Herr Fritz Lang's "Harakiri" (1919) Superb Restoration

Mein liebers:

Forget that old and blurry copy of Herr Lang’s “Harakiri” that circulated since decades among silent film “conneisseurs”!; now and thanks to the efforts and patience of the longhaired youngsters at “Nederlands Filmmuseum” und “Cineteca del Comune di Bologna”, a newly, restored and pristine copy of that early Herr Lang silent film will be available and can be enjoyed, replacing the deteriorated old nitrate, for any silent film fan around the world, German counts included…

The restoration world premiere of “Harakiri” was shown last Sunday 11th at “France 3”, the second largest French public television channel, in the T.V. program “Cinéma de Minuit”, hoping this German count that pretty soon that this great silent film restoration will be released in a modernen disk format.

Herr Graf Ferdinand Von Galitzien

"Jenseits der Strasse: Eine Tragödie des Alltags" (1929) By Leo Mittler

During the twenties of the last century, the Weimar Republic was beset by continuous social and political conflicts. Demonstrations and riots were common and were staged by all political factions: the right, ultra conservatives, socialists and communists. This was the result of out of control inflation and high unemployment.

During those troubled times, an important new film company was created; the “Prometheus Film-Verleih und Vertriebs GmbH” (1926-1931) . This was the work of the German communist party and the films were clearly influenced by the revolutionary Soviet films of that epoch. The company was also a reaction against the more conventional, and during the last twenties, more conservative UFA silent productions. “Prometheus” was a very active and combative film company that produced a few very remarkable proletarian silent oeuvres wherein those Weimar political and social troublesome times were reflected.

“Jenseits der Stasse: Eine Tragödie des Alltags” ( Harbor Drift: A Tragedy of Everyday Life”) (1929) was one of them and for this German count it is one of the best silent films produced by the “Prometheus” film collective. The tragedy of the unemployment in Deutschland and the deplorable situation that this caused in the population, is superbly depicted.

The film tells the story of an old beggar ( Herr Paul Rehkopf ) and an unemployed young man ( Herr Fritz Genschow ). They meet each other while wandering through suburbia and their lives will change drastically when a woman loses a valuable necklace in the crowded city streets. The beggar picks up the jewel and this is witnessed by a nearby prostitute ( Frau Lissy Arna ). The finding of the necklace is not necessarily good luck for the beggar.

The film is a sad portrait of those grim, depressing times and accurately reports those deplorable conditions suffered by the German people. However, in comparison with other film productions of that film collective company, “Jenseits der Strasse…” has a careful aesthetic.

The film was directed by Herr Leo Mittler who, since he was actor before becoming a director, was well acquainted with acting technique and draws excellent performances from his three leads that create convincing social portraits of individuals forced to live in dire conditions in the most sordid part of the city.

The rhythm and the movement of the city street sequences are accelerated, frantic and very modern; artistic shots filmed from various angles capture the rush and atmosphere of the crowded streets and there is the rapid editing that was so characteristic of the very influential revolutionary Soviet silent films.

In contrast with the rush of the city, the film has also industrial shots of the city harbour ( those scenes were shot in Hamburg exteriors ) where the young man tries in vain to find a job. This gives a documentary feel to the film which of course suits its social themes (real people looking for work are shown in these scenes). At the same time, there are dizzying, shining and fascinating scenes that stand in counterpoint to the darkness the characters experience. The desperation of the beggar, jobless man and the prostitute are symbolic of the situation in Germany. These three characters will do anything to get the necklace even at the cost of compassion and self respect. Likewise the beleaguered citizens of Germany will do anything they have to do in order to survive even if the most desperate means bring only temporary relief.

And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a necklace for one of his Teutonic heiress.

Herr Graf Ferdinand Von Galitzien

-/-

Durante la década de los años veinte del siglo pasado, la república de Weimar se encontraba en un estado de continua amenaza debido a diversos conflictos políticos y sociales; manifestaciones y desórdenes públicos en los cuales se involucraban diferentes facciones políticas, por un lado la derecha y los ultraderecha y por el otro, socialistas y comunistas, un gran malestar social causado por una inflación desproporcionada y un elevadísimo desempleo entre la población.

Durante esos problemáticos tiempos, se creó una nueva e importante compañía cinematográfica, la “Prometheus Film-Verleih und Vertriebs GmbH” (1926-1931), perteneciente ésta al partido comunista alemán y claramente influenciada por los filmes revolucionarios soviéticos de la época.
Las bases artísticas por las cuales se creó dicha compañía cinematográfica, era ser el contrapunto, un revulsivo a las muy convencionales y conservadoras producciones silentes, especialmente mediados los años 20, de la UFA, resultando ser “Prometheus” una cooperativa cinematográfica muy combativa y a la cual se deben unos pocos pero más que destacables filmes proletarios silentes, en donde se reflejaban los problemas políticos y sociales que sufría la república de Weimar durante esa década.

“Jenseits der Strasse: Eine Tragödie des Alltags” (1929) fue uno de esos filmes y para éste conde germánico, una de las mejores películas producidas por dicha cooperativa cinematográfica y en la cual se muestra de forma excepcional, el gran drama que supuso para la población los altos índices de desempleo que sufría todo el país.

El filme narra la historia de un viejo mendigo ( Herr Paul Rehkopf ) y un joven desempleado ( Herr Fritz Genschow ) que se conocen mientras vagan por los suburbios de la ciudad; sus vidas cambiarán de forma drástica cuando una mujer pierde de forma accidental un valioso collar en las atestadas calles de la ciudad; el mendigo recogerá la joya, mientras una prostituta de la zona ( Frau Lissy Arna ) es testigo del hecho… un hallazgo inesperado, el collar, que finalmente no le traerá demasiada fortuna al mendigo.

El filme es un triste retrato de esa deprimente y severa época en Deutchland, mostrando claramente las deplorables condiciones en las cuales vivían numerosos germanos, aunque en comparación con otros filmes producidos por “Prometheus”, “Jenseits der Strasse…” se puede apreciar en el filme un cierta preocupación “artística”, además de combativa.

El filme fue dirigido por Herr Leo Mittler el cual antes que director fue actor y ello se refleja en su conocimiento en la dirección de actores, al conseguir excelentes interpretaciones de los tres protagonistas del filme, logrando unos convincentes y realistas retratos sociales de unos individuos que tenían que vivir en condiciones paupérrimas en la parte más sórdida de la ciudad.

El ritmo y el movimiento que se puede apreciar en las secuencias urbanas, es acelerado, frenético y técnicamente modernista; artísticos planos filmados desde variados ángulos que capturan las prisas y la atmósfera de una gran ciudad, incluyendo igualmente escenas con el montaje tan característico de los filmes silentes revolucionarios soviéticos de la época.

En contraste con el frenesí de la ciudad, el filme también incluye planos industriales del puerto ( los exteriores de la película fueron rodados en la ciudad de Hamburgo ) en donde el joven intenta encontrar un empleo en vano; dichas secuencias le dan al filme un aire documental que encaja perfectamente con el aspecto más social que quiere denunciar la película ( en dichas escenas se pueden ver a gente real intentando buscar trabajo ) unos planos igualmente frenéticos, luminosos y al mismo tiempo fascinantes y que contrastan con la oscura situación personal de los protagonistas del filme en los suburbios, esto es, la desesperación de un viejo mendigo, un joven en paro y una prostituta como ejemplo de la caótica situación que se vivía en Germania, tres personajes que intentarán conseguir por todos los medios el preciado collar, sin mostrar compasión o respeto hacia los demás, asediados ciudadanos germánicos que intentan sobrevivir, desesperados esfuerzos para intentar conseguir un alivio momentáneo en sus infelices vidas.

Y ahora si me lo permiten, les tengo que dejar momentáneamente, pues este conde germánico tiene que comprar un collar a una de sus herederas teutónicas.

Herr Graf Ferdinand Von Galitzien

"Otets Sergiy" (1917) By Yakov Protazanov & Alexandre Volkoff

Herr Yakov Protazanov was one of the earliest and most important Russian film directors and a man who knew how to adapt to the times. During his first film period he directed elegant und grandiose ( in Russian terms, natürlich! ) bourgeoisie silent films, many of them movies versions of important works of literature. He spent a short period in France but then returned to Russia where he had to continue directing under the new communist establishment ( a terrible happening for humanity, especially aristocrats). However, Herr Protazanov’s film mastery was not weighed down excessively by the bolshevist order and its aesthetics and propaganda.

“Otets Sergiy” ( Father Sergius ) (1917), a film co-directed with Herr Alexander Volkof (who is not well known but deserves to be), belongs to Herr Protazanov’s early period and even after almost 100 years (Ah, those years past...) the movie has not lost its power.

The film depicts the story of Prince Kasatsky ( Herr Ivan Mosjoukine ), an attractive officer at the Russian court of Tsar Nikolai I ( Herr Vladimir Gajdarov ). Besides being a handsome and elegant youngster, Prince Kasatsky is also ambitious and in love with countess Korotkova ( Frau Olga Kondorova ) but the countess is in a dilemma because she is the Tsar’s mistress! The Tsar’s affair, as per usual in court matters, must be kept a secret to avoid rumours so Prince Kasatsy does not know the countess has a royal lover. The monarch must decide whether to intervene or let his mistress become engaged to the Prince. A few days before the marriage, the Prince discovers the whole truth about his fiancée’s secret love affair and, shocked by this, he leaves the aristocratic world to become a monk.

The film stars Herr Ivan Mosjoukine who worked in many of Herr Protazanov’s earliest films and will do the same with the most important Herr Volkoff oeuvres; “Otets Sergiy” is a fruitful collaboration that bears excellent results.

