The Films of G.W. Pabst: An Extraterritorial Cinema (Films in Print Series) 0813515343, 9780813515342

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b.W. P

Contents I'RI I'.V I ANI) A( KNOWII IhMI 1'1\

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"JTlS'JN 11/1 ＨＢｉｾｬｕＧＮ＠

' P-I I ｾＨｽｦＧｌ＠

X

IIf IN

., he I'fIIl>lema!l4: I'ab t All A utpur fJ ore4:led by History

1

ERIC REP-ITSCHLER

1. ｉＧ ｡ｴＡ｣ｲｮｾ＠

of ｻｊ Ｑ＾ｾＵ＠

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 Cinema ＮｾｦＧＨ＠ 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 ｾ＠ ｓｾ＠

l

Ｌｾ＠

8. Transparen! Duplicitiea: TM 771N11...

1_ KII_"

THOIIAS ELSAI!SS."

1\,,=,--,,-,

9. A SolidarityofRepi RUSSELL

1 ｾ＠ //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 ｣､Ｌｾ＠ 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 ｡ｮ､ｾｯｵｳＢＧｉｏ＼｢Ｉ＠ almost mucballdidllis , lntcmp..,ran., It remam, hard III I al !be d.irecIOC· OWl) tnumphs IlMiDOC IecaII h,,,ub,equenl fcund rtng. romprurm . anddefe t Be)oodtlw. Pabsllp! nIObe a filmmaker \\ ,th no ,'OO,"tl'Il1 ) Ie and no pnnJeged >eI ｬｦｾＮ＠ 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 ｦｾｯｴ･＠ film' and 1/ becomes Ie. bow '.l:-t tht? ,..-hallenge, :Ire In earl) :\0\cmberofI9.6. .,oumbeTof -boJ.m;and.:ntl gatbcrn.>.I ymp: IUrn. sponsoraI by !he ,.:rullruze the \\, r (>f G \\. Polb,t ｾ＠ Ge,eU"h ft fur Filmthc, ne. lla, .:.:omp,uuedb) anearl) ｰｫｬ･ｲ｣ｴｯｳｮｾｦ＠ Pab't', film, In the __ ｴｾｊ＠ inC> am -,hll.uzrnbc-rgplatz The blmd of ch _ \le\\ ing' \\ a, ｾ＠ 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 , _ .... ｾ｟＠ 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 Ｂｩｉｬｾ｟＠ invohed a ariety of difrea«* . . The dosing pancI mg .. We had broached die ｾ＠ ofu had u&g! sled .... _ other films. 1be lion ofbolb up and chided \IS of !he: ici IUIIe5

500_

'IS.

"'"'wuty

H. _'-.

ｵｮ･ｲｧｬｩ｢ｏｾＺｍＬ［＠

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 ･ｾｰｬｯｲ｡ｮ＠ of a penpatellc career ... It. appropnal... that an ｭｴ･｡ｾ＠ cast of thlllllg\ to rec lO Ider Pat., t. -1101.". from !he !he: \ Iume PpinlOllIln_1d rnam. u ma,.mJ I ra I 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() ＱＹｾ＠ panelal!he: .eryforC.-S."

2

"EFACE _Ined Weimar Cinema and, in Ihe pmcess. focused especially on Pa!>s!. More ｾＮ＠

I was pleased 10 learn Ihal Iwo films part,cularl) ravaged b} censo". and ｾ＠

d,stnbulon;. 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 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 ｾ＠ 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. construccrtbC5.

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 ｌＺ］ｾﾷ＠ 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 ｒｩｳｾ＠ of tM Motkm Gemtllll N_I (1916)'" Betll'een Fontane and Tucholsky: Literary Criticism and 1M Public Sp/IeIY ",1. , ,'Ial German,' ( 1983). ｈａｎｓＭｍｉｃｾｅｌ＠ BOCK is a film hislorian who lives in Hamburg, WestOea..., Ihe editor of Cinegraph: Lexikon zum ､ｾｕｬｳ｣ｨｰｲ｡ｩｧｴＡＢ＠ 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 ｄ･ｳｩｲｾＺ＠ 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 ｂｩｬ､ｾｲＢＺ＠ 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 ｕｮｩｾ＠ 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....､ｬｦｴｩｲｉｆ｢ｾ･Ｎ＠

ｾＺＡ［＠

ｾＮ＠ ｾ］ｉｭ＠

bisIUry and theory at the Johann Wolfgang von Main.1beauthorofmanystudiesdevotedtoGer. a latgtby investigation of early silent cinema. , . . . . . tile HocbscbuIe fUr Musilc und darslellende Kunst in adicIcs 011 Max Opbiils. Pabst. and film theory.

;

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ＺＢｾＱＵＮＧＹｃ＠

BiI •

•* ＭＺｾＮ｡ｷｲｩＧＢ＠

iii

..

His publications include articles on Pas-

·.ee Ptofessor of German at the University of Wisconsin. snwljc:s on CODlemporary East and West German Gc:nuaa film history. He is currently writing a social history of

UM • • • • IIICIude

well. _

film critic wbo lives in West Berlin. He is the editor of 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 hu nd y an /(o",nduurutl' menl II orld ftX hIll' /1 hI d frame an reflect"",.n Sltatt,lwM ｾ＠ 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 • ｊｬｉＺｲｨｾｐＧ＠ the IInc greal ｣Ｚｭｾ＠ of the film ouIsidc 50Yid Ru "a ｾｰｲｯ｣ｨ､Ｌ＠ lhough 10 an cnurely different manner. by Cart Dreyer. a.pIiB und ｒ･ｾ＠ (iJIf " •• ｉｾ＠ ｾ｡ｲｃｔ＠ Interrupted and Idcuackc4 by el.le. ultnllllCly beua)'cd Il)" rccmlrralJon Pa "ould r1C1Ier find f.rm footlDg or regaan hIS directorial a 5eI1I.nal filure In We..- C1Jt. hand after fir II aVI11 (,crmwy I He I LOn Ｎｾ＠ ClUJ "ho. unfonunateJy. conunuc4 maltn f.lm after 19 I Tbe maJOr lIlUda oldie dlfCClOr con 1932 "ark a. !he only eumple ... OI1hy of .IIf • .,U' ､ｬｾｵ＠ iOn ｡ｾＮｦＡｨ･＠ ubI" &>Ily (DC'ier a IJIhIc one at IhaH we auoclllC with die Ig"" r ｾｐ｡ｨ＠ 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 ｾ･＠ reI I lugll" In a lal,lIm "rn He"" m"I'ld "'"

all then: a director w,thOUI LOnva lion. meonc bound by ｃＺｩ［ｾ＠ texl Had he died afler compldlD Kamt'Tad chDft he -W, _tit 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 ｾｬｲ｡･＠ an .Ie th

In

ublcrr. ｷｾ＠ one: o.eaJrc/w" KMt,rada Iaa t and M ThrlAJ tT nD ..... ｾ＠ Slaan Iaa Drumu - Ripper and M... the Kn I lope f ･ｾｬｲ｡ｉｭｯ＠ aI .. Id COler film h. a

n the formal ape "I Pab I film .. well I borde: r Illuid d.lm whu wnlltlully cUIIIIf UlJng a Ie: !WII rr nd p /1.11 dcmarrallUn . un.euhn. ｾ＠ on enuon I d !hal n Iran 1I.0n unnotlLeable and af die pn "egc:d a . t n I,on ,n JlI:r..ｵｾ｣Ｚ＠ The knife lierve a> die

liRa down

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- ... 8IICI

Ｚ Ｚｾ＠

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th locI I, ur a a con plCUOU and contJlIII wor1 a mouf an ob .on. an objCdlVC: 1CIItJ5I ｾ＠ 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 ｩ､｣Ｚｮｵｾﾷｯ＠ Blade er IlOk and create new bOua6ｾ＠ ｾ＠ and confound the If II I finan. 1M! PrbI' rrt of a Soul Inrroduc both pmps mID die Iijl .,

