The Adventures of Prince Achmed -A 1926 German Animated Movie - Directed by Lotte Reiniger

 Available on YouTube with English Captions 

The Adventures of Prince Achmed -A 1926 German Animated Movie - Directed by Lotte Reiniger

The Adventures of Prince Achmed is the oldest surviving full length animated movie. Some older silent films are of interest historically, others of intrinsic value for their artistic achievement.  The Adventures of Prince Achmed is, to me, both.

This silent masterpiece, directed by the pioneering animator Lotte Reiniger, takes us on a magical journey with Prince Achmed, a handsome young prince who stumbles upon a flying horse and embarks on a whirlwind of adventures.

Here are some key points to remember about "The Adventures of Prince Achmed":

Groundbreaking animation: Reiniger's signature silhouette animation technique, using meticulously crafted cardboard cutouts, is a marvel to behold. The graceful movements and expressive figures create a unique visual style that's both timeless and captivating.

Enthralling story: Based on elements from "The Arabian Nights," the film weaves a fantastical tale of love, loss, betrayal, and redemption. Prince Achmed encounters witches, demons, beautiful princesses, and even Aladdin himself, as he navigates treacherous lands and faces impossible challenges.

Silent film charm: The absence of dialogue adds to the film's dreamlike quality, allowing the animation and music to tell the story. The original score, composed by Friedrich Hollaender, perfectly complements the visuals and enhances the emotional impact.

Here are some additional things you might find interesting:

The film's production was a labor of love, taking Reiniger and her team over two years to complete.

The film was originally released with intertitles in German, but later versions have been dubbed in various languages.

"The Adventures of Prince Achmed" has been praised by animation legends like Walt Disney and Hayao Miyazaki, who credit it as a major inspiration for their own work.

"Lotte Reiniger was a German film director and the foremost pioneer of silhouette animation. She was born in Berlin in 1899 and began her career as a puppeteer and set designer. In 1923, she made her first short film, The Adventures of Prince Achmed, which was a critical and commercial success. This film was the first feature-length animated film ever made and is considered a masterpiece of silhouette animation.  

Reiniger went on to make over 40 films throughout her career, including The Adventures of Baron Munchausen (1931), Papageno (1935), and The Flying Dutchman (1952). Her films were known for their intricate detail, beautiful cinematography, and whimsical stories.

Reiniger was a groundbreaking figure in the world of animation. She helped to establish silhouette animation as a legitimate art form and her films continue to be enjoyed by audiences around the world.

Reiniger was also a pioneer in the use of multiplane animation. This technique, which uses multiple cameras to create a sense of depth and perspective, was first used in her 1926 film, The Adventures of Prince Achmed. Multiplane animation is now a standard technique in animation, but it was groundbreaking at the time that Reiniger used it.

Reiniger was a gifted artist and storyteller. Her films are both visually stunning and emotionally moving. She was a pioneer in the field of animation and her work continues to inspire and delight audiences today." From Bard

Please share your experiences with other films by Lotte Reiniger 

Sumurun (One Arabian Night) - A 1920 German Silent Movie Directed by Ernst Lubitsch- 1 Hour 42 Minutes- starring Pola Negri

 Available on YouTube 

Ernst lubitsch 

Born: January 29, 1892, Berlin, Germany - produces 65 silent films before moving to America

1922 Moves to Hollywood- Warner Pictures Signed him to a three year six picture contract

Died: November 30, 1947, Los Angeles, California, United States

Lubitsch directed two of my favourite movies, Ninotchka and To Be or Not to Be.

"Only Negri—very beautiful—and the majestic Paul Wegener, with his riveting Tartar features, manage to make any impression at all. As with the fling with Egyptiania represented by The Eyes of the Mummy Ma, an Arabian Nights setting is simply not Lubitsch material. Except for a few moments—eunuchs sitting in a geometrically perfect row formation—the film is bereft of the director’s typical playfulness; at this still-developing stage of his career, he lacks the flair needed to integrate a dramatic narrative with such a frankly fanciful, fairy-tale environment.' From Ernst Lubitsch Laughter in Paradise by Scott Eyman 

I imagine Edward Said would find Sumurun an example of "orientalism".

Sumurun is a lavish and exotic tale of love, betrayal, and revenge set in the Arabian desert.

Sumurun tells the story of a beautiful slave girl who falls in love with a cloth merchant. However, the jealous hunchback Yeggar (played by Lubitsch himself) also desires her and makes things difficult for the couple.

The film is based on a pantomime by Friedrich Freksa and was highly praised by critics in Germany. It was described as a "cinematic journey into a universe of emotions and passions of great intensity and utter perfection, with a remarkable Ernst Lubitsch in one of the main roles."

Lady Windermere's Fan - A 1925 Silent Film Directed by Ernst Lubitsch- 1 Hour 36 minutes- based on Oscar Wilde's 1892 Play

 Lady Windermere's Fan - A 1925 Silent Film Directed by Ernst Lubitsch- 1 Hour 36 minutes- based on Oscar Wilde's 1892 Play

Ernst lubitsch 

Born: January 29, 1892, Berlin, Germany - produces 65 silent films before moving to America

1922 Moves to Hollywood- Warner Pictures Signed him to a three year six picture contract

Died: November 30, 1947, Los Angeles, California, United States

Lubitsch directed two of my favourite movies, Ninotchka and To Be or Not to Be.