The performance of Herr Mosjoukine is simply superb, a magnificent portrayal of the character’s changes through life. He goes from being an eager youngster full of dreams to a tormented and sad soul; it is probably Herr Mosjoukine’s best performance. Especially memorable is Father Sergius’ battle with the desires of the flesh that pursue him in the figures of seductive and wicked frauleins . Most notable is the scene where the widow ( Frau Nathalie Lissenko ) of the merchant Makovkin, decides to spend a night with the monk in his cell. Determined to avoid lust and temptation, Father Sergius cuts off a finger of his hand with an axe ( if this anti-lust method was adapted by Catholic friars instead the Orthodox, the Catholic church would have been full of one handed clerics)

The film was based on a story by the Russian writer Herr Leo Tolstoy and due to the boldness of the tale ( an implicit eroticism, political criticism, issues within the Orthodox Church ) the film wasn’t shown until a year later its production. No matter; it still became the most important and remarkable film made before the October revolution, superbly directed and containing all Herr Protaznov’s early virtues. Perhaps Herr Volkoff should be given credit for the sensual and decadent atmosphere of the Tsar’s court, especially in terms of the lavish art direction (an important part of Herr Volkoff’s later films). The vanity and hypocrisy of the court stands in stark contrast to the second half of the film in which our hero lives the austere and lonely life of an ascetic but one who is well aware that the old desires of the past are not dead but lie constantly in wait.

And now, if you'll allow me, I must temporarily take my leave because this German Count must talk to one of his Teutonic rich heiress like a Father.

Herr Graf Ferdinand Von Galitzien

-/-

Herr Yakov Protazanov fue uno de los más importantes y pioneros directores rusos, el cual, ciertamente, sabía muy bien cómo adaptarse a los tiempos; durante su primera época dirigió elegantes y grandiosos ( según parámetros rusos, natürlich! ) filmes burgueses silentes, muchos de los cuales se basaban en adaptaciones de grandes obras de la literatura.
Después de pasar una corta temporada en Francia dirigiendo, volvió a su Rusia natal para continuar con su trabajo, ahora bajo el nuevo gobierno comunista ( un terrible acontecimiento éste para la humanidad y mucho más para los aristócratas… ) aunque afortunadamente la maestría cinematográfica de Herr Protazanov no se vio demasiado lastrada por el nuevo orden bolchevique con su peculiar estética y propaganda.

“Otets Sergiy· (1917), filme codirigido con Herr Alexander Volkoff, un director éste no demasiado conocido y que desde luego merece mucha más atención silente, pertenece a la primera época de Herr Protazanov y aunque ya han transcurrido casi cien años desde su realización ( ¡ah, aquellos viejos tiempos! ) el filme mantiene intactas todas sus virtudes.

El filme narra la historia del príncipe Kasatsky ( Herr Ivan Mosjoukine ), un atractivo oficial perteneciente a la corte del zar Nicolás I ( Herr Vladimir Gajdarov ); además de ser un agraciado y elegante joven, el príncipe Kasatsky es también ambicioso y está enamorado de la condesa Korotkova ( Frau Olga Kondorova ) aunque la condesa juega a dos manos pues la susodicha es también ¡la amante del Zar!.
Como suele acontecer en círculos aristocráticos, los amoríos de la corte deben ser mantenidos en secreto, evitando así, que se propaguen ciertos rumores, por esto mismo el príncipe Kasatsy desconoce que la condesa tiene todo un amante real, aunque finalmente el monarca decidirá tomar cartas en el asunto y aconseja a la condesa que se prometa al príncipe.
Unos días antes de la celebración de la boda, el príncipe descubre toda la verdad acerca del asunto amoroso y secreto de su prometida; tras haber recibido tan grave golpe, el príncipe Kasatsy decide dejar el mundo aristocrático y se hace monje, siendo conocido en su nueva vida como el padre Sergio.

El filme está protagonizado por Herr Ivan Mosjoukine el cual trabajó en numerosos filmes de la primera época de Herr Protazanov así como posteriormente en las más importantes obras de Herr Volkoff, siendo “Otets Sergiy” el resultado de una fructífera colaboración con inmejorables resultados.

La interpretación de Herr Mosjoukine es simplemente magnífica, excelentes son los registros que se pueden contemplar en el filme y que sufre el personaje durante su vida, desde que es un jovenzuelo repleto de sueños hasta convertirse el susodicho en un alma triste y atormentada, siendo probablemente ésta interpretación de Herr Mosjoukine, una de las mejores de toda su carrera cinematográfica.
Especialmente memorable es la continua batalla que mantiene el padre Sergio con los más terrenales deseos carnales, persiguiéndolo en forma de seductoras y malvadas frauleins, destacando especialmente la escena en la cual la viuda ( Frau Nathalie Lissenko ) del comerciante Makovkin, decide pasar una noche con el monje en su celda; para evitar caer en la tentación y la lujuria, el padre Sergio se corta un dedo de su mano con un hacha ( si éste método anti-lujuria fuese adoptado por los frailes católicos además de los de la iglesia ortodoxa, la iglesia católica estaría repleta de mancos… ).

El filme está basado en una obra del escritor ruso Herr Leo Tolstoy y debido a lo atrevido de su trama ( un implícito erotismo, cierta crítica política entrelazada ésta con la iglesia ortodoxa ) consiguieron que el filme no fuese estrenado hasta un año después de su realización, un asunto baladí éste, ciertamente, pues “Otets Sergiy” puede considerarse como la obra más importante y el más destacable filme producido antes de la revolución rusa, gracias a las magníficas virtudes cinematográficas de Herr Protazanov y, probablemente, la ayuda de Herr Volkoff en la dirección artística, siendo seguramente éste último el máximo responsable de la sensual y decadente atmósfera de la corte del Zar, un aspecto estético éste que se puede apreciar en posteriores filmes de Herr Volkoff.

A destacar la vanidad e hipocresía de la corte en la primera parte del filme en perfecto contraste con una segunda en donde el protagonista vivirá una existencia solitaria, austera, típica de un asceta, sufriendo además la penitencia de viejos deseos carnales de un pasado que se mantiene al acecho.

Y ahora si me lo permiten, les tengo que dejar momentáneamente, pues este conde germánico tiene que hablar con un tono paternal a una de sus ricas herederas.

Herr Graf Ferdinand Von Galitzien

"Ludwig der Zweite, König von Bayern" (1930) By Wilhelm Dieterle

To be a German aristocrat is not an easy job, certainly. The agenda is full of unimportant events they must attend where they have to suffer the company of other bored aristocrats (as well as drink with them). Having this in your longhaired mind, you can imagine then what a complicated matter it is to be a king in Deutschland because the trifling matters mentioned above multiply faster than commoners.

In order to illustrate the hard life of a German king, Herr Wilhelm Dieterle ( before being known as William during his prolific and long USA talkie career ) directed in the silent year of 1930 ( well, certainly at that time, silents were becoming as unusual as monarchies in old Europe ) “Ludwig der Zweite, König von Bayern”, a silent biopic about the last part of the life of His Highness King Ludwig II, king of Bavaria.

Herr Ludwig ‘s personality made him an interesting screen character. His life was full of luxuries but also eccentricities and finally madness; his story has all the necessary ingredients to appeal a busybody Teutonic audience who could then contemplate the miserable life of one of their most controversial kings.

His Highness Ludwig II had a special love for the Arts; he was Herr Richard Wagner’s patron and he gave the composer economic help at the beginning of his career when he was writing operas ( Herr Ludwig II's eccentricity thus has even caused suffering today). The king built many sumptuous castles, not in the air but scattered around Bavaria adorning in this way the country. This failed to impress his subjects and their loyalty to their sovereign wavered and their discontent was encouraged by politicians who finally conspired against the king, declared him mentally ill and deposed him. He subsequently died under strange circumstances.

Herr Wilhelm Dieterle, who also plays Ludwig II in the film, depicts very well the controversies around the figure of the Bavarian king. The film is a lavish UFA production which means the art direction and the historical settings are all that you would expect. The contrast between the dreamy, whimsical king and his down to earth and fickle subjects is carefully depicted and faithful to history.

Herr Dieterle ‘s restrained performance, showing the contradictions, whims and wishful thinking of the monarch as well as his isolation, is especially remarkable. His Ludwig is a tormented king who is not appreciated, a man who lives in his idealized kingdom of Arts but has to deal with cruel reality and greedy politicians and bureaucrats as well as his uncomprehending people. All that was certainly enough to drive His Highness Ludwig II mad.

And now, if you'll allow me, I must temporarily take my leave because this German Count must build castles in Spain.

Herr Graf Ferdinand Von Galitzien

-/-

Ser un conde aristócrata germánico no es, ciertamente, un trabajo nada fácil, pues su agenda está siempre repleta de intranscendentales actos a los cuales debe acudir, además de sufrir y beber en los mismos, en la compañía de otros aburridos aristócratas; teniendo en cuenta éstas cuestiones en sus melenudas cabezas, entonces se podrán imaginar como resulta ser todavía más complicado ser un rey en Deutschland, pues esos actos baladíes mencionados anteriormente, se multiplican tanto como sus súbditos.

Para ilustrar la dura vida de un rey germánico, Herr Wilhelm Dieterle ( antes de ser conocido éste como Herr William en su posterior y prolífica larga etapa sonora americana ) dirigió en el año silente de 1930 ( la verdad es que ya por entonces, los filmes silentes resultaban ser tan excepcionales como las viejas monarquías europeas ) “Ludwig der Zweite, König von Bayern”, una biografía silente sobre la última época en la vida de su alteza real el rey Ludwig II, rey de Baviera.

La particular vida de Herr Ludwig, logró que fuese una interesante personalidad para la gran pantalla, una vida repleta ésta de grandes lujos a la par que enormes excentricidades y que derivó en una posterior locura, una historia, por lo tanto, que dispone de todos los ingredientes necesarios para llamar la atención del chismoso público teutón y así satisfacer su curiosidad, contemplando la triste vida de uno de sus más controvertidos reyes.