IIUIId ntc:rnlc:d

*.' '-IIC

THE UNCERTAINTY PRINCIPLE Alone lime an ambasudor for Iiba . . Ｎｵｾ･ｮｬ

ｬ ｹ＠

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'" ｾ＠ fiflle " With die I1Ie eI me ... ure Pabit now ｾ＠ mall mcanderialllld Ilia 0 • .rna of the: alii'''' _ _ "1I_JIIi IhlO peak throu&h appfOiKh ｉｾ＠ 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, ｡ｵｬＢｃｉＺｮｾＮ［ＧＡｲ］＠ I.. I d I ｢ｬｾ｡ｮ＠ 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,.. ••'_

2•

I Th harshne" 01 reccnl reckonings ex tcnds n II I ' hon y to Ih POst· Welm t had lrou bl cd I'.. ｨｾｴ＠ ', ('onICmporunc, and cause(1 ato ulPut " er t"h I Ir rh tlerce taklll!! lit stock excn, "rctruspeCtlv f i e c hamPlo ns to A e orce 3S W II 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 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. 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 " ｯｾ＠ I be ng tOward , - ｾ＠ Ｌｾｰｮ＠ 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 ｾ＠ sexuahly that excludes t>, m eals wHh secrets of his soul. II alS(1 ,uggests th.: h,s" Ife t:";.l\ have "ne, ｾｦ＠ on the hIlltop and lifts therr chIld .. e' ｾｭ･｢ＢＧ＠ herlo" n · As he reJoms h,s spouse ." . , r an ear ler fanta" f t a Ｂｾｴ･＠ creen t-acld Th' "- Image 0 logelherness and tenillt\ Ｎｬｾ｡ｭ＠ that dlsturbmg l.lcWr bas depaned The prop, t> re IS no trace now of the cousin; ｾｘｉｓ＠ m a no-place , a utopia of wishful [hmkmg. a dreamSlape Once ag:o ･ｲｴｾ＠ and here the film ends "-l . ' , am DOtmg gIves way to precarious ground ﾷｾＮＱ｡ｬＬＺｵ＠

.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 ｾ＠ m\lahzed hIS book' " W'lh whal moving If non ense "Ith the be.t of ｾ［＠ ha ･ｮ､ｾＬｲ［Ｇｦ＠ tn order 10 fabn cale yel another bil affirmall\e dvnanllcs of Th_ , __ .• ｾ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 ｡ＺＮｮｧｵｾ＠ erstudlopressurelofulfillBabelsberg's Amencan 't\le' ｄ｡ｶｬ､Ｇ ｂ ｡ｴｨｲｩｾｫ＠ rem e a 1m about Sovlel expenence, but in the II tnherentl\ contradlcto') Prolt"Ct ｾ｡ｭｳ＠ sensUl\e to Ihe film's ma ny determinants. 109 ､ｬ ｳ｣ｯｾ＠ 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 ｣ｯｵｲｳＧ･ｮｾｨ＠ or a stud,o hardly sympathetic to his of monlage and di\ ergenl approaches to ｴ ｨＺｬｲ･ｭｾｵｶ､＠ 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 ｨｾ ｬ ｯ｡ｮ＠ ｡ｾｓｬｨ･ ｬ ｣ｳ＠ workmg tn opposHion to century hfe ," Pabst empo"ers Jeanne 's gaze ｡ｮ ｾＱ＠ 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 ｾｦｩｸ･ｳＢ＠ on a pres Ion o f eXlralemlon'al I'Iy. a vana"

1=:

0",

_115

h

I'S cine ma o f life in Ihe el ; ewhere : her perspective freely dispenses I'

on pausbsacces ' (h fl hb k d ' , lme. .. to the past t ree as ac s ) an dlsposmg over the future ([wo

liOn,

granllng 'ard,)" She admlm slers sto ry- and yet .. he embodies a force whose personal IlJshfo"'mi ittateS aga msl hi slo ry at large , In a manner similar to the epilogue of \"ohllon if a 50111, he r happmess comes at Ihe cost of the film 's ultimate retreat from Sl'crets ｬｾ＠ of social reality and hi slorical process , a private triumph in a s""- ,,__. Ihe wor . d' "'-.. ｾｵＺ［ｲ Ｇ＠ 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 sovere Ignty 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: ｾｉｮ＠ her most desirous 1br:re is Blollle,,_ fm. (and dIsruptive) stale. Lulu is oU/side oldie IfIiK ｴＡｉｾＮ＠ 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. ｳｵ｢ｪ｣ｴｾ＠ 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 ｾ＠ .... : capllvate, and scintillate; in the end, sbe-and ｾ＠ ｯｴ｢｣Ｚｲｾ＠ mtlle Ii Im _ .. conslitutes a danger which must be systemaIicallyeradicated.1.IIIIl BId.. - .. ern"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. ｾ＠ 811 I.......... WeImar Gennany.c.-naserwdlOlISlIiSlin patriarchy. parricipdill m a Jar&a' ｰｲｯｾ＠ _iliA ..... This, in SchIilpnIIIiII'I ｣Ｚｊｴｾ＠ 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:.... ....ｾ＠ ｾ｡ｰｊｏ｣Ｂ＠ 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 ｷｾｯｬ･［＠ just as she ｯｶｾＡ｢･＠ 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(

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..:' rcn!"') a cun,'u, slalUs and eccentnc P')SIlIOn a, pure surlace. 'ho w value . ｉｃｊＧｾ＠ ,n and "rslUre whIch control Ihe naITaIJ\'r and vel become Ihe ｵｨｬｭ｡ ｾ＠ ＧＩｾＢ＠ . ＢＬｾ＠ ｾ＠ "nd ｾ＠ ' . ''',ecI, of "n 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 ｡ｾ＠ 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

Pabst's premIer cad , Khallblev (Flltz Ra sp). In a decelv, ngly Ｌ［ ｵ ｢､ ｵ ｴｧ Gabriele (BrigJlte Helm) In The Love of Jeanne Ney. Photo cou .esyo

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 WeImar 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 h s, 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

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male bond , ' . I k I' Ilnrfront and can. as Geisler says. be seen Kameradscllll/t contains mani In h" ｾ＠ Ｇｏｉｾｧ＠ agonislic struggle belween t"o boys overcome by lI'estfront. The dOSing as a continual ion of the earher h nl. I Ｂｰ･ＧｬＬｯｮｾ＠ heopp" . . . b uI a' PaVe r marbles reassens as puen!cl . celebrale, Intemauonal worker sohdantyI' lh' )ment IS undermined by a scene whIch sequence of KlIllleraJ.lcllll/r. pea mnees deceive. The JubJiaHon °be " m, Fran .; and GermanY-Ihe -Fronliere ' d border ｾｴ｜Ｇｃ･ｮ＠ l;... ' . reinslales Ihe undergroun h I r 'nder 1n0peraHve. The old arrangement IS put back 19 19 " Ihe narraUve had "jlUj! ,I ｾＧｫ＠ on a ､ｯ｣ｵｭｾｮｴ＠ passes from ｯｮｾ＠ side of the barriIn place as gos ernmenl 01 Ina' l • d" I For Russell Berman. this i no! just ｾ＠ . • ｦ｡ｕ｜Ｇ｣Ｎｾｳ＠ sIgn an stamp 1 . . ｾＮ＠ 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 ＮｾｧＬ＠ Th' worker.; 0 t " n l , the. truggle against management or ptllitical oppression. but ra r In a