The film tells the story of Lady Windermere (McAvoy), a young woman who suspects her husband, Lord Windermere (Bert Lytell), of having an affair with the notorious Mrs. Erlynne (Rich). When Mrs. Erlynne arrives in London, Lady Windermere becomes convinced that her suspicions are true and decides to leave her husband. However, Mrs. Erlynne reveals that she is actually Lady Windermere's mother, and that she has returned to protect her daughter from making the same mistakes she did.

Lubitsch's film is a masterfully crafted adaptation of Wilde's play. He captures the wit and social satire of the original work, while also adding his own touch of visual flair. The film's silent format allows Lubitsch to use expressive gestures and close-ups to great effect, and his use of light and shadow is particularly striking.

The film was a major critical and commercial success. It was praised for its direction, acting, and technical achievements. It was also a box office hit, grossing over $1 million worldwide.

Lubitsch's film is a masterfully crafted adaptation of Wilde's play. He captures the wit and social satire of the original work, while also adding his own touch of visual flair. The film's silent format allows Lubitsch to use expressive gestures and close-ups to great effect, and his use of light and shadow is particularly striking.

Films by German directors are an important part of post World War One German Culture, from the groundbreaking silent classics of the Weimar Republic to the movies of Leni Reisenthal in celebration of Nazi rule, beloved by Goebels, to modern Oscar winners, I am pleased to see German Literature Month XIII now welcomes posts on Films by German Directors

This is a post for German Literature Month XIII 2023 November 1 to December 7

German Literature Month is hosted by Lizzy’s Literary Life

https://lizzysiddal2.wordpress.com/2023/09/22/announcing-german-literature-month-xiii/

 

Die Augen der Mumie Ma (English: The Eyes of the Mummy or The Eyes of the Mummy Ma) is a 1918 German silent film directed by Ernst Lubitsch. The film stars Pola Negri as Ma, Emil Jannings as Radu, and Harry Liedtke as Wendland

 Available on YouTube 

Die Augen der Mumie Ma (English: The Eyes of the Mummy or The Eyes of the Mummy Ma) is a 1918 German silent film directed by Ernst Lubitsch. The film stars Pola Negri as Ma, Emil Jannings as Radu, and Harry Liedtke as Wendland

Run Time 58 Minutes 

Ernst Lubitsch 

Born: January 29, 1892, Berlin, Germany - produces 65 silent films before moving to America

1922 Moves to Hollywood- Warner Pictures Signed him to a three year six picture contract

Died: November 30, 1947, Los Angeles, California, United States

Lubitsch directed two of my favourite movies, Ninotchka and To Be or Not to Be.

I am currently reading a very informative biography,  Ernst Lubitsch : Laughter in Paradise by Scott Eyman 

Here is his assessment of today's movie:

"The Eyes of the Mummy Ma is Lubitsch’s stab at the Far Eastern exotica that would pay rich dividends for Fritz Lang and Joe May, but it lacks their hysterical panache; Ernst plays the silly plot for romance rather than thrills. There are some good touches—a lantern that careens wildly during a fight, fitfully illuminating the struggle; a subtle tracking shot as Emil Jannings exerts his hypnotic power over Pola Negri—but there are just as many odd absurdities: Negri awkwardly struggling to haul herself on to a horse, Harry Liedtke struggling to lift Negri and almost failing. Ernst’s staging and blocking lack the fluidity of the comedies that had been animated by his own vigorous sense of humor or the presence of Ossi Oswalda."

The film is about a young painter named Wendland (Liedtke) who travels to Egypt, where he is haunted by the ghost of a beautiful Egyptian princess named Ma (Negri). 

The film is a visually stunning and atmospheric work that is considered to be one of Lubitsch's best films. It is also one of the earliest and most influential horror films. The film's use of lighting, shadow, and camera angles is masterful, and the performances are all excellent. Negri is particularly good as Ma, and she is able to convey both the character's beauty and her sadness.

The film was a critical and commercial success upon its release. It was praised for its originality, its style, and its performances. The film has also been praised for its feminist themes. Ma is a strong and independent woman who is not afraid to stand up for herself. She is also a victim of male violence, and the film can be seen as a critique of patriarchal society.

Films by German directors are an important part of post World War One German Culture, from the groundbreaking silent classics of the Weimar Republic to the movies of Leni Reisenthal in celebration of Nazi rule, beloved by Goebels, to modern Oscar winners, I am pleased to see German Literature Month XIII now welcomes posts on Films by German Directors

This is a post for German Literature Month XIII 2023 November 1 to December 7

German Literature Month is hosted by Lizzy’s Literary Life

https://lizzysiddal2.wordpress.com/2023/09/22/announcing-german-literature-month-xiii/

 

The Oyster Princess (Die Austernprinzessin) is a 1919 German silent comedy film directed by Ernst Lubitsch and starring Victor Janson, Ossi Oswalda and Harry Liedtke. 58 minutes

Ernst lubitsch 

Born: January 29, 1892, Berlin, Germany - produces 65 silent films before moving to America

1922 Moves to Hollywood- Warner Pictures Signed him to a three year six picture contract

Died: November 30, 1947, Los Angeles, California, United States

Lubitsch directed two of my favourite movies, Ninotchka and To Be or Not to Be.

The film tells the story of Ossi Quaker, the spoiled daughter of an American oyster king, who dreams of marrying a real-life prince. Her father, eager to please her, arranges for her to meet Prince Nucki, an impoverished German nobleman. However, Nucki is wary of Ossi's wealth and sends his friend Josef, a commoner, to pose as the prince in order to assess the situation.

Josef, attracted to Ossi's beauty and wealth, falls in love with her and pretends to be the prince. However, his charade is soon exposed when Ossi's father discovers that Josef is not a real prince. Despite this, Ossi and Josef declare their love for each other, and the film ends with them happily married.

