Ariane (1931)
| Movie | |
|---|---|
| Original title | Ariane |
| Country of production | Germany |
| original language | German |
| Publishing year | 1931 |
| length | 83 minutes |
| Rod | |
| Director | Paul Czinner |
| script | Paul Czinner Carl Mayer |
| production |
Seymour minor figure Ernst Wolff |
| music |
Leo Witt Richard Strauss |
| camera |
Adolf Schlasy Fritz Arno Wagner (anonymous) |
| cut | Herbert Selpin |
| occupation | |
| |
Ariane is a German feature film made in 1930 based on the novel of the same name by Claude Anet . Directed by Paul Czinner , the title role took over Elisabeth Bergner , Czinner's future wife. The premiere took place on February 20, 1931 in Berlin .
action
The exiled Russian student Ariane Kusnetzowa passed her Abitur at a grammar school in Zurich . She decides to travel to Berlin to study. During a visit to the opera she meets the signed, worldly and much older Konstantin Michael, a charming and yet a little chilled gentleman and bon vivant. He begins to woo her, and the young and initially shy girl tries to catch up with him by playing the experienced adventurer who already has some experience with men.
Constantine made his point of view clear to Ariane from the start. “I won't be staying here long. One day I will travel and not come back. But I would like to spend this short time with you, Ariane Kusnetzowa. ”Ariane gets involved in this game, hoping one day to bind this enigmatic man who has a strong charisma to her forever. She doesn't want to confess the love she feels for him (yet). After a holiday together in Italy , the day of departure comes. For Konstantin, this ends as nothing more than an adventure, and he lets Ariane sit without batting an eyelid. A world collapses for the girl. Although deeply hurt, she doesn't show anything and is completely cool when she says goodbye.
Back in Berlin, Ariane ponders how she can take revenge on Konstantin for this humiliation. The opportunity arises when he comes back to Berlin and meets Ariane. When she comes face to face with him, she can't help but confess her love to him in a violent dispute. Gradually Constantine begins to understand. Ariane has decided to finally end the chapter Constantine. Goodbye at the train station. When the train starts to move, Ariane walks along for a while, then the man makes his decision. At the moment when her strength threatens to dwindle, Konstantin Michael lifts the girl onto the train. Both drive into a common future.
Production notes
Filming took place between November 10 and December 13, 1930. An English and a French version of Ariane was also produced in parallel. In the British version, The Loves of Ariane , Bergner also played Ariane while Forster's role was taken on by Percy Marmont . The French version was not released until 1932 under the title Ariane, jeune fille russe . There Gaby Morlay played the heroine and Victor Francen played Constantine.
Paul Czinner and Elisabeth Bergner, married since the beginning of 1933, made their sound film debut here. Rudolf Forster shot the other film almost at the same time, with which he is also always remembered in the early days of the sound film: The Threepenny Opera .
The cameraman Fritz Arno Wagner replaced his colleague Adolf Schlasy, who was sick in the meantime, during the filming. However, only Schlasy was named.
The film constructions come from Erich Zander and Karl Weber .
The film also contains two musical numbers. Helen van Vlieth recites the art song “Freundliche Vision” by Richard Strauss and Otto Julius Bierbaum . Marek Weber's orchestra plays the tango “Anja you kisses only one” by Léo Witt; Fritz Grünbaum wrote the lyrics, intoned by Marek Lieven-Belorussoff .
The film received the rating "Artistic". By 1934, it ran in Finland , Denmark and Italy, among others .
After 1945, Ariane was performed again for the first time on December 27, 1968: on Bayerischer Rundfunk television .
In 1956, Billy Wilder shot a remake of the classic in Hollywood under the title Ariane - Love in the Afternoon . Audrey Hepburn and Gary Cooper can be seen here in the roles of Bergner and Forster .
Reviews
The film has received a great deal of attention from contemporary critics. Here are two examples:
Hermann Sinsheimer wrote in the Berliner Tageblatt : "If there were no other reason for this film and no other praise, there would still be this one thing, that it brings together the two German actors who are given it, the mysterious, uncanny and subtle aspects of sexuality, Expressing the irrational and downright incorporeal of sexuality: Elisabeth Bergner and Rudolf Forster. Thanks to this atmosphere, which binds the sensual and the spiritual as related elements, the small film Ariane is exemplary in size. He has and maintains it, because the director Paul Czinner [...] not only develops the psychological and pictorial, but also empowers the pictorial in turn to its own spirituality. "
Ludwig Marcuse wrote in Das Tage-Buch : “Among the many shackles that hinder the development of modern film, one of the strongest is the dependence on dramatically or epically pre-formed material. The Ariane film is a textbook example of the prevailing inadequacy when converting a novel or drama into film. The original form is smashed, the broken pieces are cinematically folded together - and give a nonsense. ”Marcuse's conclusion:“ This film, which has excellent scenes and two very great actors, is a small contribution to the big chapter: that of the shaped model tied film. "
Ariane in post-war criticism:
In Immortal Film it says about Ariane : "The intensity with which Bergner portrayed this touching, but dangerously loving, half-child, the nuanced game, often consisting of only suggestive gestures and whispered bits of words, was incomparable."
Halliwell's film guide wrote: “Demanding comedy, later remade as Ariane - Love in the Afternoon ; this version is particularly interesting because of the portrayal of a new star. "
The Lexicon of International Films called the film a "nice social comedy".
literature
- Fred Gehler: Ariane. In: Günther Dahlke, Günther Karl (Hrsg.): German feature films from the beginnings to 1933. A film guide. 2nd Edition. Henschel Verlag, Berlin 1993, ISBN 3-89487-009-5 , p. 248 f.
Web links
- Ariane in the Internet Movie Database (English)
- Ariane at filmportal.de
- Ariane in deutsche-kinemathek.de
Individual evidence
- ↑ also appeared on gramophone record: Electrola EG 2222 (Matr. 60-1440), 1930 - to be heard on youtube.com
- ↑ Berliner Tageblatt. Evening edition. February 21, 1931.
- ↑ The Daily Book. February 28, 1931.
- ^ Heinrich Fraenkel : Immortal Film. Volume 2: The great chronicle. From the first tone to the colored wide screen. Munich 1957, DNB 451329287 , p. 354.
- ↑ Halliwell's Film Guide. 7th edition. New York 1989, p. 50; Original text: Sophisticated comedy later remade as Love in the Afternoon ; This version is interesting chiefly for its presentation of a new star.
- ↑ Klaus Brüne (Red.): Lexicon of International Films. Volume 1, Reinbek near Hamburg 1987, p. 174.