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-, po.. e" 'leneath the ･｡ｮ｢Ｇｾ＠ urface and to ｾｭｳ＠ gr.>Unded 10 a conspicuous exclu. :1.::rJcn ｾＢ＠ e -braL.e of Jne's hke ". ｾ＠ decIdedly homo. - Kamera.;. -I" ｾ＠ a h: nc.Jl document provlde< 10 retrospect an a ＡｬＮＢｾ＠ } pre gmg the ｾＬＮＳｰｓ･＠ of n[erna!Jonahs[ Ideals ＮｸＱｬｲｦ･Ｌ［ｾ＠ ;; "ould uccumb 10 the f,}£t:es of m: ghls ｭｾＩ＠ "the libIdinal economy" of mstru. as -!em zed by the prole-...:::r•.:l I any: ng prevatls, illS repres. and "' Ipline.·: lX""ers cf !XhnDe "lth a "ogle pro_ Til Thraoenn. Opera ･ｾ＠ > ｾ＠ .ng I,.,c language \m,ons WIth dIffer. ard anan! ｲｾｵＺＮｊ＠ ｛ｾ＠ C'lLC\ g....- [0 VOILe U p'Clons!ha[ Pal> [, hke peer .. escaplTlJ 10[0 a Ｂｏｾ＠ . of elaborate 5(' , high productIOn val. il1ld an effc;:' IThomas El."" =r 1:_ ｾｲ｣Ｚ＠ d ho.... e mlgh[ come !O ,Jtl U or. Whde ｣ｯｮｳ･ｲｶＮｬＡ｜ｾ＠ and Da[lOnallst !>Cn J",i:r,es cxeILlsed a np )fJ IJ m production IT; the Germany ')f the earl) thllfle . one found fewer

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(hat ｲ･ｰｬｩ｣｡ｴｾ＠ 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 ｉｮｶｯｬ･ｾ＠ an ovenJctcrmmcu ｲ･ｧ｣ｾ｜ｬｯｮＮ＠ 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 whose man, males, a ｴｲ｡ｊ･｣ｾｯｹ＠ 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ｾｊ＠ 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 natilIowing the tablesu, we are illbC....., . 10 Krauss). whom the title identifies in DO _liii0 Street." After this: ｾ･＠ double focus of the _iJIiw taposition of two dlsllnct cllll apartment, where the Lechner family liVCI, tional scene from nineteenth-ceacury wash board, the father hobbles infO the physically threatens his daughter Maria There is then a cut to the first-Ooor II(MlIIiiiU9 ....... at a table are Grete, her young sistec, stead of meat, the father's expression Despite the pathos surrounding this and dramatic intensity: brightly lit and contrast to the shadowy and below. "The fundamental us to the fact that further analyBia and their presentation. "II ized conOicts and violent series of shots, for followed by However, since mode

has ceeds 10 While the (OulSide 1IJe.j1i(i IIIII11Itivc

",TRICI PITRO nd alth he urges Grete to go to Frau Greifer'l 10 buy I .... his newfou : am ｾｦ＠ the local brothel, entices Grete to buy an A.- ｾｉｦ･ｲＬ＠ IheWhem Grete shows off her new purchase al work Ihe nexl, -on credll. n · .. f shos, t· h b he ...IIsherrohisoffice.lnarapldseneso ･ｧｾ＠ s rand bois agam ca free fi his grip. With nghteous anger, she resigns. He ｉｏｾＱ＠ gles 10the break to the entire slaff Ihat Grete is fired, ince he down Slalrs ｡ｮ､ｲｯｾｵ｣･ｳ＠ pennI! • whore in his office. These scenes offer a vivid demonstralion of how The Joyless Strrrt .I/ow, " 1 ed knowledge Ihal Ihe characters do nol have; we know that raror pnVI . . conlmua . II yo bsc ured or mliscDIII. VI!1UOUS bUIegwe musl witness how her vU1ue IS The remainder of the narralive Iherefore works 10 c1anfy and 10 ｡ｳｾｮ＠ Grete', identity, yet the complex Sb1lClUring of ｲ｣ｯｧｮｬｴｾ＠ and ｭｬｳｲ･｣ｾｧｯｮ＠ ｰ･ｬＧｵＱｾ＠ te ded 10 include a number of characlers whose mlereslS mltlal/y do not Ｚｭｾｩ､･Ｎ＠ When Grete learns that her ｦ｡ｴｨ･ｲｾｳ＠ gamble O? the stock ｾ＠ baa for example, she lies to him in order to alleViate hiS anxiety. ｾｨ･＠ remmds still has a job and then suggests that they rent out a room In the aplutn-.t.. Davy, American Red Cross worker, agrees to take the .room in the ｒｶｾ］Ｚ＠ the threat of abject poveny seems avened. He gives her sixty dol/an, v immediately payout on her father's overdrawn account, but the promiae paymenl5, as well as Davy's presence in the house, alleviates Grete's BPlII'IIIIi about financial and family matters . Grete's father's sense of inadequacy. becomes heightened with another man in the house. And when one III:e1IICI Gme's sister of stealing, the father's b8l'Cly cOlnlnJI/edjC:a!(,us:yau.. onIen Davy out of the house. Grete discovers that her sister is ｩｮ､ｬｾ＠ ｧｵｾＱｉｴＧＴ＠ but it is 100 late: Davy has gathered his things and her father has collapsed 1tIICk. Fmm thil point on, Grete's innocence is made even more apparent to lba I pnICiaeIy becaUIC Gt-e!e remains unaw8I'C of the threat to her vinue. Wllm I_ iIIDeu, Gme is left with DO cboice but to seek help from Frau an,ifcr•. ONi!er'I8Ugges!ion, she agrees to meet a wealthy man, who turns _.••••_ .._.... . ., DOW cftucd in his SlIIIday best. The scene of their meeting i's, pn'SClJtecllsi elliptical fashion, 10 thai the spectator is allOwed to experience the slow lime and tense exchange of glances which render the seduction imlJXllIfIIj o &:raplalel herdiaappointment that things did not work out and invileJlQI •-_binbday" pany, wber'C JII08jIec:Is might be beller. While Frau Greifer goca r, wbicb will inaureGt-e!e', prelCnce at the party, a manservatJl aPl)l'OlICllleli of Frau Greifer's generosity. But Grete accepII of ｾ＠ qpIOIa the manservant's Wamings. ｾ＠ party, the play of recognilion and milll'C(:ogniliil ,*1'_ -. . at ＺＡＮｾ＠ DlOII theatrical expression. Grete arrivea .. I - C room. behind a stage, where she is asked to and ｾ＠ and ｾｳｩｮｧＬ＠ relayed from nr.."",'.. . ·.There IS a cut to an audience mtheII.... ,,__ _ by a follOWed -.....,. Frau Greifer'l a::;n, and fOR:el her to wear I receivea a letter from I ... - ...1CCOunt. He 0I1CIG1eaJ, ... - -1liiy be ' 010___ ::-: __ ....- ....ｾＮＺＭ＠ Wilb St

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Grete (Greta Garbo) and Davy (Einar Hanlon). the ,CCIIr'*' • at Ihe close at The Joyless Street: ｉｨ･ａｭｮ｣｡Ｚｾ］＠ be an enactment of the Dawes Plan. Photo COUIteIy

ｰｾｉｩｃ｢Ｓ｡＠

rains Frau Greifer has IIIIJIOUIII:CI the ..... dience anticipatioo reacbeddill I fever the ｾｲｦｯｭ｡ｮ｣･＠ that follows iI not afact, see pan of later) but raIMr Ibu,r*t reward of her vinue. Dressed in the mreaIlDa PlIo triples her I .lIbmJlM . , . identify him Grete through backstage contempt, innocent, he ani • yet: on his way out, menl. Sbowina Davy the ends with all du'II _ the room where IitI aIoae .. coal, and die ... and ｴ｢･ｉｾＱｊＧＡ＠ followa:1 In In

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• . . . .om, where she wn1es a Jeaerto • •.., hope for the future. She loob at a willllIIl elllIChIe: an imIIF of Eaoa's - . ofbeepassioo. Maria's may and implores bee to blD'r)' to die "ill to leave, bee IIIOIber disJlaoeJed the doorway. Situaled prccllrioiillllJ, the ipIIbidJt, the mo«ber is fiamDd by llerbddnside. lbisimageofMaJu.... aspiI'IIIioos for escape from ..... ,c:QI . . . apnaJly clear wbeo we are iDtroduced to sbows him to ＧＺ］ｉ･ｳ［Ｎｮｩｺｲ｣｡ｯ､ｾｓＱｬＩ＠