Su Alteza Real Ludwig II tuvo una especial querencia por las artes; fue mecenas del compositor Herr Richard Wagner al cual ayudó económicamente con sus primeras operas ( una excentricidad de Herr Ludwig que todavía puede sufrirse actualmente… ), además de ordenar la construcción de suntuosos castillos, no en el aire, si no esparcidos a lo largo y ancho de Baviera y con el único objetivo de adornar su país.
Estas preocupaciones artísticas del monarca, no impresionaban demasiado al populacho, logrando poner en peligro su reinado gracias a una su lealtad ciertamente oscilante, un descontento éste que era alentado por la clase política de su país y que continuamente conspiraba en contra del rey, logrando finalmente sus propósitos al declarar al monarca incapacitado mentalmente y deponerlo de su puesto, muriendo finalmente Herr Ludwig en su forzoso retiro en extrañas circunstancias.

Herr Wilhelm Dieterle, el cual interpreta a Herr Ludwig II en el filme, muestra de forma acertada las contradicciones y polémicas que rodearon a la figura del rey Bávaro, filmando toda una lujosa gran producción UFA, con lo que esto significa, esto es, incluir una excelente dirección artística y cuidada ambientación histórica, contrastando además el director los caprichos y sueños del monarca con la veleidosa realidad de sus súbditos, además de mostrarse muy fiel a los hechos históricos en los cuales se basa el filme.

La comedida interpretación de Herr Dieterle, mostrando las contradicciones, caprichos y quimeras del monarca, así como su aislamiento, es especialmente destacable; la figura de Herr Ludwig se muestra como la de un atormentado monarca no demasiado apreciado por su pueblo, un hombre que vive aislado en su idealizado reino de las artes, el cual tiene que afrontar necesariamente la cruda realidad, esto es, avariciosos políticos, burócratas y un pueblo que no lo comprende, hechos éstos más que suficientes para llevar finalmente a la locura a Su Alteza Real Ludwig II.

Y ahora si me lo permiten, les tengo que dejar momentáneamente, pues este conde germánico tiene que mandar construir castillos en el aire.

Herr Graf Ferdinand Von Galitzien

Remarkable Silent Quotes

The intertitle says:

"Leave me alone!... Keep away from me!!!... I'm the poison girl!... My breath kills!".

So... that was the problem... have you tried to visit your dentist, mein liebe??...

-/-

Así que ése era el problema... ¿ha intentado usted, mein liebe, visitar a su dentista?...

( From Herr Roger Lion's "La Venenosa" (1928)

Herr Graf Ferdinand Von Galitzien

"La Venenosa" (1928) By Roger Lion

Frau Francisca Márquez López was known to the whole artistic world as Frau Raquel Meller; she was a Spanish cabaret singer with an international reputation and extremely popular. She also had a short career as an actress though “acting” is perhaps too strong a word for what she did on the screen.

Frau Meller’s very successful singing led to her movie career, but of course, these being silent films, her voice and popular songs were of little use. Having in mind this handicap she should have tried harder performing her roles but Frau Meller’s ego and star temperament led her to believe that her mere presence on the screen was enough. This was a big error and one can be checked by the newer youngster generations at any time.

Although Frau Meller started her acting career in Spain, it was in France during the 20’s where she became a film star and made her most important movies (their importance comes from the efforts of the director, the other actors, the photographers, the set designers, the make-up artist and the patience of the whole crew ). “La Venenosa”, a film directed by Herr Roger Lion, was the last one of her silent career.

The film depicts the story of “La Venenosa” ( Poison girl ) ( Frau Raquel Meller ) who has a terrible legend and mystery around her: some people said that she was born in India of a mother who was a snake charmer and a father who was a renegade fakir. She was bitten by a sacred snake when she was a child and for this reason she doesn’t know what fear or love is and any man who tries to seduce her dies; for this reason she is known as “the poison girl”.

“La Venenosa” works in a circus and during her trapeze days she will have troublesome and tormented love affairs with various men: Massetti, a sad clown ( Herr Georges Tourreil ), a lion tamer ( Herr Georges Marck ), a criminal that belongs to the Parisian Apache gang ( Herr Warwick Ward ) and an Indian prince ( Herr Sylvio De Pedrelli ) who she will finally marry. Her happiness with the prince doesn’t last long; he dies in an accident on their wedding night (one of her spiteful lovers is to be blame). However, this turns out to be a blessing in disguise because now, thanks to her deceased prince’s fortune, the poison girl is a rich woman and she will find true love in the arms of her Apache criminal, now an honest man and-even better-a millionaire.

The film is a perfect vehicle for Frau Meller; she only has to stand in front of the camera and do her specialty as an actress, that is to say, nothing at all. Happily she gets to wear luxurious Herr Jean Lanvin couture, a fact this that is very well advertised at the beginning of the film.

“La Venenosa”, in spite of Frau Meller, is an interesting French circus film during its first part, with a peculiar and decadent atmosphere that this Herr Graf likes very much. In the trapeze scenes there is an elaborate use of the camera and the slums sequences are full of frenchified criminals and frenchified fräuleins. The film becomes less interesting when it switches to papier-mâché exoticism and luxurious décors during the last part of the oeuvre, replacing the darkness of the circus days with a light, painless and exaggerated life of comfort. On the other hand, this was perhaps a necessary change given Frau Meller’s limited artistic resources and interests. The film becomes a coarse copy of any Frau Gloria Swanson film although the only similarities that Frau Meller shares with the Amerikan star is her short stature and her tall star temperament.

And now, if you'll allow me, I must temporarily take my leave because this German Count must poison a rich heiress’ mind.

Herr Graf Ferdinand Von Galitzien

-/-

Frau Francisa Márquez López, más conocida en todo el mundo artístico como Frau Raquel Meller, fue una de las cupletistas hispánicas más internacionales y reconocidas hasta éstos días modernistas, la cuala tuvo también una corta carrera artística como actriz, aunque “actriz” sea quizás un término demasiado exagerado para sus escasos méritos en la pantalla silente.

El éxito que consiguió Frau Meller como cantante dio paso a una carrera cinematográfica, por aquella época silente, natürlich!, un hecho éste en el cual su voz y canciones populares no servían de mucho, por dicho motivo y teniendo en cuenta tan importante inconveniente, la popular cupletista hispánica debería haberse esforzado un poco más en su nuevo oficio como actriz silente, aunque finalmente el ego y el divismo de Frau Meller no consideraba necesario dicho esfuerzo, creyéndose que su mera presencia en la pantalla silente era más que suficiente, un craso error éste, ciertamente y que puede ser comprobado actualmente por las nuevas generaciones de jóvenes modernistas.

Aunque la carrera cinematográfica de Frau Meller comenzó en Hispania, fue sin embargo en Francia y durante los años 20, en donde la susodicha alcanzó fama internacional y protagonizó sus más importantes filmes ( gracias al esfuerzo de los directores, actores, los directores de fotografía, decoradores, los maquilladores y la paciencia de todo el equipo ), siendo “La Venenosa”, filme dirigido por Herr Roger Lion, el último de su carrera silente.

El filme narra la historia de “La Venenosa”, una joven que se haya envuelta en una historia de leyenda y misterio; alguna gente dice que nació en la India de una madre que tenía como oficio ser encantadora de serpientes y su padre, un fakir renegado; durante su infancia fue mordida por una serpiente sagrada y por dicho motivo no sabe lo que es el miedo y el amor, además el hombre que intenta seducirla, muere y por dicho motivo es conocida con el sobrenombre de “La Venenosa”.

“La Venenosa” trabaja en un circo y durante sus días de trapecio, tendrá tormentosas y complicadas relaciones amorosas con diversos hombres: Massetti, un payaso triste ( Herr Georges Tourreil ), un domador de leones ( Herr Georges Marck ), un delincuente, perteneciente éste a la banda parisina de los Apaches ( Herr Warwick Ward ) y un príncipe hindú ( Herr Sylvio De Pedrelli ) con el cual finalmente se casará.
La felicidad de la venenosa no durará demasiado tiempo, pues durante su misma noche de bodas, el novio morirá en un accidente en el cual también está involucrada una amante del susodicho; de todas formas y como no hay mal que por bien no venga y gracias a la fortuna que heredera del príncipe hindú, la venenosa es ahora una mujer con posibles y que encontrará finalmente el amor verdadero en los brazos del delincuente Apache, ahora reconvertido en un hombre honrado y lo que es mejor, tofdo un millonario.

El filme es un vehículo perfecto para Frau Meller y en el cual la susodicha solamente tiene que ponerse enfrente de la cámara y hacer lo que mejor sabe como actriz, esto es, nada… para compensar sus escasos recursos, Frau Meller luce lujosos modelos de Herr Jean Lanvin, los cuales son muy bien publicitados desde el mismo inicio del filme.

“La Venenosa” y a pesar de Frau Meller, durante su primera parte, es un interesante filme circense afrancesado, en el cual se puede apreciar una peculiar y decadente atmósfera de esas que éste Herr Graf gusta tanto.
Las escenas que transcurren en el trapecio, se puede observar en las mismas un elaborado uso de la cámara, así cómo también hay que resaltar el peculiar ambiente de las escenas que transcurren en los suburbios de la ciudad, secuencias éstas repletas de delincuentes afrancesados, acompañados éstos de afrancesadas fräuleins.
El filme, sin embargo, decrece en interés cuando ese ambiente oscuro circense es reemplazado por un exotismo de “papier-mâché” y lujosos decorados durante la última parte del filme, un ambiente éste demasiado exagerado aunque ciertamente necesario para los limitados recursos artísticos e interpretativos de Frau Meller, resultando ser finalmente el filme una burda copia de cualquier película de Frau Gloria Swanson, aunque lo único que comparte Frau Meller con la actriz americana es su baja estatura y su gran divismo.