The Oyster Princess is a satirical comedy that pokes fun at the pretensions of the wealthy and the foolishness of social climbing. Lubitsch's direction is deft and witty, and the film is full of clever sight gags and sparkling dialogue. Oswalda is delightful as the spoiled Ossi, and Liedtke and Falkenstein are equally good as the two.

Lubitsch also emulates Griffith in the unfortunate custom of using white actors in blackface.

Films by German directors are an important part of post World War One German Culture, from the groundbreaking silent classics of the Weimar Republic to the movies of Leni Reisenthal in celebration of Nazi rule, beloved by Goebels, to modern Oscar winners, I am pleased to see German Literature Month XIII now welcomes posts on Films by German Directors

This is a post for German Literature Month XIII 2023 November 1 to December 7

German Literature Month is hosted by Lizzy’s Literary Life

https://lizzysiddal2.wordpress.com/2023/09/22/announcing-german-literature-month-xiii/

 

Madame DuBarry is a 1919 German silent film on the life of Madame Du Barry. It was directed by Ernst Lubitsch, written by Norbert Falk and Hanns Kräly with the title role taken by Pola Negri and Louis XV played by Emil Jannings. Its alternative title for United States distribution was Passion.

 Available on YouTube 

Madame DuBarry is a 1919 German silent film on the life of Madame Du Barry. It was directed by Ernst Lubitsch, written by Norbert Falk and Hanns Kräly with the title role taken by Pola Negri and Louis XV played by Emil Jannings. Its alternative title for United States distribution was Passion.

Ernst Lubitsch 

Born: January 29, 1892, Berlin, Germany - produces 65 silent films before moving to America

1922 Moves to Hollywood- Warner Pictures Signed him to a three year six picture contract

Died: November 30, 1947, Los Angeles, California, United States

Lubitsch directed two of my favourite movies, Ninotchka and To Be or Not to Be.

I am currently reading Ernst Lubitsch- A Biography: Laughter in Paradise by Scott Eyman. I learned of the close artistic relationship between Pola Negri and Ernst Lubitsch from this marvelous book.

"A new addition to the Lubitsch ménage was Pola Negri, who would become his primary object of female contemplation for the next four years. Aggressive where Ossi Oswalda was passive, ferociously sexual where Oswalda was girlish, Negri’s mere presence changed the chemistry of Ernst’s films, and of his surroundings. A naturally imperious personality, born in Poland sometime between 1899 (her date) and 1894 (the likely date), Negri would become virtually the only person who ever referred to Lubitsch as “Ernie.”...I believe she was one of the most vital persons I have ever known,” he would say of her in 1938, “combining those two most important requisites—natural color (the art of being talked and written about) and a highly developed and sensitive artistic instinct.” From Ernst Lubitsch Laughter in Paradise 

Madame du Barry is a 1919 German silent historical film directed by Ernst Lubitsch and starring Pola Negri as Jeanne du Barry, the last mistress of King Louis XV of France. The film was a commercial success and helped to establish Lubitsch's reputation as a major filmmaker.

The film tells the story of Jeanne du Barry's rise from humble beginnings to become one of the most powerful women in France. She is a beautiful and ambitious woman who uses her charms to seduce King Louis XV and gain his favor. However, her rise to power is met with envy and resentment from the nobility, and she eventually falls victim to the French Revolution.

Lubitsch's direction is stylish and sophisticated, and he makes use of opulent sets and costumes to create a visually stunning film. Negri gives a captivating performance as Jeanne du Barry, and she is well-supported by a cast that includes Emil Jannings as King Louis XV.

Madame du Barry is a fascinating and entertaining film that is considered to be one of Lubitsch's best works. It is a must-see for fans of silent cinema and historical drama.

The film's title is a reference to the famous French perfume house, which was founded in 1775. The perfume was named after Madame du Barry, and it was said to be one of her favorites.

Madame du Barry is a lavishly produced film, with opulent sets and costumes. The film is also notable for its use of close-ups and its innovative camera techniques.

The film was released in Germany on September 18, 1919. It was released in the United States on November 24, 1920. 

Films by German directors are an important part of post World War One German Culture, from the groundbreaking silent classics of the Weimar Republic to the movies of Leni Reisenthal in celebration of Nazi rule, beloved by Goebels, to modern Oscar winners, I am pleased to see German Literature Month XIII now welcomes posts on Films by German Directors

This is a post for German Literature Month XIII 2023

German Literature Month is hosted by Lizzy’s Literary Life

https://lizzysiddal2.wordpress.com/2023/09/22/announcing-german-literature-month-xiii/

The Tin Drum (Die Blechtrommel) - A 1979 German Film Directed by Voler Schlöndorff - 2 Hours 56 Minutes- Based on Gunter Grass's 1959 Novel

The Tin Drum (Die Blechtrommel) - A 1979 German Film Directed by Voler Schlöndorff - 2 Hours 56 Minutes- Based on Gunter Grass's 1959 Novel

Available on YouTube, Dailymotion.com and The Criterion Channel 

I read The Tin Drum by Gunther Grass during German Literature Month November 2013.  Finding the movie online in 2023 was a marvelous surprise 

"I am very glad I have at last read The Tin Drum by Gunter Grass.   It is often listed among the 100 greatest 20th century novels. It is long sprawling account of life in Poland during the few years prior to the Nazi domination up through the war years.  The story is told through the very unreliable narration of Oskar Matzerath.  Oscar decided at age three never to get any bigger physically when he heard his father say he would be a grocer when he grew. He tells us the story partially from a mental hospital where he is confined.  Imagine a collaboration between Rabelais, Pynchon, and Hunter Thompson and you can get a feel for this book. We see how the people in the story, a motley collection of persons close to Oscar including two of his mother's lovers,  deal with and are impacted by the war.  The plot action is very imaginative.  Everyone praises the new translation of Breon Mitchell, which I read, and the quality of the prose is very high.  The novel is grand masterful account of the corruption the war brought to Poland.  Oscar has a weapon in that his voice can shatter all sorts of things.  We are always wondering how accurate are Oscar's perceptions, after all he is in a mental hospital.  I liked this book and I am glad I read it.  It is a challenging book but worth the effort.  It needs to be reread." From my post in 2013.