1IIIIII1¥m1llllllFS to meet her at to,...,.,.u., that Maria bas _0 Cl!1eI • F , doc •• ed. • . . . . . ." .."lII sene to ongg It de MaL beaelf for £p. Soon after the be........ her friead IIIat II all: R _ lie . . . ., IIer father. The friead jnj d, the ｾｩｄ＠ Ibis way. AlthoUgh die iaiIiaI hesitation, from the be ........'s .aa1li·;'OOllll to the

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AIdIough the censors do not expl ' 'II

ICI Y re,erlo The Joyless Street as a and . monstrate theIr falmhanly wilh melodrama 's ｾ］Ｚ＠ tis recourse to theconventional .. moral recipe." Quite demorallzmg for the ｾ＠ al . "t cut)!hatthefilms' dete " , em eVlewerandcontend VJewcn to emulate rmmlstlC attllude toward social pnJb'1IIII 4id the hehavlOr on the screen DOt rewJke the entire film h . cW"lIlding their dec" ' owever. and therefore much ,. 1Sion to release a . ed . f P""tion of the Control BOard .. th revl s . V:rsIOD o. ifit can be ..｟ｾ Ｎ＠ ey ｾｸｰｬ｡ｊｮＮ＠ a film d _ _ of' -""'mlned With fl\F.rcalChingjprolrl -' II Worsening the :' " PoiuIing moral feelings out that much of The brutaI effect .. the Joyless Street the f,-•• -· · censors maintain dull lII.uII ..... NQC vIeWer' ItUDe the fallen ssympathy but it ww. ＢＺｾ｡ｮ､＠ women ." Grete Ru• •

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CenaorshlPandtheFraIIIs.,wI'l1ll • • 10 "fIer incontestable proof of the film'l moral value. theCClIlOi 1III:Opize. . Ｚ･ ＬＢ［ｾＺＧ･＠ viewer may ｾｹｭｰ｡ｴｨｩｺ･＠ with Maria'II!oty and: they note,"MIlia "•• ,. ,table character. In order to ｡｣ｾｵｮｴ＠ Ｎｦｾ＠ the multiple IJI8CCI for ｩ､･｡ｬｦｴｾ＠ 1". all"rded by the film and .to ､･ｦｾ＠ theIr ､･｣ｴｾｬｯｮ＠ to release a reviled venioaofll, die ccn'"'' provide a readmg whIch emphasizes how all the female c1aiCfal . . b oughl to depravity out of their abundance of love: Grete out of love for ber,.... ｾ｡ｲｩ＠ out of her love for Egon. ｾｮ､＠ Maria's .friend out of love forber I!arViJII cbiId' While the censors fall to menlton that Mana and her friend act as much OUI of ...... a' Ihey do out of love, the specific amendments they make to the film suJlPll_the representation ,of Ｌｾｨｩｳ＠ anger lurked behind their concerns W!th female 'P"'""'OII "over-idenllfymg WIth the film. In fact. of the IICCIICS they revised. twodcahpeci8cally with the representation and effects of female aggrelsion: the scene whae Maria strangles the millionaire and the shot of the butcher's bloody face . With ｾ＠ rcri: ,ions , the censors imply that Grete's obvious virtue will offset Maria's "ul'lllblemoral character. And yet, what emerges from the contradictory mesllges oflban. port is the lingering suspicion that female spectators would identify witb boda femIIe protagonists. The censors' attempt to contain some of the more obvious -ces= of 1M lfliiStreet may shed light on the reasons for the dilfcrcld _ _ of the film elllation today. 13 Although the censors did not call for any • J.V- ID tbe . . . II which Maria strangles Lia Leid. this scene was reeditailD the AmericaD.ea 1=" the fi 1m and the effect of the reediting is to stabilize .. the German version. the strangulation scene oc:cun __ dJc after Maria has prostituted benclfto the American version, by contralt, the IIrIapIIIiaa film and is relayed in a ft8lbbackwbea the German version thua of desire and repression, the AnM' order to obfuscate the ｾＺＮ＠ The existence of two difference between German version inwardness and plausible. it is crucial lit Joyless Street with the American and the CJo;ijIG veal the marks of film completely the types of melodrama. Rtr....1IIIIl'It in the this triumpb concludes wtlll and Street. in and

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'*

of !he 1920s-from BackstairslHintenrepI" (LeOPold -Datiny Dermiide Tod (Fritz Lang, 1921) to Tragedy of the ［Ｚｾ］＠ , . . (8l1III0 RaM, 1927)-indicates that the Contours of femaJ; "'o!lel:li1ll *'ft were markedly different from those typiCally associated with !he • Y' !lIlT, We should recall that Kracauer draws attention to Ｂｾ［Ｚ＠ Ibc motif of male regression-to establish the central ｯ｢ｳ･ｾｮ＠ of I11aq lin:a in Weimar. As Kracauer suggests, the desire to return to the IIlIItcntaI IC\Ie8Jed m!he gesture of Ihe male figure resting his head on the woman's lip, IDmIIic of an "instinctive reluctance to allempt emancipation" which be be Ma typical German attitude." In direct conlrastto this assessment dUlinction between male and female subjectivity in the I 920s, I ｨ｡ｾ･ｗｩ｣｢Ｎ＠ The Joyless Street compels us 10 acknowledge a more complex notion lIOn," since !he existence of a patriarchal power structure rendered the ICbellion or submis ion highly problematic for women, and ｮ･Ｎ｣ｳｾｩｬｹ＠ ,di8li1 IlIIIUIt have been for men. The Joyless Strut. in other words, invites us barb IIIOIber spectaIor and.1 different subject for the cinema that inspired 4i'CUSS1OO about ldeoufication, natJonalldentity, and desire.

ANN.

ｾ＠

III

I.

Unheimlich Maneuver between psychoanalysis and the Cinema: Secrets of a Soul (1926) "\1a ... s ,ulture is p\ychoanaJy5il in revenc."

. . ncident birthdates of psychoanaly.u and !he cinema have !requeadybeea. 'rhccOl . !"_M ...... . 'J', "no accident. .. Freud's thcory 0 f'!'u,", UIICODICiOUI, lID ICIeIIee . . .V I_ chrate a. tlr.-. . - - t : of ... v_ . . ' che (diRflIpl1W:1S); sian (Zwangsimpuls); aud dream interpretation. In his cia. . . lions and admits:

lation wbm ._. . film ponrayaLlO

N/CHT ｆｒｉＺｕｄＧｌｏｊｾＱ＠ the first II) ｡ｴｉＡｆｾ＠ was the first

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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 ｡ｮｬｹｳｴＲｾ＠ in the film: an r ｉｾ＠

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An Theatre, Pavel Pavlov: 2h Pabst's assistant director, ｍＧＺ］ｾｃ＠ ｾ＠ IbI from Sachs on psychoanalysIs so that he could tutor Pavlov 27 Th rkin, took In die oviet ｕｮｩｾｭＬ＠ Vscvold Pudovkin was at work o.n a film ｴｨｾ＠ ｡ｬｳｯｾＺｮ･ｙｲＬ＠ straightforward cmematlC appropnatlOn of Psychological theOries. Yet ｐｵｾＮ＠ 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 ｓｴｵ､Ｚｾ＠ origins of a knife phobia and lis treatment through analysIs. Pabst's Own relatiOll knives also seems to demand somc ｾｮ｡ｬｹｳＮ＠ Instead of ｾ＠ phobia of knives, .,.: seems to have had an obseSSive fixallon on th.em, a genume Messerzwang. ｾ＠ 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: ｾＺ＠ 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.

