' _oM 25 May New YaIt: LillIe. Bmwa. lfi6-31rJ
i•.
. ......
1954 ("K, St.").
S
S
19.54("WU .).
"'(
).
. 8.....,. 1955.
1955 ("TEL")
1B5<Wrr.,.... .......... pr).
.
-:::':I6.7A1dl955
,.
1Waer)
Its5 (OW S. H).
..."'AI" __
.
.~~:~.).
.)'
~).
"'''.1m
Otr Abend (West Berlin), 3 May 1955 CKIr\,HeIu ~ rclr~ra/(West Berlin), 4 May 1955 C"D.P,"-DoraJWdlui). {lrr TagtsSpiegd (West Berlin). 4 May 1955 COcniaPflu. _:liiliilll"'~'~~ IJer Tag (West Berlin), 4 May 1955 (WemerP'tedJer). Spandau" Volksblall, 4 May 1955 ("f..e"). frankfurter Neue P,.5se, 5 May 1955 CManoa Kadow). \\'ieIbadener Kurier, 7 May 1955 ("HKG"). hho der Zeit (Recklinghausen), 8 May 1955 (LudwiaGtiller). Nllrnberg er Nachrichten, 12 May 1955 ("W.R."). Deutsche Woche, 13 May 1955. Var. 18 May 1955 ("Guil") . Die andere Zeitung. 19 May 1955 C"A.P."). Neue Zurcher Zeitung, 19 May 1955 (",.r."). Welt der Arbeit (Cologne), 20 May 1955 ~BB~'1=~~..,. . Deutscher Kurier (Frankfurt am MaiD), 211..., I Die Nation (Munich), 21 May 1955 ("oj."). Die WeltbUhne, 6 June 1955 (CarlADlH , 5Z. 8 June 1955 (Gears BriltiDaaada--.cIIIIII). Der Fortschrill (Diisseldorf). 161_ Munchner Merlwr, 5 July 1~~.
Les Lellres=:~ Les Lellre. CdC,December
2:91_",
DtT nellL Film (Wielb. . .). Film.Dienst. 8 NCrlCIiIbcr 1956'-·""" /Colnisc M RundM:hDM. 10 NGo_. . . . SZ. 28 November 1956
Hamburger Tag AltUlger.I~~:::=a;t.~ .MI'" Tag."""'. II..., Der
(Weal Berlia).
NeIlL ZurcMrlAllUIIg. 7:1
WiestxuJener Kurler. 18..., WiestxuJener
PFI. 4 June 1957. RheiniscM Poll ~;:~: NeIlL RMIII-Ze/lJlnl
Index of Films and Names Abraham, Karl, 41. 42-45, 46, 51,219
Ab.t'ege, Jet Pabst, Crisis Affmre Blum, Die, see The Blum Affair Agee, James, 18 Albrecht, Gerd, 187 Alekan, Henri, 168 All Quiet on the Western Front (M Ilestone), 91,96,224 Allgeier, Sepp, 224 Aile Geset:, Das. see The Ancient Lav. Amengual, Barthelemy, I. 12-13,21. 191, 237n2, 238n16, 241n59, 24In60. 255n33 Allciellt Law, The (Dupont), 203 Andreyev. Andrey. 167, 255n36 Annenkov. Georges. 168 Armes, Roy. 147 Amhelm. Rudolf, 15 Arnoux. Alexandre, 237n6 Atwell, Lee. 16.20.95,148.169.175, 240n47. 241n54, 245n21. 254n19. 265n5. 267n58 Aubry, Yves, and Petat, Jacques, 91,97, 169. 250n6
Bacbtairs (Jessner), 40 Bal. Mieke. 195 Bah!zs. Bela, 56. 105, 106,222,225, 243.27 Bal,er. Ewald, 197,200,204 Bard"ehe, Maurice. 265.4 Banhelmes;. Richard. 156-160, 162, 163, 164 Banhe,. Roland, 20. 152 , Ban,eh, RudolfH.ns, 5, 25, 218, 24.n3 Bathnek, David. 8, II,. 237n9 · potimkin (Elsensteml. 54, B atl It'l hip 220, 224 3 Baudelaire. Charles, II . J, I"" Kahr. Das, set.' Pab~l. Beken ntms tr. ifl Kahr Th. Con/"Slon ~5 ~ 103 llen)am in , Walter, ' '
Berg. Alban. 76-77 Berlin AlexanderplaI: (Fassbmder), 196, 256n44 Berlin. Smfonie emer Grossladr. su
Berlm . Symphony of a Big City Berlin. S.\fnphon)' of a Big CII) (Rutt-
mann,. 57 Berman . Russell, 13-14 Bemfeld. Siegfned. 45 Bettauer. Hu.gu. 218
Benelhetm . Bruno. 2-Unl Big Parade , TM' \'Idor), 219.252032
Bismarck (Llebenemer), 1~7 Bias,. Em't. 95
Blaue Engel. Der. 5U The Blue Angel Blue Angel . The I \'on Sternberg), 222 Blum AffGlr Tiu. (Enge)). 200 Bock, Hans·\ftchael. 22
Boeheim. Oily. 175 , 262031 B6hme, Margarethe, 80-81. 86 Borde. Raymond. 70
Brahm, Otto. 217 Brasillach. Robert. 26504 Brecht, Benoit, 11.56.6-1, 103-115.
