Quote:In the tradition of Eötvös, to whom the film is dedicated as a “pioneer for truth and justice”, Pabst portrays the reality of Jewish life in hauntingly designed scenes and explains both religious superstitions and racist, nationalistic and economic-political arguments against anti-Semitism , which is based on anti-Semitic pamphlets such as the alleged ‘Protocols of the Wise Men of Zion’: this forgery had not yet been published in 1882, but predecessor writings were already widespread and Pabst drew a parallel with this consciously used anachronism to Hitler, who in “Mein Kampf “Expressly mentions the ‘protocols’. Read More »
Tag Archives: Georg Wilhelm Pabst
Pandora’s Box (German: Die Büchse der Pandora) is a 1929 German silent film based on Frank Wedekind’s plays Erdgeist (Earth Spirit, 1895) and Die Büchse der Pandora (1904). Directed by Austrian filmmaker Georg Wilhelm Pabst, the film stars Louise Brooks, Fritz Kortner and Francis Lederer. Brooks’ portrayal of a seductive, thoughtless young woman whose raw sexuality and uninhibited nature bring ruin to herself and those who love her, although initially unappreciated, eventually made the actress a star. Read More »
Thymiane is a beautiful young girl who is not having a storybook life. Her governess, Elizabeth, is thrown out of her home when she is pregnant, only to be later found drown. That same day, her father already has a new governess named Meta. Meinert, downstairs druggist, takes advance of her and gets Thymiane pregnant. When she refuses to marry, her baby is taken from her and she is put into a strict girls reform school. When Count Osdorff is unable to get the family to take her back, he waits for her to escape. She escapes with a friend and the friend goes with the Count while she goes to see her baby. Thymiane finds that her baby is dead, and the Count has put both girls up at a brothel. When her father dies, Thymiane marries the Count and becomes a Countess, but her past and her hatred of Meta will come back to her. Read More »
An old German mine was split in two after the end of WWI because of where the new border was located. In the French part a fire breaks out; the German miners send a rescue group in, helping their French comrades. Three old German miners, who were not treated friendly at a French inn the night before, start their own private rescue through an old tunnel that separated the two mines. Will the official rescue party realize there are others left behind in time to save them? Read More »
In London at the turn of the century, the bandit Mack the Knife marries Polly without the knowledge of her father, Peachum, the ‘king of the beggars’.
Brecht’s opera, as we have seen, is not as ideologically pure as he would have us believe, nor is Pabst’s film as apolitical as Brecht charged. Both works are to be valued in their own right, although to my mind, Pabst’s film is ideologically more correct from a Marxist point of view. One can argue, then, that despite Brecht’s objections to the film, Pabst’s version of THE THREE PENNY OPERA is the most Brechtian film adaptation of Brecht’s work to date. Read More »
Valliant effort to use a mining catastrophe as a vehicle to pronounce this director’s distaste for war. The audience not only learns a great deal about early mining rescue procedures but, we learn that Europeans at the interval between WWI and WWII, had concerning pacifists(for lack of a better term). The speeches given by both representatives of each country at the end of the film, are inspiring given the time. Although the revised edition, through the transfer technology of early foreign films, “cuts-off characters heads” at times, this film holds it’s own in many different aspects. Character analysis, lighting techniques, historical content and a scenario that has tested and inspired many a writer and filmmaker.