The Tin Drum (German: Die Blechtrommel) is a 1979 West German satirical war drama film directed by Volker Schlöndorff from a screenplay co-written with Jean-Claude Carrière and Franz Seitz, based on the 1959 novel of the same name by Günter Grass. It stars David Bennent as Oskar Matzerath, a boy born and raised in the Free City of Danzig (now Gdańsk, Poland) prior to and during World War II, who recalls the story's events as an unreliable narrator. The film also features Mario Adorf, Angela Winkler, Katharina Thalbach, Daniel Olbrychski, and Berta Drews in supporting roles.

The Tin Drum chronicles Oskar's life from his birth in 1924 to his adulthood in post-war Germany. At the age of three, Oskar falls down a flight of stairs and stops growing, both physically and mentally. He decides to remain a child and refuses to grow up in a world he sees as filled with hypocrisy and injustice. Oskar's primary weapon against the world is his tin drum, which he uses to shatter glass and make a piercing scream that can stun or even kill people.

The film's narrative is non-linear and often surreal, reflecting Oskar's childlike perspective. It jumps back and forth in time, and Oskar frequently breaks the fourth wall to address the audience directly. The film also uses a variety of visual techniques, including black and white, color, and slow motion, to create a dreamlike atmosphere.

The Tin Drum was a critical and commercial success. It won the Academy Award for Best Foreign Language Film at the 52nd Academy Awards, becoming the first German film to do so. It was also nominated for the Palme d'Or at the 1979 Cannes Film Festival. The film is considered to be one of the most important German films of all time.

Films by German directors are an important part of post World War One German Culture, from the groundbreaking silent classics of the Weimar Republic to the movies of Leni Reisenthal in celebration of Nazi rule, beloved by Goebels, to modern Oscar winners, I am pleased to see German Literature Month XIII now welcomes posts on Films by German Directors

This is a post for German Literature Month XIII 

German Literature Month is hosted by Lizzy’s Literary Life

https://lizzysiddal2.wordpress.com/2023/09/22/announcing-german-literature-month-xiii/

Mel Ulm 

Faust- A 1926 Silent Film Directed by F. W. Murnau- 1 Hour 46 minutes

 Available on YouTube In 4 k Restoration with a soundtrack 

Roger Ebert's remarks on Faust

https://www.rogerebert.com/reviews/great-movie-faust-1926

"Silent films like this deal more in broad concepts than in the subtleties of personality. Like Greek myth and comic books, they present characters clearly defined by their strengths and weaknesses. There's no small talk. Ekman creates an elderly Faust in anguish over his inability to cure plague victims and too proud to admit defeat. The young Faust is led astray by the stirrings in his loins, and the function of Gretchen, I am afraid, is to be the innocent victim of his lust; she wanders through a blizzard with her innocent infant and burns at the stake, all because of her love for the unworthy Faust"  Roger Ebert. 

Faust is an adaptation of the Faust legend, based primarily on the play Faust by Johann Wolfgang von Goethe. 

The film stars Gösta Ekman as Faust, an aging alchemist who sells his soul to the devil Mephistopheles (Emil Jannings) in exchange for youth, love, and knowledge. Camilla Horn plays Gretchen, a young woman who is seduced and abandoned by 

Faust is a 1926 German silent fantasy film directed by F. W. Murnau. It is an adaptation of the Faust legend, based primarily on the play Faust by Johann Wolfgang von Goethe.

The film stars Gösta Ekman as Faust, an aging alchemist who sells his soul to the devil Mephistopheles (Emil Jannings) in exchange for youth, love, and knowledge. Camilla Horn plays Gretchen, a young woman who is seduced and abandoned by Faust 

Faust was a critical and commercial success upon its release. It is now considered one of the greatest films of all time, and is praised for its innovative use of special effects, its Expressionist style, and its powerful performances. 

Here are some of the reasons why Faust is considered such a great film:

Its innovative use of special effects. Murnau was a pioneer in the use of special effects, and he used them to create some of the most stunning visuals in cinema history. For example, he used double exposure to create the illusion of Faust flying through the air, and he used miniatures to create the illusion of a giant city

Its Expressionist style. Expressionism was a German art movement that was characterized by its use of distorted shapes, exaggerated features, and bold colors. Murnau used Expressionist techniques to create a visually stunning and emotionally charged film

Its powerful performances. The film features some of the best performances of the silent era. Gösta Ekman is heartbreaking as the tortured Faust, and Emil Jannings is chilling as the devilish Mephistopheles

F. W. Murnau 

Born December 28, 1888

Moved to California in 1926 - he made three silent films for Fox Studios before forming his own company 

—died March 11, 1931, Hollywood, California, - from injuries in an Automobile accident 

His most famous film is Nosferatu, which was featured earlier this month.