Y ahora, si me lo permiten, les tengo que dejar momentáneamente, pues este conde germánico tiene que envenenar el pensamiento de una de sus ricas herederas teutónicas.

Herr Graf Ferdinand Von Galitzien

"Wunder Der Schöpfung" (1925) By Hanns Walter Kornblum

As you well know at this time, mein liebers, this Herr Graf is surrounded by day and night (especially night) by the ample bodies of rich Teutonic heiresses, so when this German count heard that the title of the next film to be shown at the Schloss was “Wunder Der Schöpfung” ( Our Heavenly Bodies ) (1925), he naturally thought that he would be watching an oeuvre about a lot of beautiful and Teutonic young fräuleins for once.

Alas, it wasn’t that way… it turned out to be a cultural silent film about astronomy!!... Can you believe that??!.

After recovering from this deception, this Herr Graf enjoyed the lecture of this didactic silent film about astronomy, physics and the whole universe, because although this German count would have rather been looking at physiques of another sort, “Wunder Der Schöpfung” turned out to be a remarkable and entertaining film. It is highly recommended for any audience ( even German counts satyrs ) who will be fascinated since the subject is the mystery of the universe and the world we are living in.

The film was supervised, not exactly directed, by Herr Hanns Walter Kornblum, and it is a “Kulturfilm” as opposed to the commercial films of the German silent era ( well, this Herr Von must say that the “commercial” film of then has nothing in common with the commercial film of today )

In spite of the brainy subject matter, the film is not boring as it explains, in chapters, different lessons about gravity, the planets and the stars. It does so in an entertaining way and even this ignorant German count could follow it so it wouldn’t be a problem for any reasonably intelligent audience to understand it. The use of animated scenes, graphics, camera tricks and historical recreations hook the spectator immediately; It was an elaborate project and took two years to make.

In the picture we can see a lot of stars and even guest stars such as Herr Galileo, Herr Copernicus, Herr Newton or Herr Einstein. There’s also a short and bizarre futuristic sequence wherein German astronauts travels through time and space, visiting Mars and other planets, explaining what they see and what happens in the universe, until they arrive at infinity, a very faraway place, indeed. At that point the wisely decide to go home.

“Wunder Der Schöpfung” is a very remarkable cultural silent film ( another “Edition Filmmuseum” great restoration with beautiful tinted sequences ) that enlightens and educates the spectator about time and space, the mystery of the universe, the Earth’s creation and its future destruction ( a typical German touch this, certainly… ), the planets and the stars; everything done in a detailed scientific way but at the same time very entertaining ( the most fictional part within the film are the Bible quotes and its inaccuracies ). As some longhaired youngster said sometime ago, “Wunder Der Schöpfung” is certainly a wonderful space oddity.

And now, if you'll allow me, I must temporarily take my leave because this German Count must to go into orbit around one of his Teutonic rich and fat heiresses.

-/-

Como a éstas alturas ustedes muy bien sabrán, éste Herr Graf está rodeado día y noche ( especialmente durante la noche… ) por los generosos cuerpos de ricas herederas teutónicas, por dicho motivo, cuando éste conde germánico tuvo conocimiento de que el próximo filme a proyectar en el teatro del Schloss tenía por título, “Wunder Der Schöpfung” (1925), esto es, “Los Maravillosos Cuerpos Celestiales”, creyóse que vería un filme en el cual se podría contemplar en él a un montón de bellas y jóvenes fräuleins teutónicas.

Lamentablemente, no fue así, pues resultó ser un filme cultural silente acerca de ¡astronomía!... ¡¿se lo pueden creer?!.

Tras recuperarse de su decepción, éste Herr Graf disfrutó, sin embargo, de esa didáctica lección silente acerca de astronomía, física y el universo al completo, pues aunque éste conde germánico hubiese preferido ver, ciertamente, otra clase de “física”, “Wunder Der Schöpfung” resultó ser todo un entretenido y más que destacable filme, altamente recomendable para cualquier público ( incluso sátiros germánicos ) pues quedarán fascinados al contemplar el misterio del universo y el mundo en el cual vivimos.

El filme fue supervisado, que no dirigido, por Herr Hanns Walter Kornblum, un “Kulturfilm” como alternativa silente a los filmes comerciales germánicos de dicha época ( aunque éste Herr Von debe precisar que el término “comercial” no tiene nada que ver con los parámetros de hoy en día ).

A pesar de lo sesudo del tema en cuestión, el filme no resulta ser aburrido en absoluto, al explicar en diferentes capítulos, diversas lecciones acerca de la gravedad, los planetas y las estrellas; resultando ser una obra tan entretenida que incluso un ignorante conde germánico pudo seguirla sin demasiadas complicaciones, por lo que para un público mucho más inteligente no será ningún problema comprenderlo gracias al uso de escenas animadas, gráficos, trucos de cámara y recreaciones históricas, que atraen la atención del espectador de forma inmediata, todo un elaborado proyecto cinematográfico que tuvo una producción de dos años.

En el filme se pueden contemplar un montón de estrellas, además de estrellas invitadas como Herr Galileo, Herr Copérnico, Herr Newton o Herr Einstein, además de incluirse en la obra una futurista y bizarra secuencia en la cual astronautas germánicos viajan a través del tiempo y el espacio, visitando Marte y otros planetas, explicando lo que ven y acontece en el universo durante su viaje, hasta que llegan al infinito, un lugar bastante lejano, ciertamente, por lo cual deciden, sabiamente, volver al hogar.

“Wunder Der Schöpfung” es un excelente filme silente cultural ( otra excelente restauración con bellas secuencias tintadas a cargo de “Edition Filmmuseum” ) que ilustra y educa al espectador acerca del tiempo y el espacio, el misterio del universo, la creación de la Tierra y su futura destrucción ( un toque, éste, típicamente germánico, ciertamente… ), los planetas y las estrellas, realizado todo ello tratado científicamente pero al mismo tiempo de forma muy entretenida ( la parte más fantasiosa incluida en el filme corre a cargo de las citas bíblicas y sus inexactitudes científicas… ); como un joven melenudo dijo hace cierto tiempo, “Wunder Der Schöpfung” es toda una maravillosa rareza espacial.

Y ahora si me lo permiten, les tengo que dejar momentáneamente, pues éste conde germánico tiene que entrar en la órbita de una de sus ricas y gordas herederas teutónicas.

Herr Graf Ferdinand Von Galitzien

Remarkable Silent Quotes

It is not an easy task to translate a German yell to French, certainly...

-/-

Dende logo non é nada doado traducir un berro xermánico ó francés...

( From Herr Rolf Randolf's "Der Bettler vom Kölner Dom" (1927) )

Herr Graf Ferdinand Von Galitzien

"Der Bettler vom Kölner Dom" (1927) By Rolf Randolf

Something stinks in the city of Cologne ( a very embarrassing fact for that German city, certainly… ).

An international gang of thieves and swindlers decide to move their criminal operation to the Teutonic city of Cologne but Herr Tom Wilkens ,( Herr Henry Stuart ) one of the best agents of the international police, is not far behind and leads an investigation to unmask the criminals.

“Der Bettler vom Kölner Dom” ( The Beggar From The Dome Of Cologne ) (1927) is a very remarkable and well-done German detective silent film made by Herr the not well-known- Rolf Randolf.

The detective or police genre was fairly uncommon for the German silent cinema ( Teutonic audiences preferred more interesting metaphysical and depressing subjects for their entertainment… ) although there were important exceptions such as Herr Harry Piel who starred in a lot of detective films full of mysterious adventures during the silent ( and talking ) era. He became the quintessential Teutonic silent hero and his very popular police films appealed to those German audiences who were fond of Amerikan detective movies.

“Der Bettler vom Kölner Dom” is clearly influenced by those obscure Amerikan silent detective films both in terms of aesthetics and film narrative ( this Herr Von saw through his monocle Herr Tod Browning’s spirit in the underworld depicted in the oeuvre ) although Herr Randolf tailored these aspects to German idiosyncrasies in a very successful and remarkable way.

The film is carefully plotted ( although sometimes confusing ) and Cologne is given a mysterious and disturbing atmosphere with a sense of menace being artistically created.

“Der Bettler vom Kölner Dom” has many excellent moments depicting the gang and their activities, whether they are operating in the slums or in elegant circles.
Nothing is what it seems to be and every detail enriches the tension. There are different tricks, disguises and gadgets all expertly and elaborately photographed.
The film also has a lot of irony and humour ( German, natürlich! ) some of which comes from the characters of a singular pair of private detectives, Herr Napoleon Bonaparte Schmitz ( Herr Karl Geppert ) and Herr Carolus Caesar Müller ( Herr Hermann Blass ) who will help (maybe not a lot), Herr Wilkens during his police investigations. Their presence lightens the mood.

“Der Bettler vom Kölner Dom” is full of those ingredients that a good detective silent film needs; that is to say, an unscrupulous gang, a brave detective, dangerous fräuleins and a lot of action and adventures through the city of Cologne ( But this is a German film so the rhythm is sometimes slow). This is an unjustly forgotten and very remarkable silent film that thanks to the superb restoration made by the longhaired youngsters at the “Edition Filmmuseum”( which includes a superb new orchestral soundtrack by Herr Pierre Oser, that will be released during the next months), can be enjoyed and discovered by any silent film fan around the world.

And now, if you'll allow me, I must temporarily take my leave because this German Count must perfume himself with an entire bottle of eau-de-Cologne.

