This is a film classic from Weimar cinema and it is screening in its original 35mm format as part of the Centenary Celebrations of the Hebden Bridge Picture House. The film has become memorable for a number of reasons. One is the star, Louise Brooks, who worked in the burgeoning Hollywood studio system but also in Europe; and here film-makers bought out a luminous quality to her screen presence. Brooks was an attractive and vivacious and smart actress; her ‘Lulu in Hollywood’ (1974), recording her experiences in the film capital, is a great and informative read. Here she plays a ‘free spirit’ whose charisma has a fatal effect on the men that she meets.
In this film she was working with one of the fine directors of Weimar Cinema. G. W Pabst. Pabst was born in Austria but his major career was in Germany. He was good with actors, especially women; his Joyless Street (Die freudlose Gasse, 1925) features three divas, Asta Neilsen, Greta Garbo and Marlene Dietrich. Pabst worked particularly in the ‘street’ film genre and in complex psychological dramas. He was noted for the fluid flow of the editing in his films. Following Pandora’s Box Pabst also directed Brooks in the very fine Diary of a Lost Girl (Tagebuch einer Verlorenen, 1929).
One reason for the quality of Pabst’s silent films is the skill and expertise of the craft people working in Weimar Cinema. They led Europe in the quality of their production design and construction; and the development of ‘an unchained camera’ was extremely influential, leading to German directors and craft people being recruited to the major Hollywood studios.
The film is an adaptation of an important German play Earth Spirit (Erdgeist, 1895) and Pandora’s Box (Die Büchse der Pandora, 1904) by Franz Wedekind. There had already been an earlier film adaptation with Asta Neilsen in the role of Lulu (1923); and there is a famous operatic adaptation, Lulu, by Alban Berg. In the play the character of Lulu is described as “the true animal, the wild, beautiful animal” and the “primal form of woman”.
In the play she is an ambiguous character; Pabst and Brooks bring a sense of natural innocence to the character who is much less of a femme fatale than in other versions. Wedekind’s play was controversial in its time as was this film adaptation. The film was censored in many countries including Britain where there was an altered and ludicrous ending.
The film opens in Berlin with Lulu’s many male admirers: we have major German film actors, Fritz Kortner as Dr. Ludwig Schön: Francis Lederer as Alwa Schön: Carl Goetz as Schigolch: Krafft-Raschig as Rodrigo Quast: and also Countess Augusta Geschwitz (Alice Roberts). Here one gets a sense of the social whirl of the capital; often seen as decadent from outside. As the narrative develops Lulu has to leave Berlin and we see her and her entourage on a ship based gambling venue and finally in the noirish East End of London.
Originally running for 133 minutes; this print has most of the cuts restored and runs for 131 minutes at 20 fps and in its original aspect ratio of 1.33:1. It has German title cards with English sub-titles. It also has a live musical accompaniment sponsored by Cinema for All – Yorkshire. An earlier and successful screening that they supported had a fine accompaniment of the classic Battleship Potemkin (Bronenosets Potyomkin, 1925) by Darius Battiwalla. Darius is a fine and experienced accompanist and here he will have a very different classic to work with. It should be a rewarding two hours of screen time: Saturday December 4th at 4.30 p.m.
The State I Am In is the first of Christian Petzold’s cinema features and has also been identified as the first film of a trilogy which includes Gespenster (Ghosts, 2005) and Yella (2007). The film was written by Petzold and his former film school tutor Harun Faroki, who co-wrote five of Petzold’s features. The film’s story is very similar to that of the Sidney Lumet film Running on Empty (US 1988) but with the location changed to Europe. IMDb notes that the script by Naomi Foner for Running On Empty is not mentioned in the credits for The State I Am In.
The narrative begins in the Algarve where teenager Jeanne is living in an apartment block by the sea with her parents. The family have been ‘on the run’ since before Jeanne was born, wanted by the German Police and presumably through Interpol by other police forces across Europe. They have had to move several times and Jeanne is getting tired of the constant upheaval and the lack of opportunity to make long-term friends. She meets Heinrich, a young German, but before they can spend much time together, she and her parents must move again. This time the move is more urgent and the situation more desperate. They are forced to return to Germany to seek out old contacts in the hope of funding a final escape to Brazil.