Films by German directors are an important part of post World War One German Culture, from the groundbreaking silent classics of the Weimar Republic to the movies of Leni Reisenthal in celebration of Nazi rule, beloved by Goebels, to modern Oscar winners, I am pleased to see German Literature Month XIII now welcomes posts on Films by German Directors

This is a post for German Literature Month XIII 

German Literature Month is hosted by Lizzy’s Literary Life

https://lizzysiddal2.wordpress.com/2023/09/22/announcing-german-literature-month-xiii/

Journey into the Night (Der Gang in die Nacht) - A 1921 German Silent Film Directed by F. W. Murnau - 1 Hour 9 minutes- His Oldest Surviving Film

available on YouTube 

In each of my posts each posts, hopefully ten, on F. W. Murnau I plan to share a documentary I found edifying 

A Post in Participation in German Literature Month XIII- November 2023

F.W. Murnau, born December 28, 1889, Bielefeld, Germany

Moved to California in 1926 - he made three silent films for Fox Studios before forming his own company 

—died March 11, 1931, Hollywood, California, - from injuries in an Automobile accident 

His most famous film is Nosferatu, which was featured earlier this month.

Films by German directors are an important part of post World War One German Culture, from the groundbreaking silent classics of the Weimar Republic to the movies of Leni Reisenthal in celebration of Nazi rule, beloved by Goebels, to modern Oscar winners, I am pleased to see German Literature Month XIII now welcomes posts on Films by German Directors

German Literature Month is hosted by Lizzy’s Literary Life

https://lizzysiddal2.wordpress.com/2023/09/22/announcing-german-literature-month-xiii/

F.W. Murnau's 1921 silent film Journey into the Night (German: Der Gang in die Nacht) is a captivating drama that delves into the complexities of love, betrayal, and redemption. The film follows Dr. Eigil Börne, a respectable physician engaged to the devoted Hélène. However, their tranquil life takes an unexpected turn when Börne encounters the captivating cabaret dancer Lily.

Mesmerized by Lily's allure, Börne breaks his engagement to Hélène and pursues a passionate relationship with Lily. Their union is initially filled with euphoria, but their contrasting personalities and Lily's reckless behavior soon lead to turmoil. Börne's finances crumble, forcing him to abandon his city life and seek refuge as a country doctor.

In the tranquil countryside, Börne encounters a blind painter, restoring his sight and rekindling his own sense of purpose. However, news of Hélène's deteriorating health due to heartbreak shatters Börne, causing him to confront the consequences of his choices.

Journey into the Night masterfully blends captivating visuals and poignant storytelling. Murnau's expressive use of shadows, light, and close-ups creates a haunting atmosphere, reflecting the characters' inner struggles and the film's exploration of themes like love, loss, and the pursuit of happiness.

The film's enduring legacy lies in its exploration of human nature's complexities, the consequences of our actions, and the possibility of redemption. It serves as a poignant reminder of the fragility of love and the enduring impact of our choices.

Journey into the Night is considered a seminal work of German Expressionist cinema, captivating audiences with its masterful storytelling and timeless themes. 

Mel u

 

The Last Laugh (German: Der letzte Mann,) is a 1924 German silent film directed by German director F. W. Murnau from a screenplay written by Carl Mayer. The film stars Emil Jannings and Maly Delschaft.

 

A very informative presentation on the early films of F. W. Murnau 

In each of my posts each  posts, hopefully ten, on F. W. Murnau I plan to share a documentary I found edifying 

A Post in Participation in German Literature Month XIII- November 2023

F.W. Murnau, (born December 28, 1889, Bielefeld, Germany

Moved to California in 1926 - he made three silent films for Fox Studios before forming his own company 

—died March 11, 1931, Hollywood, California, - from injuries in an Automobile accident 

His most famous film is Nosferatu, which was featured earlier this month.

Films by German directors are an important part of post World War One German Culture, from the groundbreaking silent classics of the Weimar Republic to the movies of Leni Reisenthal in celebration of Nazi rule, beloved by Goebels, to modern Oscar winners, I am pleased to see German Literature Month XIII now welcomes posts on Films by German Directors

German Literature Month is hosted by Lizzy’s Literary Life

https://lizzysiddal2.wordpress.com/2023/09/22/announcing-german-literature-month-xiii/

The Last Laugh is a poignant story of an aging hotel doorman who is demoted to a lowly lavatory attendant. The film stars Emil Jannings, who gives a masterful performance as the proud doorman who is stripped of his identity and dignity when he is forced to take on a menial job. 

Murnau's innovative use of cinematography and editing helps to convey the doorman's emotional turmoil. The film's use of shadows and close-ups create a sense of isolation and despair, while the rapid editing of scenes reflects the doorman's frantic attempts to maintain his composure. 

Despite its somber tone, The Last Laugh is ultimately a hopeful film. The doorman's resilience and compassion shine through, even in his darkest moments. And the film's ending, while somewhat ambiguous, suggests that there is always the possibility of redemption.

The Last Laugh is a classic of silent cinema and a must-see for anyone interested in the history of film

Mel u

The Grand Duke's Finances (Die Finanzen des Großherzogs) - A 1924 German Silent Film Directed by F. W. Murnau- 1 Hour 54 Minutes

 

There are a number of very good documentary videos on F. W. Murnau on YouTube.  The 16  minute presentation above details his groundbreaking cinematography 

In each subsequent posts, hopefully ten on F. W. Murnau I plan to share a documentary I found edifying 

A Post in Participation in German Literature Month XIII- November 2023

F.W. Murnau, (born December 28, 1889, Bielefeld, Germany

Moved to California in 1926 - he made three silent films for Fox Studios before forming his own company 

—died March 11, 1931, Hollywood, California, - from injuries in an Automobile accident 

His most famous film is Nosferatu, which was featured earlier this month.