205,225-226. 24On38.253n6. 255n30 Brok.n Blossoms (Gnffith), 16-1 Bromfield. LoUIS. 156. 161. 16~ Brooks, Louise, 1,2.9-10,62-63.70, 72. 81. 87,88-89,90,222. 238n12, 239033. 239036. 249n40 Brooks, Peter, 32, 33 Browne, Nick. 239030 Brunngraber, Rudolf, 21,197,198-200, 205 Bu.che, Freddy, 21, 70, 148, 169. 240n41 Bikhst dtr Pandora. D;~. ser Pabst. Pandora's Box Burckhardt, Jacob, 189 Bus-Fekete. Ladislaus, 148, 149.22!I Busch, Emst, 106, 109, 116
J(
,,,Dr. C.n,ar;. Das. Sff TII~ C P' 'flfDr CIIliIG" C P' 'flfDr c.n,ar;. ~ (Wienc). K
45.212. ;z.t6n28
a.rs. Pierre. 187. 264n2 o.IIfI- tlwSky (l(Jaen). 233
c-v ('t\I:idenmIIIl~ 215
c.t I'.-n (SeIpm~ 187 QnoJI. Noel. 122-123 QwlllliHl(Sortin). 155.229 RkIDr. 228 a p1.D. 0IIrIes. 3. 228. 229 QwaaIW. RU1h. 156 cYril ',". Modtus. tIIIIi Q GmnaJ (BenrdIIk). 215 CIttwIick flftlw G1Py HtJIIR. 1M ( _
0edII:b),2S
DIl~1 WI'" !Had! (May), DII~II "'it th", Tad. _
233
o..t .....,.
A-.-=
D""'" dir WlJdrr. dtudt . . Pabst. T"'-glt tM F - . ........111 tlt~ FirlJs ' - • Duvivier. jules. 152.227
EM '''' Scltanrlf. srr MGrnalll! jill"~
Sltado ..·s Elucnburg. lIya. 8. 52. 53. 60. 228
Eichcndorft'. Joseph _. 217 /-]-3-"' ...!. -/-2,3-Owr/ Eisenstein. Scraci. 49. ;u'-';);,.:M~
60-61.156,110.227
a.~3.148
~.~. 103, 149
C , • ((iodInI), 167
Eisner. Loae H.• 25 ... , -·.u. .... 01
C-.""
_1'IIIIl. Mod 71tiJr&s Ora t. "-:is. 70. 187. 264a2
e',. Bdaadu 75
1.3.1'10. ~48
'.'...-.IM-I" UlJ,230 __ DIaiII 2S7a2 I
n '
.".('11 II •
r
..
3 ~. U5 CIIIII&. 179
.7fw(U.
)'215
a. , 52-53.60-61 I
7
196. 239a3S. 2AIIau.a 2SCaIO . . . .-
10...... 197.202, 303 21M 233.
..... c
• '
71.81. 197, 238n1l. 239I1D. 239n37, 2411,57. 242a12, 246n34 £Is • 'IlIomM. 9. II-U." 31,10.71 72.75. ,..
.. 197.214 ~tI/.
I
lili.·iII'...