The narrative combines elements of the thriller genre repertoire and the fugitives on the run with the youth picture/’coming of age’ story of Jeanne and Heinrich (who she will meet again in the familiar Petzold territory of the Elbe River area). We never discover what the parents, Clara and Hans actually did that caused them to flee. They are used to defending themselves and carrying a weapon and they are clearly well-educated and disciplined so they do appear to be political activists rather than criminals. Jeanne is experiencing an adolescence that is becoming frustrating since she is missing friendships and the chance to explore the pleasures of consumer capitalism – new clothes and music in particular. She must in a sense ‘work’ for her parents, shopping and running other errands to protect their identities. In return she is home-schooled. Ironically Jeanne will become a petty criminal because she can only acquire new clothes and CDs by shoplifting. This in turn increases her frustration.
I haven’t seen Gespenster, but placing Yella alongside The State I Am In does make sense. In both films a young(ish) German woman is at the centre of a narrative which seems to be allegorical with the woman representing a Germany that is struggling to find a new identity. In Yella, the struggle is about the inequalities of East and West after re-unification. In The State I Am In it is a struggle to get past the political divisions of the 1970s to 1990s in which various left organisations attacked the institutions of the West German state (and its personnel) through direct action. The state responded with anti-communist measures against leftist activists, instigating surveillance and reviving the Berufsverbot, an employment ban for public service posts first introduced in the 1930s. The only direct reference in the film is when Jeanne sneaks into a school screening of the Alan Resnais documentary Night and Fog (France 1956) about the Nazi death camps. The left action groups of the 1970s accused the West German government of a failure to confront the history of fascism in Germany.
The 1970s politics was also about the Vietnam War and the American military presence in Germany (the British and French military presence was seemingly less provocative?). The political discourses in West Germany were evident in some of the ‘New German Cinema’ films of the 1970s. Petzold doesn’t make obvious references to political struggles but he does use American culture in Germany as one of the elements that inspires Jeanne. The film begins with a scene in which Jeanne selects a song on a jukebox in a seaside café, Tim Hardin’s 1966 song ‘How Can We Hang On to a Dream’. This plaintive song might be read as a commentary on the film itself in the sense of a couple who try to keep their political convictions intact. The same song plays, non-diegetically, over the final credits. It’s earlier appearance is the background to Heinrich coming over to bum a cigarette off Jeanne in the café. He turns out to be a surfer with a poster for The Endless Summer (US 1965), the cult surfing documentary, in his room. He tells Jeanne that he is obsessed with Brian Wilson, the creative leader of The Beach Boys. I couldn’t help thinking of the early Wim Wenders movies from New German Cinema in which many characters play American music.
When Petzold made The State I Am In he had already completed some short films and two features made for TV. For his début cinema feature he had the support of his regular collaborators such as DoP Hans Fromm, film editor Bettina Böhler and music composer Stefan Will who have generally stayed with him over his career. The State I Am In doesn’t have the lustre of the recent films such as Undine (2020) but its pared down style matches the feel of its narrative. Petzold is well-served by his trio of lead actors with Julia Hummer as Jeanne, Barbara Auer as Clara and Richy Müller as Hans. The supporting roles, especially Bilge Bingul as Heinrich, are also strong. I enjoyed the film and I’m pleased to have seen it in the current MUBI season of Petzold films. I did see the Sidney Lumet film back in 1988 but I can’t remember it well enough to make a comparison. I just remember that it was River Phoenix who played the slightly older teenager.
Here is the opening of the film:
Christian Petzold is one of our favourite directors and Undine is a film that we couldn’t miss. It is being streamed by several platforms and I caught it on MUBI which is also offering a retrospective of Petzold’s earlier films. I was vaguely aware of the European myth and folktale/fairy tale about the water nymph Undine/Ondine, but I decided to leave my research until after I’d seen the film. I think now that perhaps I should have done the research first. On the other hand, my seeming struggle with the film narrative might simply be down to watching a streamer rather than sitting in a cinema watching the film on a big screen. Either way I still enjoyed the film and I will think about watching it again soon.