Films by German directors are an important part of post World War One German Culture, from the groundbreaking silent classics of the Weimar Republic to the movies of Leni Reisenthal in celebration of Nazi rule, beloved by Goebels, to modern Oscar winners, I am pleased to see German Literature Month XIII now welcomes posts on Films by German Directors

German Literature Month is hosted by Lizzy’s Literary Life

https://lizzysiddal2.wordpress.com/2023/09/22/announcing-german-literature-month-xiii/

Today's Movie is Available on YouTube with English Subtitles 

Time is widing down on German Literature Month XIII. In terms of films I have decided to focus on the works of the great F. W. Murnau.

(There are a number of his works on YouTube.)

Murnau directed 21 films, 12 still survive.

"F W. Murnau not only exploited new filming techniques such as the use of negative exposure, stop-motion and low angle camera positions, but also made pioneering achievements in terms of film settings, choosing to film both in studios (Faust, The Last Laugh) and on location (Nosferatu, Sunrise). Along with G.W. Pabst, Robert Wiene and Fritz Lang, he established German expressionism as arguably the most significant movement of the silent film era. Working with the best cinematographers and set designers of his time, including Fritz Arno Wagner, Karl Freund, Karl Hoffmann, Walter Rohrig and Hermann Warm, Murnau crafted a body of work which penetrates deeply into the psychic world of his characters and constructs a remarkably distinct cinematic universe." From The Harvard Film Archives 

The film stars Harry Liedtke as the Grand Duke, a well-meaning but hapless ruler who is struggling to keep his country afloat despite its crippling debt. He is constantly pursued by his creditors, led by the menacing usurer Marcowitz, who is determined to collect on the Grand Duke's loans.

In a desperate attempt to save his country, the Grand Duke decides to marry the wealthy Russian Grand Duchess Olga. However, Olga is not interested in marrying the Grand Duke, and her brother, the Crown Prince of Russia, is vehemently opposed to the match.

The Grand Duke's hopes are further dashed when a businessman named Bekker offers him a large sum of money to exploit a sulfur mine on the island. The Grand Duke is torn between the financial benefits of the deal and his concern for the welfare of his subjects.

As the Grand Duke's financial problems mount, he finds himself surrounded by a host of eccentric and comical characters, including a scheming secretary, a lovestruck artist, and a pair of bumbling detectives.

Despite its serious subject matter, The Grand Duke's Finances is a lighthearted and entertaining film that is full of wit and charm. Murnau's direction is inventive and stylish, and the film's performances are all excellent.

Mel u

Meyer from Berlin - A 1919 Silent Film Directed by and Starring Ernst Lubitsch- 57 Minutes

available on YouTube with English Subtitles -

Films by German directors are an essential part of post World War One German Culture. From the groundbreaking silent classics of the Weimar Republic to the movies of Leni Reisenthal in celebration of Nazi rule, beloved by Goebels, to modern Oscar winners, I am pleased to see German Literature Month XIII now welcomes posts on Films by German Directors

German Literature Month is hosted by Lizzy’s Literary Life

https://lizzysiddal2.wordpress.com/2023/09/22/announcing-german-literature-month-xiii/

In this year's German Literature Month is now inviting contributions on writers from Germany writing in another language. I am taking the liberty to expand this to directors born in Germany who produced movies in English, such as Ernst Lubitsch.

Ernst Lubitsch 

Born: January 29, 1892, Berlin, Germany - produces several silent films

1922 Moves to Hollywood- Warner Pictures Signed him to a three year six picture contract

Died: November 30, 1947, Los Angeles, California, United States

Lubitsch directed two of my favourite movies, Ninotchka and To Be or Not to.

Lubitsch both directed and starred in Meyer in Berlin (Meyer aus Berlin).

It was part of the Sally series of films featuring Lubitsch as a sharp young Berliner of Jewish heritage. It was Lubitsch's penultimate film as an actor, after 1920 he devoted himself entirely to screenwriting and directing.

The film tells the story of Sally Meyer, a young Berliner who persuades his doctor to convince his wife that he is ill so that he can take a holiday in the Austrian Alps in order to pursue women. However, he mistakenly travels to the Bavarian Alps instead, and ends up staying in the same hotel as a beautiful woman named Frau Kitty. Meyer and Kitty flirt with each other, but Meyer is careful not to go too far, as he does not want to get caught by his wife.

Meanwhile, Meyer's wife, Martha, becomes suspicious of his absence and hires a detective to follow him. The detective discovers that Meyer is in the Bavarian Alps, and Martha travels there to confront him. However, Meyer is able to convince her that he is innocent, and the two of them reconcile.

Meyer from Berlin is a classic example of Lubitsch's early silent comedies. It is a witty and satirical film that explores the themes of marriage, infidelity, and social class. Lubitsch's direction is sharp and sophisticated, and the performances are excellent, especially from Lubitsch himself as Meyer.

The film is also notable for its beautiful cinematography and its use of location shooting. The Alps provide a stunning backdrop for the story.

Meyer from Berlin was a critical and commercial success upon its release, and it helped to establish Lubitsch as one of the leading filmmakers of his generation. The film is still considered to be one of the best silent comedies ever made.