4.0._ E61ftCW_20 J.. 'hll H ' ; ~1Ih. Iw.L, E",,.d... 0.. _lilt Err!
n ' 0,-... ft_, 2S•40
•
DII Mill ~If bas. IN ..........411.. Dudow. Slatan. 103 .
Jew
1_."
sgmund. 7. 27.41.42-45.47. r«"J·~I'. 119. 121-122. 132 133. 179. ~q~. '43n24. 244nnl-4. 24SnI8. , I"', .. ~'7n 10 - II \' Gass~. Di~. srr Pabst. 1M Ff{'jl~ O. ~ )ode.u Street I
Gabin. Jean. 18. 148. 149. 152.19, 154. 229 Gable. Clark. 233 Garbo. Greta. 32. 167.219. m Geftman. Konstantin. lSI. 230 Geheimnisse e;M' Sftle. aelS of a Soul Gthtimnisvolk Tulfe. rio/lS Drptiu Geier-Wally. Dk. Geisler.
Mil:hllllll'
171. ltiOII7 • ' :"~NI. JW! (Glilid!). 91 :::=~.:':7
/.tip"" U. SU ContemPl wtropolts (Lang). 54. st. 194.212 ~1
o ' .'"
7 ' 5 "'222 n
.....
.....
11.
2
_or. _PIbIl. '. ,..-
.....,.,.., ...'ItI'
M'tf)'. Jean. 70
......... '1 , wI".c:n-(K , .,',e.t , ... u.. In
p'",).
,-'(lOg. Heinz. 197.220 \Ior""'" Albet1O. 167 :14orKmgraldn. su Daybreak ,14other, The (PudoYkin). 54
1S6
.14uO£ Tod. Du. ue Deltitry Muir. Jean. 158
(WIllIe). 96
Muni. Paul. 161 Murnau. F. W.• 2.16.27.110. \67•
" • • _JewSbs .... C G 43 111-119. 191
.
•
5 5
238nll
.... " • 21
Mu,manno. Micbod. 201
a..
=vs......;, ".102
.... , r
.f"
Set-.
ebenzahl. 11M. 227 Neher. CaroIa. 106 Neuher.~. 19.17S-113.114
'17
'V
La'" 22f
. ,,......
.' "'._0 ~
_Kd me
. . . .0
231. 263na36-34
Neumann ....... 42.43. 45.,.. ~ 220.24" Niebeo. AlIa. 32. 219._ NidzM:be.". . . . .... Nirwtdr/UI
_ _ CIIil,
~
rtI
v ., -
a s , .... .."..... , • c..» s
!... 7LV S
7_,
,
•
"17-11 2 , " ' 0 7 ,-~ . - nee •• -29 . . . . »,222
•
117
rEI 5
, _
M (l.aec). UN. 7:f( ••
Mo:P _. a.-. 2lJ • Milt.": - . K .. fJ1
MIftIrlteIt lit
'.12, 17.30.40. 74-?S •••• 1-12 ""~IIIIIrI., __ re. 23J 21 •
_
... 3.0.~
•
MN 'tnnt, o.id, ~J17 Manm. AIIIW. I•• 167••,. MIJII6pIdt IIidrt "'" _ Lie/M,
DorI', ,,,,,
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".,7"'*"0• Mtwie CtIIMrtI (VafIW), H
JI:Z, Ita
a.... H' ida. Us ""'-'
'3.
I .• 230 222
, .. ~. 161. 171 I'.. IMMS ',232 1
M _
..
, ' ....... A,t_~
K ....
S
7 )'21
...... 7J5
' - . 2'lt;1'Ior'-4ft • "• 3.4.1-9 1I.~ " " _ . I•• 1,.,••• %JIt..ZZI . . . . . 1I61ell;CtUII. 221 II ' 2. 9. 3O-31 ... a-."..... _
'J'"
\IOtI,na rd (Siodmak). 168
. . . . . . . . . . 2m. 206. 2411157 1.'_-. . . . . 91.224. 15J.49
m.
109. Ill. ISS........ m 2M 211-222. 230. 23911»
2He'fI:'"
D/d_Girl.2. 4.",.I2,2l." 90. 161. I•• 172. 173.222-2ZI 23fen. 241*". :MleII; 1'Ior .... lid D/Piz,. 224.231 2. II,
w:
f."".2.