Undine is love story, a fantasy and a form of social commentary/historiography about Berlin. Its echoes in Petzold’s earlier work are most clearly there in Yella (2007) and also in Phoenix (2014) but there are also numerous references across European narratives more generally. Undine (Paula Beer) is a historian working as a freelance lecturer at a museum in Berlin. She delivers talks based on the dioramas of Berlin’s architecture at different periods in its history. We only hear snippets of her talks but that’s enough to learn something about the history of the city and especially its beginnings as a settlement built on a marsh. The modern city straddles the River Spree and much of it is given over to trees, parks and water. An eventful day sees Undine breaking up with her lover Johannes (Jacob Matschenz) and then meeting Christof (Franz Rogowski), an industrial diver who works maintaining underwater installations such as pipeworks etc. Christof and Undine rapidly fall in love but there is a lingering sense that Undine may not have finished with Johannes completely.
It’s difficult to discuss Undine without spoiling particular scenes which I have no desire to do, so I’ll limit myself to more general comments. The film has been generally well-received by critics but, even more than some earlier Petzold films, it poses problems for audiences. What is it ‘about’ and how should we approach a reading? My feeling is that it is definitely a love story and it is also saying something about history, the ‘layering’ of historical events and their changing interpretations over time. Perhaps one of the most challenging aspects of films like this is the blending of a form of realist filmmaking with elements of fantasy in the narrative. Some audiences embrace this eagerly, others find it too difficult and it often becomes a reason to dismiss films. It is also something which spills over into the distinction between ideas about art cinema and commercial genre cinema. A good, relatively recent, example of a film which presents similar problems might be Guillermo del Toro’s The Shape of Water (US 2017). OK, that film won 4 Oscars as a more obvious fantasy, but it represents an attempt to use fantasy as a vehicle to explore culture and social commentary. Petzold has been classified as part of the ‘Berlin School’ of German directors, a loose grouping that refers to directors who trained in Berlin in the 1990s and became recognised in the international art and festival film market from the 2000s on wards. One shared feature of the films of several of the directors is a depiction of life in contemporary Germany, often in Berlin itself (e.g. in some of the films of Angela Shanelec). Petzold constructs narratives presented in realist terms, but often drawing on intertextual references to other films, literature or historical events or periods. Yella concerns a young woman from former East Germany who travels to the West, becoming involved with the airless world of advanced capitalism – but is she really there, is she what she seems? I was reminded in that film of the introduction of ghosts in Japanese cinema which began to appear in realist environments in J-horror films of the late 1990s and early 2000s. In Phoenix, Petzold drew inspiration from a French novel that first became a British film. He transferred the narrative to a setting in the immediate post-war rubble of Berlin, thus perhaps stressing the generic ‘rubble-film’ as his realist base for what is a preposterous but highly engaging story.
After thinking about Undine for a long time, and reading many reviews, I’ve finally managed to get a handle on my own reading of the film. The myth of the nymph is present across many cultures and is probably most familiar via the mermaid or in the Celtic/Nordic form of the ‘selkie’ (seal-woman). The German folk tale of Undine appears to derive first from the work of the Swiss philosopher Paracelsus and was then formulated as a fairy tale novella in 1811 by Friedrich de la Motte Fouqué as an example of German romanticism. In 1811 Berlin was the capital of Prussia – previously it had been the capital of Brandenburg. After 1871 it became the capital of Germany with the founding of the nation state. The layering of Berlin’s identities is represented in the museum which offers the dioramas of Berlin’s building phases described in her lectures by Undine. Petzold has been particularly scathing about the development of contemporary Berlin which attempts to sterilise the past even while presenting this history. A few years ago this might have been discussed as an an example of postmodernism. The romanticism of the Undine myth then becomes a disruptive force that constantly reminds us of the past. It also powers the love between Undine and Christof which negates the sterility of the recent urban development. It is this tension which makes the narrative so fascinating for me.