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Oem'n ｰｲｩｮｴｾ＠

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 ｾ＠

II1II.

exits his room and llllten and IS rebuffed by !he IlblIViDm 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, ｣ｯｮｳｵｭ｡ｴ･､ｾＮ＠ 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 ｡ｾ＠ 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" ､｣ｶｩｬＧｴＮｾ＠ and It was, jf not Fn:ud\ lirsl. ('crtamly his last unht'imliended 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 ｾｴ＠ 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 ｦｲ｡ｾ＠ Andre) for the murder). Thus \\ IIh the mcrea'mg preemmence 01 moral ,rruggle and love srol), Jeanne" conillcr wllh Khahble, .become, ｲｨｾ＠ 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 ｳｨｾｴ･ｲＬ＠ 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 ＢＧｬｉ･ｏｦｮｴｩｯｨｲ､ｾ＠ d' ore cntlcal attitude to］ｴｪＬＮ［ＺｩＸＱｾ＠ situations in it ･ｾｮｧ＠ the. plot of rny novel written in I bar directly h' en Wntmg it I not only drew my .... _ . dri Irn (which at the f I tura1J -T _.'" PPed sentiment "1" Irne, na y -=::::Md:;Bentirnenlaiity its . of Dk:tr I above. Here too IiCIDernatiC Vanant in ' , We ndtbe

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Andrey and Jeanne: a love allalf that wil I. In the end take leave from hlStOtY and Ihe world at large Photo courtesy of StlftUng Deutsche Kinemalhek.

D. W. Griffith and in ａｭ･ｾ｣｡ｮ＠

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ｾ｣｢＠

.

ｾＮＭｮｉｩｶ･ｐｹ］ＺＧ＠ ］ＢＱｾＮ［＠ rae:

humanism"of at ｭ･ｬｯ､ｲ｡ｾ＠ the level of ｾ､＠ :........ dominance stylistIcally IS byiqM ｾ＠ cepr of Griffith, as a pnmanly parallel ｾ＠ •.WIIII:S copv of his dualistic picture of the world, nllMUJlgmblo J '1". • "'19 towards some hypothetical 'recoDCIIBbOiI, imponant for our present ｰｾ＠ !s !be edeiIllD, 7 Nn is also ultimately DickenSian ID Its sulILgy • i SOCIOlogical portraits or its documentary ｾＬ＠ TIle _ conrinuiry editing, occasional.lapses Ｎｾｬ｢ｳｴ｡ｮ､ｩＡＬ＠ 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

*.

.

of.M .

It ......7

c

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. ｉｭｾｮ･､ｩｬｦｹ＠ 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" ｾｗｉ＠ iaaotar aChe dec:laive momenl /IIIrIy coven !he lleld of the IIId • ............ 11 die puff of'mob becw..,

• L:.r PIIIIIIorrz.

""1IIaI

If,.,. .....

'** '**

ＢＺｾＡ］＠

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 ｾＺ］ＪＮＬ＠ lI11e 01 h"",,,,ex ual, .. and the as"collective lUll" which II

.m

lie IChhlimli,

.. ,

10......

T

:

::=...

ｲＬＢ､ｾ｜＠

ＢｾＩＺ､｡ｲ［･Ｎ＠

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,

_

Ih""IIe . (ierlJlany. c:xp,,"ure to the flesh became ｾ＠ ｾ＠ 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 ｾ＠ ｾ＠ ""I I" lI·de,elveu e'Iy , .. lIIpcn.a. t-., lor the I'",sel elfeclCd by modem IZIIliOn NUl., flirt out the ｮ･｣ｳｾ｡ｲｹ＠ . period' of ibIS eynicaIIG • • '_11 wlture is Ihe "essen.. al fouodl.n, _ .... ,..... 1Iiff,.,w.. . ... a cymcalltrUl:lUre ......... • .._ _ _._ _ donllnating dimension. ＠ ｟ ｾ Ｌ Ib !be ＠ ］ Ｚ Ｌ Ａ Ｎ ｾ ｟ cxhau.ted form) and which provo-. UI WI -...hetter understand Weimar Oennany.' SelIuaI c:ymn.. lel.am as hore.

ｊｵｲｩｬＱｾ･｣ｉＡｯｮＺｓＵ＠

-W" .WillI !he lendenc:y of Weim. aoc:iely in . ._ ｾＺ＠ Illy in relation 10 lepl (or moral, juril 1lC1ion '1\ evince I(1IClnllion With ＮｬｃｉＺｕｾ｡［＠ Ibroup !he ellplorllion of p

J

but Ihc defeal of World analysis u the 1,'IImn,• • which i8 ｴｨｬ･Ｚｮｾ＠ ｾＺ［］＠ ideals and II: What il the place cynicilm whole tuDlldll inllead, a Ｑｨ｡ｾ］ＺＧ［＠ ICioulllOl.? T

problemado velopllllllt

n" """.111 :..ｾＮ］［＠

..

.ARY ANN DOANE

t .... as Pandora' s ｾｯｸ＠ puts into. play the. signifiers of sexual Iran- . androgyny. lesbianism. proslllUllon_1I partakes of the 1f c,wu Ism of the Weimar period. The .film .erects no counter-valuesｾ＠ wIJicII have been lost and Its closure, In thiS respect. i uncertain ｾ＠

｣Ｑｩｭ｡ｴ･ｾ［ｦＧｙｯｫｉＺﾧ

IIoIIowness or emptiness. It is not Weimar. Swprising that,would in the have IICSS and openness characterizing Pabst

ｾ＠

recourse

• soun:e. Pandora's Box is an adaptation of two plays by Frank SbtUte the Lulu cycle-Eanh-spirit Ｈｄｾｲ＠ ｅｲ､ｧｾｩｳｴＮ＠ 1895) and Pandora'

IJMcIunkrPandora.I9(4).lnfluencedby

ietzsche.opposes, ｮ･ｾｩｫ＠ the Tuaregs, Tanit is an IntermedIary. a daemon. She observes how the tribesmen take Saint-Avit from the sunny peaks Intoftheeddark dePhths . later leadmg hIm out f of this shadowy realm, Her function IS that 0 m, luhm: She fiol,ters commulmcalloln between the protagonists as well as makIng cenam t at tern story IS u tlmate y assed on to the spectator In the CInema, She not only ensures narrallve COnllnUIty. ;he embodies it. Here, 100. she resembles the Tuaregs,for they serve the ,ame function In the regime of the gaze, Shrouded m theIr robes, In contact WIth the world only h gh an eye-slit. they can gaze WIthout being looked at, As pure gaze they nse ｾｲＺ＠ the space of the fiction into that orthe enunciation, reduced to the status of standins for the gaze of the spectators. just as Tamt acts as a dramallzatIOn and mcarnatlOn t ' e authority These discurSIve mstances remaIn fullv aellve and engaged m o f narra I v , " h' h . though unseen The the diegetic action, sources of narrative contmUlty w IC are. " ' wa final two shots in this fragment are revealing: the camera demonstrallvely ｴｾｳ＠ a y from the action and focuses .on a ｳｨ｡､ｯｾｹ＠ figure veiled ｢･ｨＺｾｴｕｉ＠ ｾ［＠ lｾＡ＠

Iik:

ｷｬＺｴｾ［･ｩ＠

Ｚｾｨ［＠

with the entirfe hlmage , reiterates the play of light destructIon 0 t e space 0 . I stressed an approach more contoo. resenee than with ones of story and darkness in the second fragment. ｾ･ｲＬ＠ rather then reprecerned with questions of dtscourse, an Ｇｳｾ｣ＺｮｅｉＮｓｬ･ＯｵｧＩ＠ logic and narrattve functton, stressrng dl f!e Primal Scene fragment demonstrate a ney a force bound in the abstract sentation (Darslel/ung). The mne shots 0 , ｾｳ･ｴ｡ｩｯｮ｣ｬｧＮ＠ The dominant symbolic dimension at work as ｡ＮｳｴｲｵｾｷＺｮｧ＠ order of discourse and not based pnmanld.n a I ed upsetting our notions of the relacodes of the ｣ｩｮ･ｾ｡＠ are ｵｮ､･ｾｲＺ＠ spectacles. between filmic space tions between subjects and objects. pecta