U-O.9I-_
• • 224-22S. 2:M. 227." 2JJII. ...... 25IIIJ; .. II . . . . . . 22S; 1'Ior ft; 4 3 .,.... 2. II12,14 ... 22. . . . . 91 ......... lB• • m . . . .- - 2:M. 21t ZJD. D71d.:II r J6.... ZI.... Zl7 • • .,..3.12, 0-14. . . . - ••~.
.~~~~~::~:I
ZJD.D7Id. . ._2.15.
'S
INDEX
Index
Pal'ts:!' I, 'fInlimmf)
'8'0"'10'1 ~IS. ::!J4;R(I."~'\Jor nun. - • -
•
~34. Thmur:h Iht' Foro!s, through the
FIt'ld\.1. I~. 22. ~3~ Pabsl. Gertrude, 155. I.:W. 160.211, 218. 231. 2~2. 251n51 Pabs(' \flchad, 2", 21S. 2."{~-235.
24In52.242n'7 Pah.a. Peter. : 18 Pachter. HCllI). 266n38. 267n39. 267041 PaohneJIi. Bruno. 2:n
R"I'olt oj Corporal Ajch Th Rhode. Ene. 2.17n4 . '(MaY).2IS Ricardou, Jean. 194. 195
Rlt:fcm.tahl. Lxn!. 3.16 "4 23 . --. 1-232 • _'40 n46 RIff. Bernhard. ~-o Robat A:och. der Bekamprer d . 7: . . J' el odes .'iU Rubat Af)ck F'f!.hrer ag . . , Ulnsc Dearh
Para/as, Enno. 227. 237nS Pa"lov. Pavel. 46, 246n26. 246n27 Pept; It Moto (Du\wrerJ. 153 Peterson. Ernst. 224
Robert A'-oeh. FighTer aKainst DeQlh (S(cmhoff). 188 Robm,on. Edward G .• 161 Rl)hi.1l, Emcnc. 198 Rohng. \\-'alter. 25. 26 Ron ..\to"he, 195
Petro. Patnce. 6, 239n28. 2-Wn39. 2401140
Rosenfur Beftina, see Pabst. Roses/or Beltlna
PIck. Lupu. 226 Pines. Romam, 160. 167, 21~. 230
R'hcnbcrg. Alfred. 188. 266n29 Ro". Cohn, 45.220
Piscalor. Erwin. 53 Ph",er. Theodor. 97 Poelzig. Han>. 26 Polsterer. LudWIg. 208 Pommer. Erich. 110 Ponen. Henny. 19. 175.218.225.231. 263n41 Potamlan. Harry Alan. I. 16.22.51,64, 65.70.168.173. 238nl4, 245n22. 256n2 Pretzfelder. Max. 229 Propp. Vlad,mir. 265n 10 Proust. Marcel. 222 Pro:~ss, Du. su Pabst, The Trial Prtimm. Karl. 21 Pudovkin. Vsevold, 46. 54 Rambeau. MlIlJone. 164
RanJc. Otto. 43 Rappapon, Herben. 148.229 Raslwlnilwv (Wiene). 26. 246n26 RaveJ,Maurice, 228 Rayos, Tony, I J4. 255n29, 256n41
Rj,kduj~u, La. su The Rules of the
am.u,
Rrim.n n , Walter. 26
en ..... Loae, 17
...
. . KaRl. 238nJ3 • Ie &io:bMaria. 91. 97. 98, 99.
.., • In' ... "