But I’m also bowled over by the romance itself. Paula Beer and Franz Rogowski are terrific together, even more so than in Transit (2018). I’ve been impressed with Rogowski since I saw him in his lead role In the Aisles (2018). Paula Beer blew me away with her performance in Frantz (2016) by François Ozon. As Undine she transforms herself again, making the most of her role as a freelance historian. She seems to be both efficient and organised but also hinting that she has come from ‘another place’ – and is about to go back there. As a reviewer remarked, her appearance in a white blouse and dark skirt and shoes is formal in the museum but her loose hair and slight dishevelment also indicates her fluidity. She won Best Actress when Undine screened at the Berlinale in 2020. I was intrigued to read that Beer was recommended to Petzold by Nina Hoss who featured in six of Petzold’s previous films. Petzold has hinted that one day Hoss and Beer might appear together. That would certainly be worth seeing. Petzold has spoken a great deal about Undine and here’s a quote from a Cineuropa interview:
Undine made me think of the relationship between directors and main actresses as well as the one between muses and artists. Isn’t it a sort of perpetual betrayed love for all the Undines of this world? Don’t men always dominate everything? It’s not that Undine wins in the story; she has to go back in the water and wait for the next man to come along. She exists only through men, and that is a horrible curse. Our story aims to explore an Undine who is struggling against this. Then along comes a man, a proletarian, an industrial diver, who interferes with the curse. He is not suspicious; he’s innocent and for the first time seems to see her primarily without any sexual desire and without wanting to dominate her. This is new for her, and a path to a new world seems possible.
I hope all these attempts to read the film don’t put you off. Undine is one of the best films I’ve seen since the lockdown began. It requires ‘work’ but it’s very much worth the effort. It is available to buy or rent from many outlets.
In this clip from the film we get a subtle reference to the underlying theme to the film and we experience the moment when Undine is with her new lover and sees her old lover:
Christian Petzold’s new film Undine is due for release in the UK in the next few weeks. In the meantime, MUBI have announced a Petzold season and the first title that has popped up is this film from 2008. I actually bought the DVD of this title from Germany a few years ago but, as is often the case, I didn’t have time to watch it when it arrived so this was a real treat with the knowledge that whatever happened I could finish it this time round. We are big Petzold fans on this blog and possibly even bigger Nina Hoss fans. She stars in this alongside Benno Fürmann who I remember from an early Thomas Tykwer film The Princess and the Warrior (Germany 2000).
In Jerichow Fürmann is Thomas, who has recently left the Germany army with a dishonourable discharge after a stint in Afghanistan. He has returned to his mother’s house in Jerichow, a scattered community along the Eastern bank of the River Elbe in the East of Germany. His mother has just died and after an altercation with a gangster acquaintance he finds himself penniless. But soon he gets a job with Ali (Hilmi Sözer), a retail entrepreneur who runs a chain of local snack bars and, having lost his licence, needs a driver. Nina Hoss plays his wife Laura. Thomas quickly spots that Laura is abused and eager for a new man. At this point, most critics make a reference to James M. Cain’s The Postman Always Rings Twice first published in 1934 and filmed at least four times in direct adaptations.
I thoroughly enjoyed the film and I find the few online reviews rather baffling. Christian Petzold had already emerged as one of the first of the so-called ‘Berlin School’ to get wider recognition outside Germany and this film played in competition at Venice in 2008. Petzold had already achieved a profile outside Germany with Yella (2007) which also starred Nina Hoss and explored capitalism in the new Germany (i.e. from the perspective of East Germans). Prior to that Nina Hoss and Benno Fürmann had been paired in Petzold’s Wolfsburg (2003) which I haven’t managed to find yet.