Herr Graf Ferdinand Von Galitzien

-/-

Algo huele a podrido en la ciudad de Colonia y éste es un hecho ciertamente embarazoso para esa ciudad germánica…

Una banda internacional de ladrones y estafadores decide trasladar sus operaciones criminales a la teutónica ciudad de Colonia pero afortunadamente Herr Tom Wilkens ( Herr Henry Stuart ), uno de los mejores agentes de la policía internacional, está siguiendo sus pasos, liderando una importante investigación para desenmascarar a esos criminales.

“Der Bettler vom Kölner Dom” (1927) es un filme policial germánico muy destacable y muy bien realizado por el poco conocido director Herr Rolf Randolf.

El género policiaco no era demasiado habitual dentro del cine silente germánico ( el público teutón prefería temas mucho más interesantes, metafísicos y deprimentes para su entretenimiento… ) aunque hubo importantes excepciones en dicho género como Herr Harry Piel, el cual protagonizó muchos filmes detectivescos repletos de aventuras durante la época silente e incluso sonora, convirtiéndose en la quintaesencia del héroe teutón gracias a sus filmes que gozaban del favor del público germánico y que gustaban especialmente de las películas policíacas americanas.

“Der Bettler vom Kölner Dom” está claramente influenciado por ciertos oscuros filmes policíacos silentes americanos, tanto en aspectos estéticos como narrativos ( éste Herr Von vio con su monóculo el espíritu de Herr Tod Browning especialmente durante las escenas de los bajos fondos del filme ) aunque Herr Randolf adapta de forma exitosa y más que destacable esas peculiaridades a la idiosincrasia germánica.
La trama del filme está muy cuidada, aunque a veces resulte un poco confusa, creando para la ciudad de Colonia una misteriosa, inquietante atmósfera amenazante, artísticamente muy conseguida.

“Der Bettler vom Kölner Dom” tiene numerosos momentos excelentes protagonizados por la banda y sus criminales actividades, operando tanto en los suburbios de la ciudad como en sus elegantes círculos.
Nada es lo que parece ser y cada pequeño detalle incluido en la trama ( diferentes trucos, disfraces y gadgets, todo ello muy bien elaborado y fotografiado ), enriquecen la tensión en el filme.
La película posee también grandes dosis de ironía y humor ( germánico, natürlich! ) destacando especialmente un par de singulares detectives privados, Herr Napoleón Bonaparte Schmitz ( Herr Karl Geppert ) y Julio César Müller ( Herr Herrmann Blass ) los cuales ayudarán ( o quizás no demasiado… ) a Herr Wilkens durante sus investigaciones policiales.

“Der Bettler vom Kölner Dom” está repleto de esos ingredientes que un buen filme policiaco necesita, esto es, una banda de criminales sin escrúpulos, un valiente detective, peligrosas fräuleins y mucha acción y aventuras por toda la ciudad de Colonia ( aunque al tratarse de un filme germánico el ritmo a veces resulte un poco pausado ).
Un destacable filme injustamente olvidado y que gracias a la excelente restauración llevada a cabo recientemente por los jóvenes melenudos de “Edition Filmmuseum”, la cual incluye una excelente y nueva banda sonora orquestal compuesta por Herr Pierre Oser y que será distribuida durante los próximos meses, podrá ser finalmente disfrutado y descubierto el filme por cualquier aficionado silente del mundo entero.

Y ahora si me lo permiten, les tengo que dejar momentáneamente, pues este conde germánico tiene que perfumarse con una botella entera de agua de Colonia.

Herr Graf Ferdinand Von Galitzien

"Metropolis" (1927) By Fritz Lang

At this time of the new millennium it is a miracle that even today some lost silent footage from the last century can turn up, emerging from the darkness and allowing a new generation of silent fans to take a look again at those old and forgotten images. Miracle of miracles, some of that rediscovered silent footage belongs to one of the icons of the film history, Herr Fritz Lang’s “Metropolis” (1927).

“Metropolis” is one of those few silent films well-known to everybody in these modern days, from aristocrats to commoners, so it is not necessary to say too much about the story of the film, a fascinating futuristic picture that in the background has elements of social criticism influenced by the troubled old Weimar days, a film that through the times suffered many mutilations and revisions, from abridged versions to even a modern pop music version. In 2008 a 16 mm. negative was found in Buenos Aires so finally there was the chance for silent fans, 80 years later after its premiere ( obviously this Herr Graff attended the original premiere in Berlin… ) to watch a version of “Metropolis” very close to its original condition thanks to an additional thirty minutes.

The film was recently restored by the “Murnau Foundation” and was screened at the “Berlinale” film festival where elegant Teutonic people enjoyed the restoration in a warm theatre while interested commoners watched the film at the Brandenburg Gate on a freezing night. Ah, the social class struggle continues even after 80 years, just as it happens in the film.

“Continuity” is the best word to sum up what this new “Metropolis” restoration brings to the story. Now the pace of the film becomes more rapid, especially at the thrilling climax. Some narrative gaps, admittedly not very important ones, are filled; we see more of the character of the thin man ( Herr Fritz Rasp ) Herr Joh Fredersen’s spy and there are also interesting scenes of the vice at “Yoshiwara” district.

Certainly “Metropolis” has been enjoyed by generations of silent film admirers who appreciated its futuristic setting, the incredible decors, special effects and technique, the different performers acting and overacting , and the social dimension of the story. In spite of suffering many mutilations through the years, the power of the film was undiminished, as one would expect of a masterpiece. It even survived the pop adaptation done by the longhaired generation; this was a dubious approach to a silent but effective as a way of getting youngsters acquainted with this great film. Finally though, after all these years, the film can be seen at its best, much like the way Herr Graf remembers it at the premiere at the Ufa-Palast am Zoo cinema in Berlin. We can appreciate the film fully now, not to mention that we are finally living now in the early XXI century, the time “Metropolis” is set in!.

And now, if you'll allow me, I must temporarily take my leave because this German Count must decide who he should invite for tea, Maria or the robot.

Herr Graf Ferdinand Von Galitzien

-/-

A éstas alturas del nuevo milenio, se puede considerar un milagro el que todavía hoy en día siga emergiendo desde su oscuridad, algún metraje silente considerado perdido, dando así la oportunidad a las nuevas generaciones silentes, de poder contemplar de nuevo esas viejas y olvidadas imágenes, un hecho más aún milagroso si cabe si encima el material silente encontrado pertenece a uno de los iconos de la historia del cinematógrafo, tal y como acontece con “Metropolis” (1927) de Herr Fritz Lang.

“Metropolis” es uno de esos escasos filmes silente bien conocido por todo el mundo en estos tiempos modernistas, tanto por aristócratas como por plebeyos, por lo tanto no es necesario comentar demasiado acerca de la trama del filme, una fascinante obra futurista con elementos de crítica social subyacentes en su historia, influenciada ésta por los problemáticos tiempos que se vivían en la república de Weimar, un filme que a través de los tiempos sufrió numerosas mutilaciones y revisiones, desde copias mutiladas hasta incluso una reciente versión pop y musical.
En el año 2008 un negativo de 16 mm. con material inédito, fue encontrado en la ciudad de Buenos Aires, dando así la oportunidad, tras más de 80 años desde su estreno oficial ( obviamente, éste Herr Graff asistió en su día a dicho estreno berlinés… ) de poder, prácticamente, contemplar la versión más completa y original del filme, gracias a sus más de 30 minutos inéditos hasta hoy en día.

El filme fue restaurado recientemente por la “Murnau Foundation” y exhibida en el festival melenudo de la “Berlinale”, en donde elegantes ciudadanos teutónicos pudieron contemplar dicha restauración dentro de un cálido teatro, mientras los melenudos interesados igualmente en ver dicho filme, tuvieron que hacerlo a la intemperie de una noche helada delante de la puerta de Brandenburgo… ¡Ah!, la lucha de clases continua vigente tras más de 80 años, tal y como acontece en el filme…

“Continuidad” es la palabra que mejor resumiría, en relación a la historia, ésta restauración de “Metropolis”; ahora el ritmo del filme es mucho más frenético, especialmente hacia el emocionante final de la película y se completan algunos vacíos argumentales ( aunque también hay que resaltar que tampoco son demasiado trascendentales ) y que existían en anteriores versiones, rescatando especialmente el personaje interpretado por Herr Fritz Rasp, el espía de Herr Joh Fredersen, además de también poder ver interesantes escenas de la depravación existente en el barrio de “Yoshiwara”.

Ciertamente “Metropolis” ha podido ser disfrutada por muchas generaciones de admiradores silentes que han apreciado su ambientación futurista, sus espléndidos decorados, efectos técnicos y especiales o incluso las diferentes interpretaciones y sobreactuaciones de sus actores, además de la dimensión social de su argumento y todo ello a pesar de las numerosas mutilaciones sufridas por el filme a través de los años, que no disminuían el interés de ésta obra maestra, sobreponiéndose incluso a una adaptación pop melenuda perpetrada por las nuevas generaciones, una cuestionable forma de acercarse a los filmes silentes, ciertamente, aunque efectiva con la intención de atraer a los jovenzuelos hacia éste gran filme.

Finalmente y tras largos años, el filme puede ahora ser disfrutado de la mejor de las formas, en una versión prácticamente íntegra tal y como lo hizo éste Herr Graf durante el estreno oficial en el Ufa-Palast am Zoo de Berlín en 1927, siendo actualmente quizás mucho más comprensible el filme, al estar viviendo los primeros años del siglo XXI, ¡tal y como acontece en “Metropolis”!.

Y ahora si me lo permiten, les tengo que dejar momentáneamente, pues este conde germánico debe decidir a quién invita a tomar el té, a María o a su robot.