1::00'

and the space of cinema. . onist is boIh subject and object. ｳｯｾ＠ In the conlext of the enttre ｾｉｭＮＧ＠ the ｰｾ＠ object of his own gaze: Saint-Avlt was who sees and is seen, becommg m the e for Antinea. but ratber for bimlelf.ll After not really searching for ｍｯｾＺｲ［ｦ｣ｳｴ＠ as process. Saint-Avit ispusbedOUlOf: this transfonnaUon has made tonymic shift) and replaced by a metaphor for . field of vision Ｈｳｵ｢ｪｾｴ･､＠ ｴＮ｣ＺＬＧｩｓｭｾｏｲｹ＠ interestingly enough. is ｾ＠ cinematographIc subject. rson who watches the two. What we have beIe IS a dID angle. a couple and a ｴｨｬｾ＠ ｾ･＠ child) sees Antinea (the ｾＩ＠ and MorbIIIFｾ＠ scene of sorts: ｓ｡ｲｮｴＭａｶｾ＠ ( e but Ihen begin to light With each other ｾ＠ ..... father), The parents ･ｾｨ｣＠ ｉｾ｣･Ｌ＠ or at least imagines that he.takeadID 11:.1 leaves and the son taketh ｾ｡ｮ､ｳ＠ as the consequence of a sencs of ｾ＠ The union with the mo er s re ime of the gaze allow a . .lions-substitutions that thro uhgh gt':e ｾ＠ subject recognizes his ､ｬＡｰ･ｉ｟｡Ｎｾ＠ l t n IS ' of deSlre 0

by;: 3

a

ARl SIEREK d "re cor.fu,mg Ihe g.lZC \\ Ith hIS o\\n aLlua. dl appeara ' "hen: he 1001;, 5amt-Avlt III the Image of hImself h n,c, seerng h '" - ＬＢｾ､＠ then JO lh bla,k of the S""Cen .. hl,·h r' ,t e ·' peCtator 10''0· . ' tTIlIn d s h IP the emema.IS ｾ＠ SIte (S, hau,Plt:!:) 01 h" de'lre 1m of hIS th., "tal tho trate£) . one !hal dramatIze:; the po .:'on of the, ,_ - ｾ･＼ＺＢｃＧｮｴｨ＠ "ork:!g Ｉｦｴｨ･ｾ Ｇ ＭＺＮＬ｡ｰｲｴｵｳ＠ Pab ｴｾｨ｡Ｂ｣ｐ＼ＧＬｊｯｲｬｮ･ｩ＠ . hellO.. ' H " a sdfretlexl\'e fom of In nCt, rna .. ｾ＠ - ! na."nt:·vc e ouers . the 'elfＧｶ｡ｴｩｳｦｬｾＢ＠ •. ' 'COPllon d '" ,,- rend t see.!; the r", on d e!Ie ｯｦｾ･＠ moderr: ,t text the vcreen no • d ISC0lll>e the .. ond of IiL":!, but rather Ibn, orld of ,JOema longer preVCOts -

11 The ｾｴ｡ｩｲｷｹ＠ .

--

-

to Exile: High and Low (1933) -- -

-

.

---.

'ma ne the paradoxev of European hi tOf) ｬｾｴｨ･｣｡ｊｏｯｦ＠ event, "h eh I d be I ｾ＠ to" ｾｬｴｕｊＮｯｮ＠ \\ hen: prcVIOU' enemlC\ ｾ｣｡ｭ･＠ ｴｮ･ｾ､ｳ＠ and fermer tncnds enemle . . \Vhen Hitler and the S31" a"umed po"er In 1933, fTance and German) "ere locked JO an JOlenscly compel/l/ve battle overt he European film markel. The recent Introducl/onof sound had eflected V1gnrhcam changevln the balance of po"'".lhe struggle tor market "0nl",,1 no" had to vtart at the le",1 01 productIon Withmthe course of a fev. da\ VII had bee cus",mar) not only to make a "ngle film. but In fact multiple filmv'ln ､ｬｦ･ｲｮｴｾＺ＠ guages. the hope being to en,ure ready accc" to foreIgn export audIences. According to Roy Amlev. the estabhvhment 01 the German ubsidi3f)' Tobrs·Klangfilm m 1929 brought ne ... sound studIOS to Eplnay and furthered a hvely exchange bel,.een the t"'o nelghborv . France mve>ted ", capital In German enlenamment films Germany. for II part .... as quite keen on foreign currency I !'Iumerou, French filmv "ere made m the Epma) ｔｏｾｉｓﾷｴｵ､ＢＮｬ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. Ｎ ｾ＠

Tranvlated by the d'

e !tOr

The Hood of ｰｲｯｵ｣ｾＮ＠ 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 ｦｩｬｾ＠ 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［ｋｨＮｾｮ､＠ 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 ｾ＠ 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 ｮ｡ｴｾＺＧｬ＠ 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 ＮｑｾＩＧ＠ her songs to mUSIC, Iy regarded, ｨｾ＠ 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 I II ' dall ｾ＠ .. ＠ｾ " , . he Ｌｾｨ＠ I IdJlo ､ｾＬ＠ hOI. d mot cy (0 cctlOn of ｴｮ､ｬｾ＠ pto 'h Jr. " It d' ........ lake pan In Ih Itfe of thc counyard comm I ual , la-ge, ,k "1'---' hL'rhood unUy

I.

ｾｨ･ｷ＠ " Ihe he: c I Ihe nelg ,.. A pru/c\Slon., " . h ｾｦ･ｃｉｊｏｮＬｯｬｨ｢＠ ':nc·"ncr' daughter. a \Uuatlon rclt.hcd hｾ＠ p. ,hcenr t ., d Ｇｾｭｬ･｣＠ ｦｯｲ､｡ｴｬｹｾｭｰｨ｣ｮＱ･ｵｳ＠ ' n. ylht .- ｾ＠ , 'IIC rho. I f (I,h II pr" J I h " p.....,' IOlhe I.dlcsofhl1herstatlon Inc flll1l1tlOUS and f.'hlo nabl ....... ..1m • J re J 'yh d". a ..'Oman ,,00. /led hushand ,openly ｣ｾｰｲ･Ｌｳ＠ er phYSIcal '''raction t h ; I;". ｾ＠ tf 'Il',-,II on Ihel·lhc-hand,,, ImmedIately fired when heremployerq to Ih,1 II I.atherhood to PIerre Or anyone el . h ｾｯｑＮ＠ 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 ｦ｡ｴｨ･ｲＭｾｮｉＢ＠ After Paul. finally admits ｴｨｾＥｕｲ｡ｬ＠ 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 ｧｾｶ･ｑ＠ both hI> malemal grandfather and palemal grandmother were drunks b h y, SIQCe followmg the big confessional scene allows for the hypothesis that ｐｩ､ｲ･ｵｾ＠ 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 ｨｾ＠ 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' s a er p YSlca y mlrudes on hIS life and ultImately controls it. A .l1.Qderu Heaw.lhu" nn'Qnlv en d· h .. ｾ＠ -"--f ｾ＠ .. .LU.W. Ｌｾｶｮ｣･ｭ＠ WIt ｡｣ｮｬｱｵ･ｯｦｾｪｴｩｳｭ＠ 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