Part of the problem for critics, especially in North America I think, is the temptation to make the James M. Cain inspiration more important than it is. The context for the triangular relationship is not the Great Depression of the 1930s but East Germany less than 20 years after re-unification. In addition, Ali is an important character as a Turkish entrepreneur whose chain of snack bars includes some run by other migrants. Ali is a complex character. Some readings suggest he is named in reference to the character in Fassbinder’s film Fear Eats the Soul (1974) but that film takes place in the early 1970s in West Germany, in a period when Turks in Germany were just beginning to think about what would happen after the Gastarbeiter scheme ended in 1973. (And Fassbinder’s Ali is Moroccan, not Turkish). Perhaps Ali had been brought to West Germany as a child in 1973/4? Though Petzold gives us some background to Ali’s plans (to return to Turkey, buying a house in the Taurus Mountains), he doesn’t develop this as Turkish-German directors such as Fatih Akin might do. (I note from a Senses of Cinema essay on Petzold that he deliberately attempted to respond to the Gastarbeiter films in Jerichow – but I don’t know which films these might be.) The focus in Jerichow is on the economic impact of reunification on East Germany. The location of Jerichow is significant in that the Elbe was earlier part of the border between West and East Germany. (The filming was actually carried out in Mecklenburg-Vorpommern nearer the Baltic Sea coast.)
Jerichow offers an almost procedural study of the snackbar business. Ali soon susses out that Thomas has the intelligence and the skills (including hand to hand fighting) to quickly learn the business and take over while Ali briefly visits Turkey. Ali explains that many of the operators of the snack bars attempt to pocket small amounts of money which over time can mean that he loses a substantial sum. On occasions Ali terminates their contracts and gets someone else to take over. Ali then takes Thomas to a supplier where they spy on Laura. Is she also ‘on the take’ or is she having an affair? I don’t want to spoil more of the plot but it is important to note that Laura’s marriage to Ali is about money and at one point she rejects Thomas with the cry that nothing is about love, it’s all about money. We get only a little background on Laura and nothing about Thomas apart from the intimation that he had an East German childhood. Ali presumably grew up in West Germany and I’m not sure about Laura. Would the German audience notice things I’ve missed?
Several reviews suggest that Laura and Thomas have a very cold relationship. It’s complicated because their sexual attraction is obvious but Laura must be affected by Ali’s abuse. At one point Ali pushes the two of them together to dance, almost as if he is showing off Laura to Thomas. Rather than the film noir about a doomed man who would be the Thomas character in the earlier adaptations, Petzold’s film is a character-driven acting tour de force in which money underpins the lives of all three characters. The ending of the narrative moves further away from the Cain novel. It makes more sense to view the film alongside Yella than to think about it as an adaptation. I’m surprised that there hasn’t been more interest in the UK in looking at Petzold’s output since his first fiction feature in 2000. Nine films in 20 years would make a good season and Nina Hoss appears in five. She is also due more exposure. I should also add that Jerichow features several important collaborators who have been with Petzold on many of his features including cinematographer Hans Fromm, editor Bettina Böhler and music composer Stefan Will. There is more to say about this film and I hope to return to it at some point.
Giraffe uses footage of an animal in a Danish safari park to introduce a story about displacement and globalisation. What follows is in some ways a familiar European ‘festival film’. It first appeared at Locarno, then won a prize at the Viennale in 2019. My first thought was that it seemed like another example of a film associated with the ‘Berlin School’. Writer-Director Anna Sofie Hartmann is Danish but she trained at the German Film Academy (FFFB) in Berlin and this film has Maren Ade as one of its producers and Valeska Grisebach and Bettina Böhler are listed in the credits as mentors/consultants. Maren Eggert has a secondary acting role in the film and she has previously appeared in two films for Angela Schanelec. These names suggest that the Berlin School links are strong. They also signal a film with a predominantly female creative team and a female perspective at the centre of the narrative.
Dara (Lisa Loven Kongsli) is an ethnologist and photographer on Lolland, one of the main Danish islands, where she grew up. Though she is now based in Berlin, she is back in Lolland for a few months on a project to document the buildings and the people associated with them who will be displaced because preparations are being made for construction of a tunnel which will link Lolland to Northern Germany. There is very little plot in what is a relatively short film (85 mins). Dara meets various people and delves into local archives to research earlier inhabitants and artefacts. But there is a romance in which Dara, a woman in her thirties, becomes involved with Lucek, a younger Polish worker who is part of a gang laying a cable for services to be used by the construction workers on the tunnel.