Lubitsch's silent films are known for their sophistication, wit, and visual elegance. He was a master of visual storytelling, and his films are full of clever camerawork, editing, and mise-en-scène. His silent films also feature some of the greatest stars of the era, including Pola Negri, Emil Jannings, and Ossi Oswalda. I hope to post upon a few more of the silent films he made before he left Germany 

"Meyer, aka Sally, aka Pinkus, has become a complex comic character, something of a cross between Woody Allen (the utter helplessness in any environment but concrete) and Groucho Marx (the sexual aggressiveness, the insulting one-liners). Upbeat, effervescent, for all of his efforts at fomenting extramarital episodes, Meyer remains adamantly unconcerned if his passes don’t get him anywhere. “This is the women’s compartment,” he’s told when he gets on the train." From Ernst Lubitsch- Laughter in Paradise by Scott Eyman

People on Sunday (Menschen am Sonntag) is a 1930 German Silent Film

 People on Sunday (German: Menschen am Sonntag) is a 1930 German silent drama film directed by Robert Siodmak and Edgar G. Ulmer from a screenplay by Robert and Curt Siodmak. The film follows a group of residents of Berlin on a summer's day during the interwar period.

Hailed as a work of genius, it is a pivotal film in the development of German cinema and Hollywood. The film features the talents of Eugen Schüfftan (cinematography), Billy Wilder (story) and Fred Zinnemann (cinematography assistant).

This lightly scripted, loosely observational work  became a surprise hit. People on Sunday is notable for its portrayal of daily life in Berlin before Adolf Hitler became Chancellor and as an early work by writer/director Billy Wilder before he moved to the United States to escape from Hitler's Germany. The film is the directorial debut of the Siodmak Brothers. The film was co-produced by Moriz Seeler, founder of the Filmstudio 1929 production company and Seymour Nebenzal, cousin to the Siodmaks, whose father Heinrich put up the money. The film began a 30-year collaborative friendship between Nebenzal and Wilder.

The film is subtitled "a film without actors" and was filmed on Sundays in the summer of 1929. The actors were amateurs whose day jobs were those that they portrayed in the film—the opening titles inform the audience that these actors have all returned to their normal jobs by the time of the film's release in February 1930. They were part of a collective of young Berliners who wrote and produced the film on a shoestring. This lightly scripted, loosely observational work of New Objectivity became a surprise hit.

Mel u

Nosferatu A Symphony of Horror- A 1922 German Silent Film Directed by F. R. Murnau - 1 Hour 32 Minutes

 Available on YouTube 

Films by German directors are an essential part of post World War One German Culture. From the groundbreaking silent classics of the Weimer Republic to the movies of Leni Reisenthal in celebration of Nazi rule, beloved by Goebels, to modern Oscar winners, I am pleased to see German Literature Month XIII now welcomes posts on Films by German Directors

German Literature Month is hosted by Lizzy’s Literary Life

https://lizzysiddal2.wordpress.com/2023/09/22/announcing-german-literature-month-xiii/

Nosferatu, eine Symphonie des Grauens (Nosferatu: A Symphony of Horror), is a 1922 German Expressionist horror film directed by F. W. Murnau. It is an unauthorized adaptation of Bram Stoker's 1897 novel Dracula, with names and other details changed due to the studio's inability to obtain the rights to the novel. The film stars Max Schreck as Count Orlok, a vampire who preys on the wife of his estate agent (Gustav von Wangenheim) and brings the plague to their town.

Nosferatu is considered one of the most influential films in the history of cinema, and it has been praised for its groundbreaking cinematography, its use of special effects, and its chilling atmosphere. The film was also a commercial success, and it helped to establish the vampire genre in popular culture.

It was one of the first films to employ the Expressionist style of art that emphasizes subjective emotions and experiences, and it is often characterized by distorted figures, exaggerated shadows, and unnatural lighting. Nosferatu uses these techniques to create a sense of dread 

The film's use of special effects is groundbreaking. Murnau uses a number of innovative techniques to create the film's eerie atmosphere, including slow-motion, forced perspective, and double exposure. These techniques were new to cinema at the time, and they helped to create a sense of unease and dread that is still effective today

The Blue Angel - (Der blaue Engel) is a 1930 German directed by Joseph von Sternberg - Starring Marlana Dietrich -1 Hour 40 minutes

Available on YouTube with English Captions 

Films by German directors are an essential part of post World War One German Culture. From the groundbreaking silent classics of the Weimer Republic to the movies of Leni Reisenthal in celebration of Nazi rule, beloved by Goebels, to modern Oscar winners, I am pleased to see German Literature Month XIII now welcomes posts on Films by German Directors.

(YOUTUBE has numerous German films online, often with English Captions) 

 German Literature Month is hosted by Lizzy’s Literary Life

https://lizzysiddal2.wordpress.com/2023/09/22/announcing-german-literature-month-xiii/

The Blue Angel (German: Der blaue Engel) is a 1930 German musical comedy-drama film directed by Josef von Sternberg and starring Marlene Dietrich, Emil Jannings, and Kurt Gerron. Written by Carl Zuckmayer, Karl Vollmöller, and Robert Liebmann, with uncredited contributions by Sternberg, it is based on Heinrich Mann's 1905 novel Professor Unrat (Professor Filth) and set in an unspecified northern German port city. The Blue Angel presents the tragic transformation of a respectable professor into a cabaret clown and his descent into madness. The film was the first feature-length German sound film and brought Dietrich international fame.



