Produced in Germany by Meinert-Films
Directed by Robert Dinesen
Released in 1919 with a running time of 112 minutes.
Cast Werner Krauss, Sybill Morel, Hanna Ralph, Conrad Veidt and Eduard von Winterstein
Germany in 1919 was a country that had been devastated by the war, four years of slaughter, famine, civil unrest, a civil war and runaway inflation. The country was in dire need of change. The Council of Peoples Representatives in 1919 abolished the military censorship that had been in effect since 1918. The council believed that the numerous political parties causing unrest would use the screen to spread their political views instead of battling in the streets. The political parties continued using the streets and beer halls to spread their message, but, having nothing to fear from government interference, the film industry decided to take advantage of the abolishment of censorship. Continue reading
By the director of Cabinet of Dr.Caligari, this is the Passion embedded in a contemporary story. An anarchist jailed for an attempted assassination is told the Passion story by the prison chaplain, who seeks to convince him that it is better to sacrifice ones own life than take the life of ones enemy. The framing story, taken from a novel, is believed to have been intended to give the Biblical story an anti-Bolshevist propaganda function. In any case, it was added without the knowledge of the actors in the Passion story, who included some of the major stars of the period Asta Nielsen as Mary Magdalene, Henny Porten as Mary, Grigori Chmara as Jesus, and Werner Krauss as Pontius Pilate -bampfa.berkeley.edu Continue reading
Classic Horror Review :
Emanating from Jewish folklore, the legend of the “golem” has transfixed audiences for centuries. Although when used pejoratively the word “golem” describes a moronic person easily manipulated, the word often refers to any mythical creature animated from inanimate materials such as clay, sand, or stone.
One of the most popular “golems” appears in J.R.R. Tolkien’s The Lord of the Rings trilogy. Spelled “Gollum,” Tolkien’s character shares similarities with creatures that haunted Jewish legends, particularly the golem featured in director Paul Wegener’s 1920 silent classic, The Golem. Both suffer from split personalities and possess hybrid traits: Gollum is part human, part frog, fish, etc.; many Jewish golems, including Wegener’s, are monsters made of inanimate objects that carry human traits. Both have been damned or punished, and in both instances, the creatures start well intentioned but transform into evil beings, usually due to gluttony, greed, wrath, envy, or pride. Thus, they are morally “gray,” and like Wegener’s monster, Tolkien’s has often been depicted as gray in color to symbolize this amorality, most notably in Peter Jackson’s recent films. Continue reading
During the shooting of a jealousy scene on a soundstage, one actress is murdered. Due to the fact that the male star of the movie had a relation with the victim and the female star is now his fiance, he is suspected by the police. Written by Stephan Eichenberg
During the production of an early movie using not only pictures but also sound an actress is murdered. The arriving inspectors do not only have to get to know the circumstances of the crime but also the new conditions: how “sound-movies” are made, to solve the crime. Written by katharina_strehl public.uni-hamburg.de Continue reading
In Nerven, writer-director-producer Robert Reinert tried to capture the “nervous epidemic” caused by war and misery which “drives people mad”. This unique portrait of the life in 1919 Germany, filmed on location in Munich, describes the cases of different people from all levels of society: Factory owner Roloff who looses his mind in view of catastrophies and social disturbances, teacher John who is the hero of the masses and Marja who turns into a radical revolutionary. Using different fragments the Munich Film Museum could reconstruct this forgotten German classic which is a historic document and anticipates already elements of the Expressionist cinema of the 1920s. Continue reading
Every Day was a film that German avant-garde filmmaker Hans Richter made as part of a film production course run by the Film Society. It features filmmaker Sergei Eisenstein playing a policeman, whilst Len Lye and Basil Wright provided technical assistance. These contributions reflect the sense of internationalism occurring at this time in British film circles. The film was completed in 1929 under the title The Daily Round, but was never released because Richter was unhappy with the result. Richter began to rework the film in 1975, but died before its completion. It was finally restored, with the addition of a soundtrack, after his death. Continue reading
Jannings’ character, the doorman for a famous hotel, is demoted to washroom (bathroom) attendant, as he is considered too old and infirm to be the image of the hotel. He tries to conceal his demotion from his friends and family, but to his shame, he is discovered. His friends, thinking he has lied to them all along about his prestigious job, taunt him mercilessly while his family rejects him out of shame. The man, shocked and in incredible grief, returns to the hotel to sleep in the bathroom where he works. The only person to be kind towards him is the night watchman, who covers him with his coat as he falls asleep. Continue reading