Herr Graf Ferdinand Von Galitzien

"Le Capitaine Fracasse" (1929) By Alberto Cavalcanti

Herr Sigognac ( Herr Pierre Blanchar ) is a young French nobleman without means ( well, this it is not a tragic fact for this German count who has known such want during his youthful days, his mature days and even his twilight days… ); he lives a poor and miserable existence in his Schloss until one night unexpectedly a troupe of strolling players asks for shelter. Herr Sigognac will offer his aristocratic roof to the troupe and will be especially attracted to Isabelle ( Frau Lien Deyers ), a beautiful actress, so the next morning, after a short hesitation, he decides to join the actors and travel to Paris with them, becoming, after a violent incident involving two gypsies, the Captain Fracasse.

“Le Capitaine Fracasse” (1929) is a classic adventure epic directed by Herr Alberto Cavalcanti, a director who will do his most important work in France, the land in which he was educated, although he will direct in a number of other countries during the years. The film was based on a famous novel by the French writer Herr Théophile Gautier that obviously this Herr Von hasn’t read it because it was written in French. The story is full of funny, sarcastic and cynical characters inspired by the European comedy theatre of the XVII century.

A very interesting part of the film is its novel subject, the recreation of the lives and work of those strolling players who, for a few coins, performed their comedies in any available place: small towns, populous barns, crowded taverns with audiences of commoners and noblemen alike. The film includes action and adventure involving a wicked enmity between the captain Fracasse and the Duke of Vallombreuse ( Herr Charles Boyer ) who will fight during the whole movie for the love of Frau Isabelle.

The direction is perfect, including elegant camera movements and elaborate adventure sequences with beautiful outdoor scenery. It is a well-done swashbuckler film, archetypical in many moments and indeed very professional but it is a bit too much like other adventure films of those silent days and in some ways does not stand out from them.

And now, if you'll allow me, I must temporarily take my leave because this German Count must direct a troupe of Teutonic rich heiresses.

Herr Graf Ferdinand Von Galitzien

-/-

Herr Sigognac ( Herr Pierre Blanchar ) es un joven noble afrancesado sin posibles ( un he hecho éste nada trágico para éste conde germánico pues le ha sido bastante conocida dicha situación durante sus años mozos, en su madurez e incluso durante su senectud… ); nuestro protagonista vive una pobre y triste existencia en su Schloss hasta que un día, de forma inesperada, una compañía ambulante de actores le solicita cobijo.
Herr Sigognac ofrecerá su aristocrático techo a la trouppe de cómicos, quedando prendado de forma especial de Isabelle ( Frau Lien Deyers ), una bella actriz de la compañía, será éste el principal motivo por el cual a la mañana siguiente, tras un pequeño momento de duda, decidirá unirse a la trouppe y viajar con ellos a París, convirtiéndose, tras un violento incidente protagonizado por dos gitanos, en el capitán Fracasse.

“Le Capitaine Fracasse” (1929) es un clásico, épico filme de aventuras dirigido por Herr Alberto Cavalcanti, un director el cual desarrollaría la mayor e importante parte de su trabajo en Francia, país en el cual se formó artísticamente, aunque posteriormente y con el paso de los años, también dirigirá filmes en otros países.
El filme está basado en una famosa novela escrita por el afrancesado escritor Herr Théopile Gautier, obra que, obviamente, este Herr Von no ha leído por estar escrita en francés y en la cual se incluyen divertidos, sarcásticos y cínicos personajes muy populares en las obras teatrales cómicas europeas del siglo XVII.

Precisamente la parte más interesante del filme es la recreación de la vida y trabajos de esos actores ambulantes, los cuales por unas pocas monedas representaban sus comedias en cualquier lugar disponible, fuesen éstos pequeños pueblos, populosos cobertizos o atestadas tabernas, repletas éstas tanto de plebeyos como gente noble.
En el filme se incluye mucha acción y aventuras, además de una pérfida enemistad entre el capitán Fracasse y el duque de Vallombreuse ( Herr Charles Boyer ) los cuales lucharán durante todo el filme por los favores de Frau Isabelle.

La dirección de la obra es perfecta, incluyendo elegantes movimientos de cámara y elaboras secuencias de aventuras filmadas éstas en bellos escenarios naturales; se trata de un eficaz filme de espadachines, arquetípico en muchos momentos, muy profesional, pero precisamente por éste motivo, el filme se asemeja demasiado a cualquier filme de aventuras silentes, no aportando nada especial a dicho género cinematográfico.

Y ahora si me lo permiten, les tengo que dejar momentáneamente, pues este conde germánico tiene que dirigir una trouppe de ricas herederas teutonas.

Herr Graf Ferdinand Von Galitzien

Silent Films Illustrated With Commentaries By:

About D. W. Griffith's "Hearts Of The World" (1918)

Silent Guest Stars: Herr William M. Drew und Rich Wagner


Herr William M. Drew wrote:

As someone who usually appreciates Ferdinand von Galitzien's generally well-informed comments on the silent cinema, I wish to register a strong objection to his dismissal of D. W. Griffith and his films as being "conventional," "conservative" and "dated" and apparently only of value for their cinematic techniques, not their inherent artistry. This opinion of his is, alas, far from original and has been at the heart of the persistent revisionist misinterpretation of the director's work. Much of this, needless to say, is based on a never- ending obsession (in the United States, at least) with "The Birth of a Nation" and the notion that every one of the films Griffith made in his 23 years of directing should somehow be seen as reflecting the same point of view as those parts in the Civil War-Reconstruction film which have caused such controversy.

However, the fact is that Griffith was a complex artist who, were he subjected to a more sophisticated analysis than is usually the case, would be receiving much greater critical appreciation from those who profess to be devoted to film art. Unfortunately, many analysts don't really look at the films with fresh eyes, merely bringing to each work their stereotypical view of Griffth as "conventional," "conservative" and "dated," or viewing every one of his films through the prism of that part of Thomas Dixon's narrative, "The Clansman," that was incorporated into "The Birth of a Nation." Neither have these analysts undertaken a thorough examination of the impact of Griffith's films in his own time beyond discussions of specific technical innovations and the controversy over "The Birth" in the USA.

I can assure Mr. von Galitzien, however, that those who actually did hold conventional and conservative opinions were often fiercely critical of Griffith's work at the time, seeing it as an attack on everything they held dear. For example, "Broken Blossoms" stirred up a hornet's nest of debate in the United States on its original release in 1919, receiving much criticism by some for the alleged brutality and sordidness of its subject matter. In particular, there were apparently a number of people with racist sentiments who resented the film's sympathetic treatment of a Chinese character and his culture and religion which are contrasted with the cruelty and intolerance of the West.
One outraged individual who had spent time as a missionary in Asia wrote "The New York Tribune" on July 6, 1919 to protest what he viewed as a "slur" on Christian missionaries in the East. He complained: "The whole wretched tragedy of that picture is designed evidently to convey the impression that the ancient civilization and religion of China are much better and finer and stronger than the Christian civilization and religion of the Occident. Deliberately Mr. Griffith has contrasted an ideal Chinese poet with a brutal degenerate of the London slums; has shown that the Chinese are tender and gentle with little children, while the London prizefighter is just the reverse. The fallacy of this presentation lies in the fact that while one such isolated, single case might be true, it is plain that Mr. Griffith would have us believe that it is typical--this unfair contrast between two races." Continuing on with his fundamentalist bigotry, the outraged letter-writer charged the "religion of Buddha" as having left 400,000,000 Chinese "the most backward in the world" and that only now, due to the labor of "self-sacrificing missionaries," was China "beginning to awake to her duties and responsibilities." He went on to whine: "It is not fair nor kind that such a picture as 'Broken Blossoms' should be so allowed to distort and warp the truth."

Obviously, analysts like Mr. von Galitzien who have been so quick to write off D. W. Griffith are unaware of this forgotten history surrounding the reception of his films. This ignorance extends not only to those who condemned his films but many of those who admired his films as well. The radical social critic, Floyd Dell, for example, praised "Intolerance" upon its 1916 release in the Socialist newspaper, "The Masses," calling it the expression of "a mind which loves life and beauty and joy, and is moved to rage and pity by the deliberate malice with which, in all ages, life and beauty and love is destroyed."

Perhaps even more significantly in 1916, the leading African-American newspaper on the West Coast, "The California Eagle," in a review of "Intolerance" praised the film, saying that not only did it demonstrate its director's "wonderfully inventive mind" among contemporary filmmakers but that it also "clearly shows that D. W. Griffith stands out above them all as the greatest humanitarian of the age." The reviewer observed: "As a race we believe that 'Intolerance' will do much to abate the prejudicial feeling created by 'The Clansman'" (under which title "The Birth of a Nation" had been shown in California).

There are many equally laudatory comments on Griffith's films as they were shown around the world that I could also include here but for reasons of space have not. Indeed, in many respects it's been my impression that, if anything, Griffith in later decades has been more widely appreciated abroad than at home which is why I find Mr. von Galitizien's comments particularly disconcerting. Perhaps he has never experienced any of Griffith's films with an appreciative audience as I did some years back at a screening of "Way Down East." The indictment of sexism in that film, the denunciation of a male- dominated society penalizing women for failings that are excused or even justified in men, elicited tremendous applause and loud cheers from the audience. So much again for the nonsense that Griffith's films are "conventional," "conservative" and "dated."

Of course, it's possible that Mr. von Galitzien is living in some Utopia where the kinds of evils that Griffith denounced no longer exist and are of purely historical interest. Based, though, on what I read in the papers, there isn't a country in the world, including even those in enlightened Europe, that does not continue to suffer to one degree or another from the kinds of ills powerfully depicted by Griffith in so many of his films.

In conclusion and while reaffirming that I appreciate most of Ferdinand von Galitzien's posts on the silent cinema, I am afraid his observations on Griffith are suffused with the same kind of intellectual laziness that has led others to repeat as holy writ equally hoary myths like John Gilbert having a high-pitched voice and Marion Davies being a Susan Alexander. For that reason, I felt it incumbent on me to dispute yet another manifestation of ignorance about Griffith that has surfaced on this board.

