The Films of G.W. Pabst: An Extraterritorial Cinema (Films in Print Series)

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 I...

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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,sr. 0.: HANS-MICHAEL

nnllb .I l I an..! 4 B ock

,Pin

E f TED B/

I

DE

fF

,

IE

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Preface and Acknowledgments G \\ Pa ,[',blC>gruph} confus and~ounds"'IOeI 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 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

_.. ... •

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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 oranuatlo d J 0 DC lal sUrl' e e O an Instrum' accs nile l v nOIIllIS,' ('II \' "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.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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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

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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[ IDterrogate1 experimenl Here !he ~recn DC "ef pr=n' !he.. ~ J of bUI ralherlhe world of c ~ema.~ a pnmaJ re~~'" L"" h ~~ ::.. rre beCn 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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An Auteur D'rectea by >-Ilstory

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' "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 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'imli0 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 ~

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

.J..

.

' tentative 81 it

e:==

... 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

.-J" .::

J_. ia...,

,Ie..

:~~==:i

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

~

fl

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;

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Iict~o°naJ

imitated

fi~s

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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......

:

::=...

r,,"d~\~ "~):dar;e.

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 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' .inl 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 . ** ............ 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'\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 IOCplo! 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.

mo_

On. ~ basiC level, A Modern Hero reworks the old American myth of

~ 7taJjst fantasy of Horallo Alger.

-:.":=:.

,::.

•

Ie

Radier, fatherless and homeless,

1IlU~, With hiS mother, Madame Azais, traveling around wilb a

'W WIth his prospec..., he opens a bicycle shop with the help of a friend

an. automobile garage, and eventually to a car

i

'

, 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",_..

~

~g

i==~::~=' ~ile hiS ~tween partner wears overalls, relatiOlllhip Pierremechanic's and his partner by

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 ~ ~...

......,1

':Yi:Dpd:;~toi.:

..... n ) SI ~.11 ....

-

w ..

iIlegalll!ock;:~::==

lete takeover through some a ,omGader's troubles are compounded by an _ _ h'"'. I tor who loses Paul's inveatment.leaviuabimai

r

eUipa~ea~,~tbe~E~~~~I!1 ,upe~ ~apital, but also by Ibe market value of 1CXIJIJity.

,lor Pabs'.!-·· ' ' 'G' u,vefiClal an the many temporal and spatial f a were it not lS_ylCbono

::;!:-:=:::==

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

Pah,t Ir HOI

fl/()Ij(j

165

'lflOlhcl ' "a ",h and 1~lw"lul Lllroprall, allell! is 1111 IIHiW , .. hi P.ul cks '" erniliale, hllplll); slllx 1I11"'lliusl YIII su I'planl Ihe palclllallll 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::,: '''~~ 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 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 !menl be %\ e h ~, "'" ""au, .. "0Der. ~ C :!IIng ..L". dId not \\amlhat - E>en the frenzIed danc.en. In the Iav...... bo _'" ~ 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 correAllloa; 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. 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 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_

*1 I ·

.. ,.

. .. -

'

aa-

lie .... '.-My ...... Mdd!lllb various

' .... _

". aociaI, ... ....!ioic=d

• '

...--

7' • II.. E '

n 7 a 5S_.

...... -= ..

................. "

. . ... ..., . . . . _ "

lite . . . .. .

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 " ::s ,,"

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';': i! 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."

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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

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......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
1957). 20 I 4 Sec Lee Alwell. G. W. Pah. 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 "!,ciJcnmd. 2S May I.,,~ .

IE .FLfE • AUI8T: Docnsc , i HdG A LFE AND A CAREER

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23 or- 1922 .I. ,. 2 I ...... -1m SdttIIz: G. W. Pabsu crIIer Film." ,"ction (Vieama). No,

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7 1929.

~=:=::;:~. 16No..emba 1929. 26May 1929.

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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..,..

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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, ~,

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1

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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

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192 2. per TauaenJdlU. (TIll a.~...".

Carl Froelich. "IfFrciherr . dlr:O W:~:::~=I .... von E.cl\c""",u - - lUI.

_~_

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~

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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

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,

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).

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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.

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I ' An Casimir Oberfeld . M . I .ggcr. l1"n' Parlo (Anne- ane ....

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===

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

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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
..... 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

... ' :

...

Pn.;..a"' __

~imkunst

"'~':IIIf:P'~::~==

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 (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 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.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)

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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 F.lm-

It

.,s-a

I' icIIlJ&mstmn W ... ...,S _

"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
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 ( _

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