My main interest in the film, apart from the aesthetics of its production and the performances, is in the geography of the location and what it means for the economics and sociology of the region. Although I’ve learned something through reading Nordic crime fiction and watching films and TV from Sweden and Denmark, I hadn’t before appreciated just how interconnected the countries around the Eastern Baltic Sea were, and especially how important the network of ferry services is to Denmark, Sweden, Germany and Poland. Hartmann includes various extracts from diaries and personal testimonies in ways which sometimes suggest we are watching a documentary. (Some of the characters in the film are clearly ‘real people’.) We listen to Lucek’s fellow Polish workers who sketch out the economics of why Poles take up contract work elsewhere in the EU since 2008 and these seem like authentic conversations. Lisa Loven Kongsli is actually a Norwegian actor which adds another layer to the film’s meaning with its mix of Danish, German and Polish actors and crew. Maren Eggert’s role is as a woman working on the main ferry to Germany. She has time to simply observe the passengers and she gives us her thoughts about who they are and where they are going – and again Jenny Lou Ziegel’s camera films these passengers in observational documentary mode.
I was reminded in several ways of the French film Fidelio – Alice’s Journey (France 2014) in which a young woman is a ship’s engineer who works with various nationalities, both officers and crew, and has a traditional masculine sailor’s idea about a sexual life in every port. Like Alice, Dara finds a young man even though she has a partner in Berlin and like Alice she is shown to be a highly competent and professional young woman. Both films use diaries and video calls/filmed material to communicate with lovers/friends overseas. A final similarity in the two films is a narrative strand in which the globalised workforce finds itself at the mercy of layers of sub-contractors who come between them and the multinational company who is ostensibly their employer. So in Giraffe, Lucek and his colleagues fear that they might not be paid. I’m not clear on who is paying Dara but she seems to be ‘secure’ in some way. This kind of interaction between workers from different countries often means that conversations are conducted in English, even if in this case, the countries themselves are often geographically quite close. Dara and Lucek make love in English.
I enjoyed watching this film but a quick trawl through other online responses reveals a mixed audience response. In Berlin School style, the narrative is not laid out as a conventional story. Instead each viewer simply needs to watch and listen carefully and piece together their own story. That said, I found some scenes to be humorous and some quite moving as Dara delves into the lives of the people who owned the houses that are to be demolished. The performances are all good and I found simple pleasure in watching Dara at work. Giraffe is currently available on MUBI.
Here’s the only trailer I can find, but no English subs:
Phoenix, Brad Prager, German Film Classics: Camden House 2019, ISBN 9781640140387, £12.99, 88pp, 40 colour illus
My first reaction on reading this title was to wonder if a film can become a ‘film classic’ after only five years. Not that this observation worried me much since there are at least three blog entries on the film on this blog. I reviewed the film when it appeared at the London Film Festival, and both Keith Withall and Rona Murray discussed the film on its release. There is little doubt that Christian Petzold is the most successful of the so-called ‘Berlin School’ of contemporary German filmmakers. It is his films that are selected for international festivals and which tend to receive releases in film markets around the world – something increasingly difficult for many European auteurs these days. Most of Petzold’s successful films have seen him working with Nina Hoss as his leading player and Phoenix is the film on which they last worked together.
It might be worth offering a brief note about Phoenix first as this guide sticks very close to the text and assumes familiarity with the film. Nina Hoss plays Nelly Lenz, who we first see with her head swathed in bandages being driven by her friend Lene through an American checkpoint on her way back to Berlin in September 1945. Later we will learn that Nelly was a well-known singer before the war, but her Jewish heritage meant she was taken to Auschwitz. Somehow she escaped, but was shot in the face. Lene is driving her to meet a plastic surgeon who will re-construct her face. Lene then hopes that Nelly will accompany her to Palestine. However, Nelly hopes to find her husband Johnny (Ronald Zehrfeld) and when she is recovered she begins a search. ‘Phoenix’ is the name of a nightclub attracting Americans in Berlin. The film is loosely adapted from a novel by Hubert Monteilhet, Return to the Ashes (1961), which sets the narrative in France. J. Lee Thompson made an English language film adaptation in 1965 featuring Ingrid Thulin and Maximilian Schell.