The film tells the story of Immanuel Rath (Emil Jannings), a stern and uptight professor who teaches at a prestigious German school. When he discovers that some of his students are frequenting a local cabaret called The Blue Angel, he decides to investigate. At the Blue Angel, Rath is mesmerized by Lola Lola (Marlene Dietrich), a beautiful and seductive cabaret singer. He becomes obsessed with her and begins to neglect his teaching duties.


Rath's obsession with Lola Lola leads to his downfall. He resigns from his job, marries Lola Lola, and joins her cabaret act. However, Lola Lola soon grows tired of Rath and begins to cheat on him. Rath becomes increasingly humiliated and eventually descends into madness. He is eventually found dead in a gutter, having drunk himself to death.



The Blue Angel is a classic film that has been praised for its groundbreaking use of sound, its innovative cinematography, and its powerful performances. Dietrich's performance as Lola Lola is particularly iconic, and she is credited with creating the archetype of the femme fatale.


The film is also significant for its exploration of themes such as obsession, morality, and the dark side of human nature. It is a cautionary tale about the dangers of unchecked desire and the consequences of making bad choices.




The Blue Angel is considered to be one of the most important films of the German Expressionist movement. It has been influential on countless filmmakers, including Alfred Hitchcock, Billy Wilder, and Rainer Werner Fassbinder. The film is also a popular choice for film studies courses and is often shown in retrospectives of German cinema.

1930 - Academy Award for Best Foreign Language Film (nominated)
1931 - New York Film Critics Circle Award for Best Foreign Film (won)

The Blue Angel made Marlene Dietrich an international star. Her performance as Lola Lola was so captivating that she was quickly offered Hollywood contracts. She went on to become one of the most popular actresses of the 1930s and 1940s.


Overall, The Blue Angel is a landmark film that has had a lasting impact on cinema. It is a must-see for any fan of classic films or German Expressionism.

 

Triumph of the Will - A 1935 Propaganda Film Directed by Leni Reisenthal- 1 hour 32 Minutes

Americans, Japanese and English film makers all produced propaganda movies designed to create a sense of patriotism among their citizens.  

Available on Dailymotion.com 

Triumph of the Will is a 1935 German Nazi propaganda film directed, produced, edited and co-written by Leni Riefenstahl. Adolf Hitler commissioned the film and served as an unofficial executive producer; his name appears in the opening titles. It chronicles the 1934 Nazi Party Congress in Nuremberg, which was attended by more than 700,000 Nazi supporters. The film contains excerpts of speeches given by Nazi leaders at the Congress, including Hitler, Rudolf Hess and Julius Streicher, interspersed with footage of massed Sturmabteilung (SA) and Schutzstaffel (SS) troops and public reaction.

Triumph of the Will premiered on 28 March 1935 at the Berlin Ufa Palace Theater and was an instant success. Within two months the film had earned 815,000 Reichsmark (equivalent to 4 million 2021 euros), and Ufa considered it one of the three most profitable films of that year. Hitler praised the film as being an "incomparable glorification of the power and beauty of our Movement." For her efforts, Riefenstahl was rewarded with the German Film Prize (Deutscher Filmpreis), a gold medal at the 1935 Venice Biennale, and the Grand Prix at the 1937 World Exhibition in Paris.

Legacy: Triumph of the Will is considered to be one of the most influential propaganda films ever made. It has been studied by filmmakers and scholars alike, and its techniques have been imitated by other propagandists.

The Holocaust Encyclopedia has an excellent account of Riefenstahl career, why Hitler wanted her to produce films for the Nazi Party 

https://encyclopedia.ushmm.org/content/en/article/leni-riefenstahl

Leni Riefenstahl (Helene Bertha Amalie Riefenstahl, August 22, 1902 – September 8, 2003) was a German film director, producer, screenwriter, editor, photographer, and actress who rose to prominence in the 1930s. She is best known for her highly stylized propaganda films made for the Nazi Party. Riefenstahl's work was technically innovative and influenced filmmakers for decades. However, her association with the Nazis has led to her work being highly 

Riefenstahl was born in Berlin, Germany, into a wealthy middle-class family. She was a talented athlete and dancer, and she began taking acting lessons as a teenager. In the early 1920s, she appeared in several films and dance productions.

In 1924, Riefenstahl was inspired to take up mountaineering after seeing a poster for the film Mountain of Destiny. She quickly became an accomplished mountaineer, and she made several films about her experiences in the mountains.

In 1932, Riefenstahl made her directorial debut with the film The Blue Light. The film was a critical and commercial success, and it established Riefenstahl as one of the most important filmmakers of the 20th century 

In 1933, Adolf Hitler came to power in Germany. Riefenstahl was already a well-known figure in Germany, and Hitler was impressed by her work. He commissioned her to make a film about the Nazi Party's 1934 Nuremberg Rally. The resulting film, Triumph of the Will, was a masterpiece of propaganda. It used innovative cinematography and editing techniques to create a powerful and persuasive image of the Nazi Party.

Riefenstahl went on to make several more films for the Nazi Party, including Olympia, a documentary about the 1936 Olympic Games in Berlin. These films were all highly successful, and they helped to cement Riefenstahl's reputation as one of the most important filmmakers in the 

After World War II, Riefenstahl was denazified and banned from working in the film industry. She spent the next several decades working as a photographer and writer. She also continued to make films, but her work was never as successful as it had been in the 1930s.

Riefenstahl died in 2003 at the age of 101. She remains a controversial figure, and her work continues to be debated by scholars and filmmakers.

Riefenstahl was a complex and contradictory figure. She was a brilliant filmmaker who created some of the most iconic images of the 20th century. However, she was also a willing collaborator with the Nazi regime, and her work helped to spread Nazi propaganda.