/

Ｚｾｮｴ＠

ＧｾＡ［ｬｳ＠

ｭｾ･ｹ＠

ｾｯｲ＠ ＺｾＬ＠

ｾＧｲＺｮＷ［Ａ＠

I

as an ersatz figure is not a rare OCcurrence in Pabst's ｷｯｾ＠ appearance 0 an overpowenng mother attention toward the mother and awa 'from hk, so that ｨｬｾ､ｲ･｣ｴｏｮ＠ of the audience's t e convent,onal heromes seems only surprismg 10 Ihe Context of HOllvw.ood Y . 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 ｾｵ､＠ ,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 . arners- ab,t directed a film which does not allow vIewers to escape mto h' 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ｾｬｹｷ＠ 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 ｾｯ＠ irritate through their powers of fragmentation than to ｣｡ｰｴｩｶｾ･＠ 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 ｲ･ｰｾｭＺｮｬ＠ «;>f Pabst by'Fritz Lang is, in this light, symplomatic. forany Ｎｩ､･｡ｏｦｐ｢ｳｾＧｓ＠ dissolves in his films. The idea of an integraled ｾＺ［ｩｳｬＡ＠ are fragments, details, bits and pIeces: the ureal noun ., : _ preferred instruments were not the camera and cellulOId, empl«;>yed ｾ＠ 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 . . ＧＮｾ＠ '1 tbcmaIi __ .... ID . h d 'ound refuge from the ThIrd ReIch but m Ule way I ｾ＠ Ihe lime a I' . d Th rod RomaiDPiJa _ _ , lot and in its actual producllon backgroun. e p ｵ｣･ｾＬ＠ '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 ｾ＠ ADd we sbouIcI not forget the ietnamc actors here. wbo . .It. i Cbjrcse lIIliona1ists. ill $ .... _ ｾＮ＠ become a cipher for e trangcmcnt. an ｣Ｚｾ＠ ... 'nlbctliojJrlpbical internatlonali m of the film' ClSt and ｾ＠ -,Gfallllial wbcrcin ｾ＠ 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 ］ＮＬｾｩｴ＠

.c:nacHlnyA1aa .........km· descripttonofPabst· wotJt. . . He ."1..... CXIIa4emtoriallly: Cbina i and yet ｩｳＧＭＺｾ＠ , tdaeallDt . .IOS.. which prcmiercd afterp

..,.0-. ｩas". ,.....pf81y.,..CIIIIy., .... ＧＺｾｉ］Ａｽ＠

....-.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 ｦｴｾＧ｟＠ C . . ｾ＠ .";IIIiI1lon5IDlO forbidden realms. seductivejoumeya . . . . PR 1NIc. the shadowy space between art and pn:-11 d?e waltz by Offenbach we hear in ｔｨｲｍｩｳｬｮ｜ｦｵｴｾ＠ ... 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ｾＮ＠ Cntic repeatedly take olfcoae It Iimilar to ｾｳ･＠ 10 Diary of Q Loll has pomted out). During his film for d?e ｂｴｬｓＯｾｲ＠ NatioNJI-uillUll

n. ; ;

of poIilical illlriauea ud

butollh' ....

'I Ilu,ld;ng on Ihal crilique •• ､Ｑ｡ｱｵｬ｣ＺｾｉＬ Ｇｾ

.

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 \\e recall thai the entrance of FlJegenbeln. the wanderer arrangement 01 the Ii m \\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 ｣ｯｲ･＼［ｰｮ､ｾ＠ 10 the ammallonof the hfeles . the absurd and Ulsane world gIVe way ID the re urgence of a forgotten expres Ion m. Tbe noclurnal appearance· f the 8(.roba' Introduces as well a musical tbeme (a final one \\111 accompany Ion; !hat follows Ihe mInnesInger's serenade for Renata and precede Ihe pea ant 'song 'lr revolt The bl/lltre dance unfolds to the backdrop of a hrill. ) ncop-dled melody. More than a slgmfier of the plague. il _ ica/ly conlIOIeS disease and death. later annourn:mg the am val of Ulnch von HUlleD !he knighl aJlhcted wllb termma) ypblll

ｴｨ･ｰｲｾ＠

1be oarratmg IDSWJce also seem overcome by the confu Ion of events. mulllplyl1li IrlIce6lhrough pan • supenmposJlIODS and dl solve from one end of the town _adler wbicbdlitUrb the oense of space and LOnllnuJly Th, narrative, - - - !hi Ｂｉｯｲｹｾｊｬｨｄ｡＠ lory, accordmgtoJeankK.ardou'smuluple £ _ _lhJ!e!he film 5 mrs" en ab me ", lucien Dallenbach provides a

ｾＵＳｬ･ｉＢｴ＠

C

Infect ous F egenbe n (Hara d K re utzberg drIVe

ｒｾ＠

('< l\ ｾ＠ >

ｩＺＱｾＧ＠

ＱＧｾｬｈ＠

;lIl

1

ｾ＠

Documenting a Life and a Cateet Involve the ...can.:h for the real perpetrator. '[he surpn ｾｭｧ＠ have been the act of an obsessed collector 56

The pr"ductllln ,eheduJe uf Bavana f(lf 1'141 ＱＹｾＲ＠ l"led a ne," Pabsl film, MntcriouJ DepthJ I Gch,'wmi.ll'olle Tlrfe I, o',ed on a scnpl by Pabsl s \ltle, Trude, and \\alther von Hollander, to ,tar Bngltte Ht'rnes and ｾｲ､ＬＢ｡ｮ＠ Ftlm·Auri,'r de,,'noed the project

Manan. A nOlice in

The ｏｰ｜ｬｾ｛ｲｊｃｉｮ＠ oct\\C'cn the Jde..tii!'lt and tl)L' maIL'naihl the one belicnng In hl!'l pt.l\H>r-.. the other In tu .. mont") t't."g .. - ,... Ｎｬｾ＠ old d!!o humanity ihclf The !'Itory of ｴｨｩｾ＠ leads u.. from the Ice Age "hlch t't[(lke ('t\er Europt:' many millenma ago into the ｰｲ｣ｾｮｌ＠ The: tonn ... and .. hapc . . may ｨ｡ｮｾ＠ I.'hanged: but the haltlc ｾｦ＠ light ｜ＧｃｊＺｕｾ＠ ､｡ｲｫｮ｣ｾｳ＠ ｨ｡ｾ＠ maml.'J the .. arne 4J1 C' ... ｰ･｣ｬ｡ｊｾ＠ elaborate: ,hooung \chcdulc .... et design. and cast

own

fllm rc.

dis-

ungulsh tillS film . '13

MHterioU.I· Depth, was eventual!) sheh·ed. as was a biographical feature, "HeInrich J., genannt der Vogler," based on Ihe ruler who conquered Lorraine in 925 and later In 927-929 controlled the Bohemians and Slavs ea>! of the Elbe. Apparentl), Pahsl played a taclIcal game with Gocbbel;, IrYlng 10 avoid tendentious film prolects by repealedly res iSing ,mpIs and Ihu, ,10" ing down pre-production work so thaI ,hoollng never slarted. To cdebrate Ihe four hundredth bIrthday of the famous phYSIcian and philosopher, Paraeel,u" Bavaria announced a film to be directed by II, head of production, Hans Schweikart Llllmalely Pabst made the film, receiving a salary of 30,000 RM and an RM for wntIng the screenplay" IIh Kurt ｈ･ｾｳｲＮ＠ 54 During the proaddllional 1ｾＮｏ＠ duclIon 01 ParaC/'lsl/s, Pabst apparenlly clashed with BavarIa. Fritz Hippler, Ihe Ihat Retchsfilmintendant. wrote on October 5, ＱＹＴｾＮ＠ 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

ＢＧｾ＠

233

Cfmclwlon reveal i the the ft to

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 ｲ｣ｾ｡ｉｮｧ＠ 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 ｾａｵＩＮ＠

.

Pabst had planned on making a film in ｉｴ｡ｬｾ＠ 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 ｶ･ｾｩｯｮ＠ of the Odyssey, in the director's words, "the classical depiclion of a soldier returning home ｦｲｯｾ＠ 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 _ ｴ｢ｲｯｵｾ＠ !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 - . .ｾＧＮ＠ . 1 _ Is a case SImp IIe, 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 ｵｮ､ｾｲ＠ 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. ･ｾｴ｡＠ ; ••1 5 Only Dr. Forty, hi 'ssistant, belIe10 be normal· In !he meantime Deba' belieWI . . . . . blppencd 10 her and am...: Silvta."