And Herr Rich Wagner added:

Yes, it is definitely true; all of his major work is "paternalistic, combining religion and conservative values." That is the very nature of what is called a morality play. It was his stated intention to try and make the World a better place. If it seems dated, one must remember when it was made.
All of his films are "fictional," but that does not prevent them from having a real purpose. Griffith never hid his purpose, but clearly stated it in every major film. "Hearts of the World" is no different!

Great Britain may have hoped to have Griffith inspire America's involvement in WWI, but it's clear from this introduction that Griffith hated war, and clearly saw the futility of it.
For those who have taken the time to learn the true story of America's history, they should clearly see that his "Birth of a Nation" also fits the common theme of all his films. That theme is, 'Man's inhumanity to man.' Our true history is far more offensive than what was depicted in the film. Be it racial intolerance, war, inequality of the sexes, the conflict of religions (where each views the other as heathen), the social double standards, where women are expected to remain chaste, while men are expected to sow their wild oats, the idea that one can abuse another for their pleasure because of wealth, or that a father can have an affair, but demands that his daughter does not. These are the themes of Griffith's paternalistic films. How could this be too complicated to understand when they are so clearly stated?.

Griffith's "dated approach" all carried that same theme without apology; a sincere effort to make the world a better place. His films were all fiction, but his intentions were not.
With fondest wishes to both Herr Graf and William Drew, who have each helped me immeasurably over the years.

PS: Two things were not mentioned in Herr Graf's review. Griffith framed several scenes through armored plating resulting in a letterbox style.
Finally...the horrific image in the film of what appears to be a man who had been blown apart. Judging by the image and the dead man's expression, he apparently was conscious long enough to reach down with his hand where his body once was.
That image was the real image of War and the horror that soldiers are still facing today. It cause many to gasp when the film was first shown and should still today. I will remember that image long after I forget many of the details of the story.

Herr Graf Ferdinand Von Galitzien replied:

First of all, this Herr Graf would like to say that he appreciated very much the comments and replies of Herr William M. Drew and Herr Rich Wagner to this Herr Von silent review about Herr Griffith’s “Hearts Of The World”. They are very enlightened point of views that this German count would like to make more precise for the sake and enrichment of Herr Griffith silent oeuvre.

As this Herr Graf said in his previous post, this German count highly appreciates-- it would be useless and even pretentious to consider them not in that way -- many of Herr Griffith’s silent films. They are wonderful masterpieces of silent film history. As an example recently this Herr Von emphasized “Isn’t Life Wonderful”, as a superb masterpiece that deserves more attention and to be claimed as one of Herr Griffith’s best pictures. The problem with other minor films of him is the particular film narrative sources that, always granting the artistic and visual style of the Amerikan director, is the background or the surroundings of the film is in question, which do not always fit in some of his films.

In “Hearts Of The World”, a contemporary silent film, the first part of the film is one that suffered those mannerisms that this German Graf doesn’t like at all. If we keep in mind that we are watching a “modern” picture that depicts the horror of WWI, that atmosphere of pretentiousness regarding the live of the two Amerikan families in a French town seems dated even for a “modern” 1918 silent film. They even appear disconnected for Herr Griffith’s artistic purposes; in perspective, it seems two different parts of the film are at odds with one another.
The Herr Griffith film narrative sources in “The Birth Of A Nation”, “Intolerance” and much more in “Way Down East” works and fits for the artistic Herr Griffith film purposes, not to mention the film story of those pictures which rely on such peculiar Herr Griffith style. However, to transfer those caricaturized aspects, that sometimes are somewhat reminiscent of XIX newspaper serials to “Heart Of The World” is an absurdity. What’s achieved is that the first part of the film is more “fictional that fiction itself” and unreal insists this German count, for a contemporary film. But these flaws, when finally Herr Griffith puts them aside, give action and emotion to “Hearts Of The World”.

So, the major problem of “Heart Of The World” it is their simplistic characters in the film context and not any social conflicts depicted by Herr Griffith in many of his great films that you mentioned and that this Herr Von likes very much and shares. Because when this German count watches any Herr Griffith silent film never having in mind any of those unfortunately revisionist controversies (well-known about some Herr Griffith famous silent films), that raises a question that doesn’t generally appeal to this Herr Graf overall because they don’t prevent enjoyment to Herr Von of those specific films. As it was pointed out before, in the context of those films those particular subjects questioned by modern revisionists, weaves into the atmosphere and artistry of those oeuvres, political incorrect nowadays, certainly, but honestly, this Herr Von never paid attention, although knowing those controversies for years, if finally they are successful and in agreement always for the sake of the artistic purposes of the director.

So, forgetting those revisionist controversies that Herr Drew mentioned and that this Herr Graf never cares for and especially the epithet of “dated” that you don’t like at all, Herr Graf is referring specially to the first part of the film. In other words when those peculiar and special artistic licences of the Amerikan director that in other films of him works pretty well but not, in this Herr Graf opinion, this time as an introduction in a contemporary film that depicts WWI. That’s not to ignore , of course, those areas of the film depicting the horrors of war, which this German count knows and appreciates ( this Herr Von after all, lives in Deutschland, not Utopia… ) and Herr Griffith’s mastery during those sequences. That’s because those objectionable mannerisms in that part of the film were put aside by the Amerikan director.

And finally Herr Rich Wagner said:

I believe that I've misunderstood Herr Graf's use of the word 'dated' and I'd like to amend slightly my recent comments made to Herr Graf's original post.

After reading my reply and his original posting again, I've learned from my own words to better understand, and now agree with the statement above. Even when words are clearly written, they can be misleading if you're unsure of what is intended.

He's actually correct to say that Griffith's films seemed dated (out of fashion even when released), when compared to the much more realistic and mature films being made in Europe at the same time. I didn't think so at the time, but after reading my response, it's now clear to me. The reason simply is that Griffith's films can resemble the collected sermons of a minister, whose been preaching on the Seven Deadly Sins. My original response captured that fact when I highlighted the themes of so many of Griffith's major films.

From my recent comment. “Yes, it is definitely true; all of his major work is "paternalistic, combining religion and conservative values. That is the very nature of what is called a morality play. It was his stated intention to try and make the World a better place. Be it racial intolerance, war, inequality of the sexes, the conflict of religions (where each views the other as heathen), the social double standards, where women are expected to remain chaste, while men are expected to sow their wild oats, the idea that one can abuse another for their pleasure because of wealth, or that a father can have an affair, but demands that his daughter does not. These are the themes of Griffith's paternalistic films. How could this be too complicated to understand when they are so clearly stated?”.

That final question haunted me until I realized that perhaps this was exactly what Herr Graf had meant by dated, but I had misunderstood.
Unlike his contemporaries, Griffith's morality plays all carried a common theme without apology. His was a sincere effort to make the world a better place. When viewing his work along side the many other films from Europe, they certainly do seem "dated" in the way that I believe Herr Graf had intended by his comment. I believe it's a view I now share, along with his great respect for D. W. Griffith's entire work including "The Birth of a Nation."

Unlike William Drew, I never thought Herr Graf's comments were anything revisionist, but simply an honest appraisal of Griffith's work.

I've learned much from this exchange.

Published in “alt.movies.silent”.

"Hearts Of The World" (1918) By D. W. Griffith

The relationship between this Herr Graf and Herr D. W. Griffith has been always complicated, even tumultuous through the years due to artistic considerations and differences. These disputes don’t of course lessen the Amerikan director’s fundamental importance in cinema history for this German count.

The basic problem with Herr Griffith is that he is sometimes simplistic in his stories and often paternalistic combining religion and conservative values that make some of his work seem very dated.

“Hearts Of The World” has many of those irreconcilable artistic differences for this German count. The film depicts the loves and sorrows of two American citizens in France ( Why do they have to be Americans? Surely there were lovers in France) and their families in a little town during WWI.

During the first part of the film, Herr Griffith depicts the idealized and tranquil lives of the two sweethearts, their families and their neighbours, all in the typical and sentimental Herr Griffith style. There is so much sweetness in the air that this Herr Graf found himself looking forward anxiously to the arrival of Germans. Arrive they finally do, invading the village and poisoning the idyllic life with their brutality and bad manners.

“Hearts Of The World” it is not a pacifist film; it is true that in 1918, the date of the film’s release, the world was still licking its wounds after such a big disaster but the end of the war was in sight and new perspectives were emerging making the film’s lopsided and patriotic approach seem out of date.

Obviously “Heart Of The World” is a fictional film not a documentary ( although the film includes real war sequences besides a prologue for the British release in which Herr Griffith himself appears in the war trenches and at 10 Downing Street; a good example of Griffith’s sense of self importance ) nor does it need to be one but the story lacks interesting and realistic characters.

As this Herr Graf mentioned before, the typical Herr Griffith mannerisms don’t reduce his artistic accomplishments and there is much narrative vigor in this film, especially during the war sequences. It has a number of strong scenes, including one wherein our hero is paying a visit to his sweetie ( well, he’s on some sort of secret mission while his comrades are being killed trying to retake the village). There is also a beautiful sequence showing our suffering heroine, temporarily deranged, and wandering in the field camp looking for her fiancée. Also outstanding are the decors and the skilful combination of fictional and real war sequences; splendid editing gives motion and emotion to those scenes.

The actors do their best within the limits of Herr Griffith’s particular artistic interests; Herr Douglas Gordon Hamilton does well as the handsome hero, a promising bourgeoisie writer before the war. Frau Lillian Gish and her curls, is the typical Herr Griffith heroine, conservative and candid. She will lose her innocence during wartime but emerge the stronger for it. Meanwhile Frau Lillian Gish’s sister, Frau Dorothy, playing the Little Disturber overacts painfully while the German actors play their characters as America saw Germans, brutal and ruthless, utterly indifferent to the pain of others.

