I have now also viewed films in the alternative venue for Weimar, CinemaxX. This is a multi-screen venue right in the heart of Potsdamer Platz. Consequently it is popular and very busy. The screen dedicated for Weimar [with other titles] is CinemaxX 8. This is a 250 seat auditorium with a fairly steep rake and thus has good sight-lines. Friends warned me though that the front three rows are rather too close to the screen: Jenny Jugo (the Weimar Carmen) could drop straight into one’s lap. They have installed a piano for the silent accompaniments. And, for the space of the Festival, pop-corn and bought-in drinks are banned.
The day opened however at the Zeughauskino.
Menschen im Busch, Ein Afrika-Tonfilm (1930). We had an introduction from a member of the Deutsche Kinemathek who provided the background and context to the film. The film-makers, Gulia Pfeffer and Friedrich Dalssheim, filmed in the interior of Togoland [later part of Ghana and the Togolese Republic]. The land had been a German colony before World War I and post-war it became a British Mandate: a method used by the British to grab land in many places. This political dimension was not addressed by the film. Whilst the film used footage shot on location the sound was dubbed in Berlin. Some of this was clearly voiced in Germany but some appeared to be actual sound incorporated. I hope to check this out. The use of actual African voices was a first in ethnographic film; a parallel to Edgar Anstey’s film Housing Problems (1936).
The film opened with an introduction from the former German Governor. We had been warned that his comments were littered with what are now ‘politically incorrect’ descriptions. He compared the Africans to ‘children’ and described their culture as ‘inferior to European Civilisation’. All was not lost, because most of his talk was heard over images of the coast line of the territory. The opening was very well done, we watched fishing boats landing their cargoes, battling through the surf to the beach. This, like the rest of the film offered excellent camera shots and movements.
The film presented a day in the life of the Ewe people in Chelekpe village. In fact the majority of the film followed one family, a village man, his two wives and children. The narrative ran from daybreak to late evening. There were meals, work, and leisure. The village had a division of labour, both in harvesting and hunting, and in the technologically dependent activity of weaving. Animals were a full part of the village life: goats, pigs, chickens, and some smaller animals we could not identify. In the evening there was a religious/social dance ritual. This was accompanied by drumming as both men and women, some in special costumes, swayed and rotated. The dancing and drumming reached a frenzied climax before darkness fully fell.
We then had a two-part film adapted from a novel by Jacob Wassermann. I do not know the novel but the plot of the films suggested a vast picaresque narrative.
Christian Wahnschaffe, Teil 1: Weltbrand (Part 1: World Afire) was directed by Urban Gad in 1920 and in a digital form ran 80 minutes. The opening title explained that the film is set in 1905 in several European countries. Conrad Veidt played the titular role. Christian is the son of a wealthy industrialist. He lacks purpose though he has secret desire for his engaged step-sister. Spoilt and lacking direction Christian is introduced to a popular Pairs-based dancer with whom he begins an affair. Eva is a man-eater and later in the film she has another affair with a Grand Duke, [a stand-in for the Romanov Tzar]. This links the film to the Revolutionary Year of 1905, though it is not actually presented in name]. In the course of the film we have become acquainted with anarchists and a secret group called ‘The Nihilists’: appropriately their political programme is never explained. They are involved in protests and suffer in the repression ordered by the Grand Duke. In one scene he watches a s a machine gun opens up on a civilian demonstration. In the later stages the plot develops round an envelope of secret papers. The story ends pretty badly for everyone, except the Grand Duke and his henchmen: but Christian does survive.
The film followed the style of many early films in this period. Full of parallel cutting between characters and events, often in very short scenes. So the events and characters move at speed and it becomes quite complicated following the plot. It is however full of conventional tropes and stereotypes, and combines motifs from several familiar genres of the period. In that sense it was probably easy for a contemporary audience to follow. Stylistically the production is not that well done. The editing leaves a certain amount to be desired though it was not clear how much was due to missing footage. The cast are reasonable but it is not one of Veidt’s great performances.
Christian Wahnschaffe, Teil 2: Die Flucht aus dem Goldenen Kerker (Part 2: The Escape from the Golden Prison, 1921) is a sequel. The ‘golden prison’ is Christian’s family home where he feels bored and guilty over his privileges. A different friend takes him to a working class district in the hope of excitement. This they find, and Christian assists, a poor prostitute attacked by her pimp. He thus meets a young social worker, Rose. Partly due to her attraction and partly due to acquiring a social and religious conscience, Christian starts to ‘give all he has to the poor’. However, in this slum we find few ‘deserving poor’ and an amount of ‘undeserving poor’. The film resembles Part I in that once again the story ends badly for most characters.
However, this film has a coherent narrative thread and avoids the endless parallel cutting. So it works in a more constrained and effective manner. In addition, whilst the film has the same director as Part I, it has new scriptwriters. Most noticeably it has a new cinematographer, Willy Hameister. His work offers frequent high angle shots of the slums. The exterior use both low-key lighting and effective tinting. It looks much better than the first part. And there are some excellent set-pieces in the slum tenements as the mass of working class denizens are involved in varied agitations. Part 2 seems a much better film than Part 1. A colleague thought that the second part might have been re-edited after release: the digital versions relies mainly on a Dutch print.
Stephen Horne provided the accompaniment for both films. He worked effectively with Part 1 but Part 2 provided greater scope for drama and emotion. Stephen is a multi-instrumentalist, so we had several instruments; one at least, the accordion, provided a musical motif for working class scenes in both films. Escape from the Golden Prison is a definite film to see but watching the whole two-part drama makes better sense and the contrasts alone are entertaining.
Der Himmel auf Erden (Heaven on Earth, 1927) was the first film that I viewed at CinemaxX. This was a social comedy. The lead character, Traugott Bellmann (Reinhold Schünzel, who also directed the film), is a Member of Parliament who achieves famed by condemning centres of vice. He specifically names the night club, ‘Heaven on Earth’. However, newly married he discovers first that his new father-in-law sells the copious amounts of Champagne consumer in the club; then, that it belongs to his step-brother, not seen for years. His embarrassment creates problem in both his public and personal life.
The situation opens in a very witty manner with a delightful satire of parliamentary action. The night club itself is only mildly unseemly and hardly at all immoral. The main consumption is the champagne. The dancing girls are leggy but not overtly sexy. And the nudes on the drapery are really quite prim. The comedy in the club is probably stretched out too long: I found the humour and wit dissipated at times. But it come together in a great and comic climax And the scenes of the moral guardians and some of Bellmann’s discomfiture are very funny.
The film was screened from a pretty good 35mm print. Maud Nelissen provided a score that included light sequences, lively dances and touches of ragtime.
Another good day. As the retrospective develops it is emerging as an intelligent and rewarding exploration.