:r

wIIo_

fiMte.--. III"

HANS,MICHAEl BOCK 14

. . lid " Slin, - frt.'l'J rnrll..(la .

ｾＧｉＭ

udH·nrure .... 1"-' 1.1, ,...happ" / IfUltnr (E, gesc hah am:!O ll1lt), with Bern ard [C I s tarnng as Count Staufennerg. L

PJbomelhmg m which a son mIght easIly !'1) 2 ｾＹＷＭＸＮ＠

..r

red; .-\

r,.,..

cOU Icurs. authors cons.!der the Ｂｲｮ｡･ｬｯｵＮｳｐ｣ｾＧ＠ -,,1ucbCOlllalDi __ n e hi'" country" The tos.c .. to beh15 - rna terplece " . enable Ｇｯ･ｱｵｮ｣ｾＮ＠ ｬｯｲｾ＠ Lee AI"ell. G W. PahstlBoston T.. ayne. 1977). 126-127. -OoeoflmJDO 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. ＱＹＶＸｾ＠ 47-61.. . . oacb ｾ＠ Do VIIdimir - 0 wmg 10. Completing Ihe thematic descnpllon. the slr\lCtlllal appr Propp" model-confirms the articulalion of the narrabve aDd reveals the JogicaI ｾ］＠ fi 1m The" lack" is already found in the first IWO sequences: thethratof plague. ｾ＠ 51 die The hero IS therefore doubly qualified by a double 111811dare; rhaI ｯｦｴｨ･ｾ＠ (lo:mIer .. ( Froben) Thehero·sordealsmwl.., ........ ｾｬｉ｢ｏｓｭ＠ I ctty).lhalofthe "!,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. \'.17 ｾｉ＠

wi

January 1932 (L. Denio).

.._.,').

June 1932(-....... 7 P 7 August 1932 (l1oI1ICIt L t

a)

'LBB: ＷｾＱＹＳＲＨＧｈＮｔ＠

PF I. 9 Sel"e m ..... l932.

........

DtrFilm.IOSqJI +111'193211' Di, W.ldHiIuw. 13 Aufsdtu . . . FIla 259-261.

pictun,-.IJIIJ

(IW

.,.,

ｾ］ＧＱＹＳＮ＠

Shanghai .".,.. (Ft-...

•

''-1933.

1..,

UU"'" Source

oscar· Paul Gilbert. Shonglllli. C"-'nwh,C.

Rtview'

1934.

I'

ｋｲ｡｣ｵ･ｾＺＩＮＦｉｎＬｻ､ＷｚＢＧ］Ｔﾷ＠

oK" (; Siegfried TheSptrtaIDr. 28 July I Film Critici.m 1935-1940. BdiIaI by JabDRuIIdI1IIJIar. 1972. 235-236. NY[. II January 1945 (B.C.-BosIcyCauwd&). The Nation. 3 February 1945 (laIMI Ape); lipl 'iBJI!&W·GIt'I'lIiI.. Grosset & Dunlap, 1969, 140. CNS.15June 1952 (Corrado'Dnil). ｾＮ＠

,1m.

e:.:::,.,,.,-'"

ItII5 , 1935.

1935.

Girls In DIsb .11 (FI-... 18) LiJerary Source Novel by Peter Quinn.

InfonlUlliolt "Kr" (=Siegfried Kncauer). "Bel Man:h 1939. Review. PV. 30 August 1939 (N. ftallIIriJ. ｐ｡ｾ･ｲｔＮ＠

CinellUl (Rome), Var. 6 Maidl, ....u .. BeN, Apri1 Films inJlml!lll

7

. . . . . .1........ 1

1m.

］ＺｉＹＴｬｾｍｩｄ･ＩＮ＠

, 20 January 1955 (Martin Ruppert)

rllZ. rKurier.14M11d1195'(HKO). \r,t.,badtne

It • ta ......,. 1M3)

L

MysterioUs DepU. (AuaIM. 1141) ｾ＠

IFB 722; IFK 3313. . . LebeD ibnIicb clem des Puace\sus." F-K, l81uly 19Q. ...... Ii". C _lUI""'." F-K, I AUJUSlI942. • •, ' "Geg(der. 'llDzerundSpie\munFJieaenbein." F-K.S

. ., , ' I .., vC'Jalptcbe urn dell Parace\sus-Film." BerliMrLoArtII.,j Sir b ItQ. • ,-seII'n vie! Geschichten urn WII seiner Hinde h ..... .........Fdmsin Png." F-K. 16 October 1942. ·'ldIwrtuaeein Rigorosum.'" F-K. 26 November im s.Jzburger Festspielbaus." F-K. 13 ｾﾷｳ＠ Dances nfDealb." lJtuI« ........ IIIIIfo""'N>nje.1t:i l'arlcelsus." ｾＧＭｩｴＺ＠ R......, II

·"'wwbars

ｾＺ］＠

M.-.

:cmbu.IBandmann 209 . 'ws P"") Revlt Palette (BecI'In IGOR) , 15 July 1949 ("Dr. C ......

FI 14 September 1949. PI ·.Echo 12 August 1950 ("G.H."·OeIq F, m · 19" (U\ridI Da neue Film. I January 1951 lIIustrierte FilmwocM, 3 February • Die Welt. II July 1951 ("W·La· Hamburger Abendb/olt. II July 1951 West/aUsch. Rundscha.". 31 SaarlandiscM Volks..",,,,g. 26 The Voice of 81......

IPI2 fJ (V_bonk). .-1IDs).

ｩ Ｚ］ｓｴｾｉｍＳＨＱｗ｡Ｂ＠

I rformDtion

Article

Lorenzo Codelli, "Zig-Zl"'-'

1965 Kade). (Walter fYi2). to Ncnauba 1975.

｟ｾＢＧｲＬ＠

ｒｴｶｾｷｳ＠

Abendpost ＨｒＱｫｦｾ＠ BeN. March Var, 22

Bedin:Zandet,I938.

. . . . . . IM(Y

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a).

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1946).

1945.

!!III

_IUI_APHY 170. I ..... 1954 C"MB."). Ii ..............) .. 955 C"f.5."). _ JkM Alicllln. 2O .....wuy 1955 ("J.B."). • • 1lii),6Mni1ry 1955C"f1.K."). (IIcrI.iD). 6 Febnwy 1955 (Wb ") k,.,.6NrumyI955C"HDW") " lit ...... 1955 ((luakr0r0U). . . . . "May 1955C·wf."). ,.., 271 i • 1955. ］ｾ､＠ 7Ai11a1f.3fa11 ....y 19S7C"b1.").

II.

M

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,

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I"

.....,

1958 (H.H.T.=Howanl1aubmu)

(NDw Ymt.l. 10JlDwuy 1958 Cr.d.).

.

........ .,.,.(AueIN, 1155) ｔＸｉｄｴｲｹｳｯｾ＠

. GudeaC'Ity. N. Y.: DoubJeday. 1950.

222; /Fa 27S). ＮｾＭ］ •

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ｩ

ﾣＤｾﾧＲＮｄｲＭｓｉＢＬ＠

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.... 'len-I. 23 Sqlll:mber v..+.111 er 1949 _Zail&r.r"l Film'" D' r ... s- -' . Ie Wdl.. 13 August: 1954. -. ........ 6 Ortabcr 1954 37-39

Drr

1

T.

....... Drrli .. , 1""--:116U1fJ1e"' Nn.y.

1-

11 1955, 2S Dec liber 19S4., lMWdI.10MayI9SS, 1bt, Dta Woe' _oM 25 May New YaIt: LillIe. Bmwa. lfi6-31rJ

ｾＮ＠

i•.

. ......

1954 ("K, St.").

S

S

19.54("WU .).

"'(

).

. 8.....,. 1955.

1955 ("TEL")

1B5