“Hearts Of The World” is a Herr Griffith film that devotees of the Amerikan film director will enjoy a lot and those who have many differences with the Griffith style, will still appreciate it to some extent if they put aside the Amerikan director’s conventional and dated approach to the story and characters.

And now, if you'll allow me, I must temporarily take my leave because this German Count must attend a soirée full of heartless Teutonic aristocrats.

Herr Graf Ferdinand Von Galitzien

-/-

La relación entre éste Herr Graf y Herr D. W. Griffith ha sido siempre bastante complicada, incluso tumultuosa durante todos éstos años, debido a ciertas discrepancias y diferencias artísticas, disputas éstas que sin embargo no impiden que éste conde germánico reconozca la gran importancia que tiene el director americano en la historia del cinematógrafo.

El gran problema con Herr Griffith es que a menudo sus historias adolecen de cierto simplismo y paternalismo, combinado éste con ciertos valores conservadores y religiosos, que consiguen finalmente que muchos de sus filmes resulten hoy en día demasiado anticuados.

“Hearts Of The World” posee esas diferencias artísticas irreconciliables para éste conde germánico, un filme en el cual se narra los amores y las penas de dos ciudadanos americanos en Francia ( como si no hubiese suficientes amantes franceses en dicho país para protagonizar éste filme… ) y sus familias, en un pequeño pueblecito durante la primera guerra mundial.

Durante la primera parte del filme, Herr Griffith nos muestra la idealizada y tranquila vida de los dos tortolitos, sus familias y buena parte del vecindario, todo ello con el sello característico de Herr Griffith; hay tan alto grado de cursilería en el aire que éste Herr Graf estaba deseando ansiosamente la llegada de los teutones, llegada que finalmente se produce invadiendo los germanos el pueblo, emponzoñando tan idílica y cursi atmósfera gracias a su brutalidad y malos modos.

“Hearts Of The World” no es desde luego un filme pacifista; bien es cierto que en el año 1918, año de producción de la película, el mundo entero todavía se estaba recuperando de las graves heridas producidas por tan grave desastre bélico, aunque también hay que mencionar que una vez finalizado el conflicto, una nueva perspectiva acerca del mismo sería bastante oportuna y no ésta visión patriótica y añeja por la cual se decanta Herr Griffith.

Obviamente “Hearts Of The World” es una obra de ficción y no un documental ( aunque el filme incluye imágenes reales del conflicto además de un prólogo para la versión británica del filme en el cual se puede ver a Herr Griffith en persona tanto en las trincheras cómo en el número 10 de “Downing Street”; un buen ejemplo de la gran consideración que se tenía a si mismo el director americano ) y aunque desde luego no era necesaria una producción realista , la historia adolece de cierto interés y personajes creíbles.

Cómo éste Herr Graf ha mencionado anteriormente, los típicos manierismos de Herr Griffith no restan importancia a ciertos logros artísticos del filme, como por ejemplo el vigor narrativo que posee la película, especialmente destacable durante muchas de sus escenas bélicas, tal y como acontece cuando nuestro héroe visita a su novia ( aunque él mencione que está allí por una especie de misión secreta como espía, mientras sus camaradas están siendo masacrados durante la reconquista del pueblo… ), o escenas ciertamente conmovedoras como en la cual nuestra sufrida heroína, temporalmente trastornada, vaga por el campo de batalla en busca de su amado.
Hay que destacar también los decorados del filme y la hábil combinación de imágenes reales con las de ficción, un espléndido montaje que da emoción y ritmo a la película.

Los actores dan lo mejor de si mismos dentro de las limitaciones de los particulares intereses artísticos de Herr Griffith; Herr Douglas Gordon Hamilton es el perfecto y atractivo héroe, además de ser todo un prometedor escritor burgués antes de la guerra y Frau Lilian Gish y sus rizos, como la típica heroína Griffithiana, conservadora y cándida a la vez, la cual perderá su inocencia durante el conflicto bélico, emergiendo tras tanto sufrimiento, una mujer mucho más fuerte.
Frau Dorothy Gish, hermana de Frau Lilian, interpreta, de forma dolorosamente sobreactuada a una joven bastante alborotadora, mientras los actores que encarnan a los teutones interpretan a éstos vistos con ojos americanos, esto es, brutales y despiadados, profundamente indiferentes ante el dolor ajeno.

“Hearts Of The World” es un filme que los partidarios del director americano gustarán especialmente y los que mantienen ciertas diferencias con el estilo de Herr Griffith apreciarán en justa medida si consiguen olvidarse de sus convencionalismos y anticuados personajes.

Y ahora si me lo permiten, les tengo que dejar momentáneamente, pues este conde germánico tiene que asistir a una soirée repleta de crueles aristócratas teutones.

Herr Graf Ferdinand Von Galitzien

"American Aristocracy" (1916) By Lloyd Ingraham

The first time that this German count saw the title of this Amerikan silent film he thought it was some sort of misprint. When he realized that was not case, he assumed he was dealing with a science fiction film but was amazed to find out otherwise and that the boldness of the title was meant to be taken literally, nightmarish though the thought is. Fortunately, during the film this German count’s certainties were verified, proving that such hypothetical Amerikan aristocracy doesn’t and never has existed.

And that is demonstrated right from the beginning. True the supposed Amerikan aristocracy do have similar habits to genuine old European aristocrats: they like to spend idle time in spas drinking a great deal of alcohol and looking down on the social climbers who dare to aspire to the upper echelon. However, there are two reasons why this supposed American aristocracy is not the genuine item; First, they made their fortunes thanks to bizarre inventions or selling common products like vulgar shopkeepers unlike European aristocrats who never exerted themselves and occupied their minds on the more pressing problem of how best to spend all their leisure time. Second, those Amerikan new rich have a lot of money and European aristocrats don’t…

Fortunately Herr Lloyd Ingraham, director of “American Aristocracy” (1916) depicted very well those big differences with the help of the always enjoyable presence of the great Amerikan actor, Herr Douglas Fairbanks who does a lot of acrobatics in this film, including racing a car, flying a hydroplane and solving a mystery involving modern filibusters (not Senators but American agitators hoping to ferment revolution overseas). Of course he steals the girl from his rival too. This early Fairbanks film shows the star doing the stunts and performing in the way that would make him one of the most important actors of the silent screen, playing good bad men, pirates and local heroes.

The film was written by the multi talented Dame Anita Loos, and is a funny, small and unpretentious production, correctly done and effective, a valuable early vehicle for Herr Fairbanks. Equally important, this estimable document proves that genuine aristocrats have never existed in Amerika.

And now, if you'll allow me, I must temporarily take my leave because this German Count must found an organization that defends rights of real aristocrats.

Herr Graf Ferdinand Von Galitzien

-/-

La primera vez que ése conde germánico leyó el título de éste filme, creyóse que se trataba de una errata, pero cuando dióse cuenta de que no era el caso, entonces supúsose que se trataba de un filme de ciencia ficción, para finalmente quedarse estupefacto al comprobar que tanto atrevimiento acerca del título del filme en cuestión, era ciertamente literal, espantosamente literal.
Afortunadamente, durante el filme éste conde germánico pudo ver como sus certezas se tornaban realidad, certificando definitivamente que esa hipotética aristocracia americana no ha existido nunca, jamás.

Y esto queda demostrado desde el mismo inicio del filme; bien es cierto que esa supuesta aristocracia americana tiene hábitos similares a los auténticos aristócratas europeos, tales como pasar su extenso tiempo libre en balnearios, tener cierta querencia por el alcohol y mirar por encima del hombro a esos arribistas que aspiran a escalar puestos en las altas clases sociales, pero aún así, hay especialmente dos cuestiones por las cuales se certifica que esa aristocracia americana no es auténtica.
La primera, que los susodichos han hecho sus fortunas gracias a inventos raros o vendiendo productos ordinarios como si fuesen vulgares tenderos, cuando los aristócratas europeos nunca se han esforzado demasiado a no ser en cuestiones de cómo emplear su tiempo libre y segundo, esos nuevos ricos americanos tienen un montón de dinero y los aristócratas europeos, no….

Afortunadamente, Herr Lloyd Ingraham, director de “American Aristocracy” (1916) refleja en éste filme esas grandes diferencias con la ayuda de la siempre agradable presencia del gran actor americano Herr Douglas Fairbanks, el cual hace un montón de acrobacias en el filme, incluyendo además la conducción temeraria de un coche, pilotar un hidroavión y resolver un misterio en el cual están involucrados unos modernos filibusteros ( en éste caso no se trata de senadores americanos, si no de agitadores que inflaman revoluciones foráneas ), además de robarle la chica a su más inmediato rival.

En este filme primerizo de Herr Fairbanks, se puede contemplar a la estrella silente haciendo sus piruetas e interpretando a esos personajes que tan famoso lo harían en todo el mundo silente, esos villanos con buenos sentimientos, piratas o héroes locales.
El filme fue escrito por la multidisciplinar Dame Anita Loos, una divertida y pequeña película, una producción silente nada pretenciosa, muy bien realizada y efectiva al mismo tiempo, además de ser un vehículo perfecto para el lucimiento de Herr Fairbanks y un valioso documento en el cual se certifica que los auténticos aristócratas nunca han existido en Amerika.

Y ahora si me lo permiten, les tengo que dejar momentáneamente, pues este conde germánico tiene que fundar una organización que defienda los derechos de los genuinos aristócratas.

Herr Graf Ferdinand Von Galitzien

"Metropolis" Returns On February 12th

Ah, the good old silent days!!... A necessary and excellent restored exercise in nostalgia for this German count, ja wohl!.

For more information click here.

Herr Graf Ferdinand Von Galitzien