Brad Prager is Professor of German and Film Studies at the University of Missouri and he opens his guide by reminding us that Petzold co-wrote Phoenix with his old friend and mentor Harun Farocki. It was Farocki who suggested that the opening shots of the film should recall Robert Siodmak’s 1946 film The Killers [from the Hemingway short story] in which two contract killers are in a car at night searching for a man. Prager refers to Petzold’s comment about Siodmak as a Jewish German migrant in Hollywood, having fled the Nazis in the early 1930s. Siodmak carried with him that sense of being a persecuted exile when he returned to Germany after the war and Petzold sees Nelly as experiencing the same kind of feeling. Siodmak was one of the German directors identified as developing Hollywood films noirs and Petzold has said that film noir was the genre he thought about most in his preparation. He suggests that just as Fassbinder went back to the films of Douglas Sirk when he made his melodramas such as Fear Eats the Soul (1974), he, Petzold needed to go back to the films noirs of the 1940s and to directors such as Siodmak.
Prager offers us a very close reading of the film which I certainly found illuminating, especially in terms of the connections he finds to wider examples of German culture and particularly German Jewish culture. This means he explores similar films made both about 1945 and made in the immediate few months after the war and tracks the links to Jewish figures such as Kurt Weil, whose song ‘Speak Low’ plays a significant role in the film. As well as Robert Siodmak, he also refers to his screenwriter brother Curt/Kurt and to the Central European Jewish actor Peter Lorre. Prager’s first task is to demonstrate to us that Nelly experiences a a strong sense of dislocation in these first few months of what is a period of ‘limbo’ for German identity. Germany at this point simply doesn’t exist – it is an occupied territory. Nelly wants to re-discover her own German identity and her husband will fail to recognise her even though her new face will not be that different – it is more that he is incapable of seeing her. I know something about this period in Berlin but I learned a great deal more from Prager’s analysis. The real question, however, is who is the target readership for this guide?
I suspect that the intended readership is German studies students taking a film option. There are several other study guide series which deal with a specific ‘National Cinema’ through individual texts on key films. Readers need a certain investment in that National Cinema to get the most from the guides. The downside is that such guides don’t always suit the more general Film Studies student. One missing element for me was a sense of the German cinema audience. Checking the Lumière Database for European films I discovered that Phoenix had a smaller audience overall than Barbara (2012), the previous film by Petzold featuring both Nina Hoss and Ronald Zehrfeld. Not only did Phoenix have little more than half the audience of the previous film (530,000 across Europe) but the biggest audience was in France. Barbara, set in East Germany in the 1980s, attracted 1.05 million admissions across Europe and did, just, attract a larger audience in Germany. Prager does perhaps suggest reasons why this might be the case, but I don’t think he addresses what it means for German Cinema. But that’s the only disappointment for me in the analysis. What is the book like as a study guide?
As our other reviewers have pointed out, these are quite attractive guides in terms of presentation, especially since they use digital screengrabs nicely presented in colour. The A5 size is fairly standard for these little guides. In this case the text is presented in an attractive font, but the pages have small margins and the text is fully justified. There are no line spaces between paragraphs and the entire guide is divided into just four sections, corresponding to the linear progress of the narrative of the film. Each section is separated by just a couple of line spaces (rather than a new page). The overall effect is of a solid block of 80 pages of text enlivened only by the illustrations (which thankfully are used relatively frequently). All of this does make the text feel less accessible than it should be. Worse, however, is that there is no index as such, but instead seven pages of endnotes in lieu and a page of credits. The guide is printed on good quality paper, but these seeming cost-saving features rather undercut the overall quality appeal.
Brad Prager is an expert guide having written widely on German cinema and on that basis I would recommend this guide, but I hope Camden House re-consider their design for the series.