__D. 250n1. 252043. 252045.
Ro!-> .. elint, Roberto, 200 Rotha. Paul. 3.113. 238n17. 254n27, 255n37. 256n42, 264nl.266n36 RubIO. Daniel M., 160
Ruj aus dem Ather. see Callfrom the Sky Rules of the Game. The (Renoir). 204 Sachs. Hanns, 41. 44-45. 46. 51, 87. 219 Sadoul. George,. 169 Salkm. MIchael. 219 Sarris. Andrew. 239n36 Scharrer. Adam. 97 S,"hat=. Der. see Pabst. The Treasur~ Schell. Maria. 208 Scluller. Friednch von. 234 Schlupmann. Heide. vi, 9. I J. 168 SchmIdt. Ernst. Jr., 242nl9 Schnaubcr, Cornelius, 238n 10 SChopenhauer. Anhur. 81 Schuffran. Eugcn. 148. 154. 168. 169. 173.227.229 Schulbcrg. B. P .• 160 Schulte. Regine. 80, 83 Schweikan. Han,. 232
Schwetern oder die Balance des Gllicks. see Sisters or the Balance of Fortune Seeber. Guido. 47. 218. 219 SIran,hai Express (von Sternberg). 169 SIran,hai Gmur•• The (von Sternberg). 169 1IIaw. George Bernard, 2 J 7
Wilham. 238n 12 ShJwn . 46 . I J.. JUlIlor (Keaton). ,hl'r (It 0 73 ,r·ncdnch. 169-17 • I _ .. Slcbur~,
SICrcr... Karl 15 Silberman. Marc. 21- 22 51 II'e r Dollllr(Grccnl.161 SImon. MIchel. 148. 229 SiOclair. UpLOn. 217 Slodmak. Roben. 22 . n or rhe Bahmce of Fortune (von Sille froua). 196 Skandllillm £\'0, Jee PabM, Scandalous
Eva Skoda. Albin, 212. 269n16 Sioterdijk, Peter. 63, 76. 102. 249n32 Sorkin. Mark. 46. 155,218.219.229. 246n27 Spears, Jack. 250n3 Sta1llb01l1 Quest (Wood). 230 Staud(e. Wolfgang. 22 Stein, Ernst. 26 Storfer. R J., 45 Story of Louis Pasteur, The (Dieterle), 188 S(uan. John. 227 Studlar. Gaylyn. 179. 262nl5 Supper. Walter. 24. 217 S\'ll'ester (Pick). 30 Szatmari. Eugen, 95 Szokoll. Carl, 208
Tagebuch einer Verloren~n. su Pabst. Diary of a Last Girl Taugenichrs, Dtr. see The Goad1orNothing TIw [)ey//' Teufels GeMral. D~'.:I« •
264nS'
General
Theweleit. Klaus. 182. 194. Thomson. David. 3 Tiejland (Riefensl8hl). 231-232. 24On46.24lo57 Tocplitz. Jerzy. 169. 175 40 Tra,edy of th~ Whore (Rahn). Tristano (Bunucl). 246n35 1IIcholsky. Kurt. 226 . . ) 233
U/yll" (~;,.. C/izW (11ocIich)•
UwllrtN ...-" .... 217 ~ _O~raIUHI UIIl_/ulll1I
f.I/6lwIIII
•
311
Uncchlo, Wilham. 25003 Vajda. Ladi,l.us, 94. 105, 106.220. 221.225,226.227 Verrat an Deuuchland, ue German), Betrayed Venov. DZlga. 54. 55. 57 Vmcendeau. Gineue. 152 Voce del !iilen:lo, La. su PaMt. The VO/a oj S,lence Vulture Wally !Dupont). 107
Wal'hlfigurenlwblnetl. Das. see Wa..(works Wagner. Fritz Arno. 55. 94,225. 255n36 Walhs,HalB .16.156-160,161.164. 166 Walther. Henha von. 219 Wandering In.'. The (HIppler). 203
Warm. Hermann. 26 Warner. Jack L .. 155-156. 159. 166 Waxworks (Lern). 26 Weber. Carl Maria mn. 22. 234 Wedekind. Frank. 64. 70. 72. 76. 78. 82-83. 155. 217. 221. 248n15. 248n24.249n37.24904O Weill. Kun. 103. 104. 105,225 Weinberg. Hennan F.. 240n45 Weisenborn. Giinther. 263n31
Weisse Holle "'om p,;: Palii. Die. su Pabst. The Whi" Hell of Pi, Pal;; Welles. Onon, 233 Wenders. Wim. 238011 Werner. Karl-FcnIioaDd, 187 Whi" S~. TIw (SorItinl, 229 Whitehall, Richard. 101
~ilkt.John.54.25301.253n7.2S4n26 ~iDdI. Herbert. 186 ~iasIae. Orilla, 231 ~.... ~. I. 18.22
'MIlE. ftilldlicll. 53 !Virile-.. 1k(Le ..,).161
ZedeIl. Z,n.
in. l1'li".•
"b"*-aylr.. a
.....ti
