Are we allowed to be silent?

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Movie
Original title Are we allowed to be silent?
Country of production Germany
original language German
Publishing year 1926
length 2686 meters, 89 minutes
Rod
Director Richard Oswald
script Richard Oswald
production Richard Oswald
Heinrich minor number
music Hans May
camera Gustav Ucicky
Eduard von Borsody
occupation

Are we allowed to be silent? is a silent film drama that Richard Oswald , 1926 in Berlin for the Nero film of Heinrich Nebenzahl according to her own script set in scene. Gustav Ucicky was in front of the camera . Conrad Veidt played the main role . It is a remake of the first part of Oswald's successful film series Let there be light! (1917).

action

The venereologist Dr. Georg Mauthner loses his bride to a bon vivant, the painter Paul Hartwig, who has contracted syphilis but does not want to be treated. Instead, Hartwig takes refuge in drugs, visibly deteriorates mentally and physically and finally perishes miserably.

background

The film was made in the Jofa Studios in Berlin-Johannisthal . Heinrich Richter designed the film structures .

On March 17, 1926, the testing authority in Berlin had the film on censorship under test no. B 12 550 in front.

It premiered on April 6, 1926 in Berlin in the Alhambra Palace. The cinema music was compiled and conducted by Hans May . The film was a production by Nero-Film GmbH. Heinrich Nebenzahl together with the Richard Oswald film. Bayerische Film GmbH in Munich took over the distribution in Germany.

The film was shown together with “Falsche Scham” (1925/26) by Rudolf Biebrach at the Reich Health Week, which was held from April 18 to 25, 1926 in Berlin in the exhibition halls on Kaiserdamm. In England and America it ran under the title Should we be silent? . In 1928 it was also shown in the Soviet Union as Смеем ли мъ молцатъ.

From the original 2686 meter (89 min.) Long film only 1241 meters (47 min.) Are now left.

The film was reconstructed by the Federal Film Archive using preserved Russian and French versions . A digital copy is stored there.

reception

The film was reviewed in:

May we - ? In: Film-Kurier, No. 44, February 20, 1926. - May we remain silent? In: Film-Kurier, No. 50, February 27, 1926 and Film-Kurier, No. 81, April 7, 1926.

"As part of an extraordinarily exciting and dramatic plot, this bold film shines into a problem that has hitherto only been treated with reluctance in public ..." (Filmwerbung 1926, quoted in Zglinicki p. 577)

"Richard Oswald has clothed the problem this time in a completely different plot, which is no less novel-like, but perhaps a bit more straightforward and clearer than the older fable." (Curt Moreck, Sittengeschichte des Kinos)

"Venereal diseases were still a social problem and Oswald had to say 'May we be silent?' once again walk a tightrope between what can be shown, what is repulsive and what can be represented or at least said. Again he relies entirely on deterrence in the personal suffering he shows as a result of the illness. Death and infirmity are indicated as consequences that can also affect the next generation if this would not prevent the cinematic convention of a family happy ending. ”(Stummfilm.at/archiv).

“After the visit, for example, the audience was emotionally moved by 'May we be silent?' (Richard Oswald, Germany 1926) investigate, while the dry educational films were boring and lacked their educational effect. ”(Anita Gertiser: Der Schrecken webt im Schönen, 2008, note 19)

“Conrad Veidt did not shy away from starring in films with hot, for the time scandalous ones. For example in 1918 in 'Let there be light! Part 4: Sinful Mothers, which discussed abortion and paragraph 218. 1919 in 'Different from the others', one of the first gay films or in 1926 in 'May we be silent?', Which dealt with syphilis. All these films were made under the direction of Richard Oswald. "(Dirk Wilkens-Hagenkötter)

literature

  • Herbert Birett : Silent film music. Material collection. Deutsche Kinemathek, Berlin 1970.
  • Hans-Michael Bock: Biography of the secondary number In: 3 x secondary number. Materials for the 14th International Film History Congress, Hamburg, November 15-18, 2001. ( online ).
  • Heinrich Fraenkel: Immortal Film. The great chronicle. From the magic lantern to the sound film. Part of the picture by Wilhelm Winckel. Kindler, Munich 1956, pp. 106-107, 395.
  • Anita Gertiser: Disgust. Observations on a strategy in the educational film to combat sexually transmitted diseases of the 1920s. In: Figurations Cologne. Volumes 11-12. Verlag Böhlau, Cologne Weimar, ISSN  1439-4367 . Pp. 61-75.
  • Anita Gertiser: Terror lives in beauty. Depiction of deviant sexuality in the educational films on combating venereal diseases of the 1920s. In: zeitenblicke 7 , No. 3, [2008], ( online ).
  • Oskar Kalbus: On becoming German film art. Part 1: The silent film. From Dr. Oskar Kalbus. Hamburg, Cigaretten Bilderdienst Altona-Bahrenfeld 1935, pp. 40–42.
  • Jürgen Kasten: Dramatic instincts and the spectacle of the Enlightenment. Richard Oswald's films from the 10s. In: Jürgen Kasten, Armin Loacker (Ed.): Richard Oswald. Cinema between spectacle, education and entertainment. Vienna 2005, 15–139.
  • Jürgen Kasten: Richard Oswald - the instinct for the public, topicality and the spectacle. New Investigations into an Engine of Early Mainstream Cinema. In: Neue Zürcher Zeitung. October 28, 2005 ( online ).
  • Curt Moreck: moral history of the cinema. Paul Aretz Verlag, Dresden 1926.
  • Karl Prümm: Willy Haas and Richard Oswald - film man and film critic. In: 'Helga Belach, Wolfgang Jacobsen (editor): Richard Oswald. Director and producer. A CineGraph book. edition text + kritik, Munich 1990, ISBN 3-88377-369-7 .
  • Andy wheels, University of Film and Television "Konrad Wolf", Potsdam: battlefield, educational institution, dream factory - film and cinema in the Weimar Republic. Organizer: Center for Media and Interactivity (ZMI), Justus Liebig University Giessen; Institute for Media Studies, University of Trier; Kinemathek of the German Historical Museum Berlin, conference from June 5, 2009 to June 6, 2009, Berlin. Published on July 9, 2009, ( online ).
  • Waldemar Schweisheimer: The importance of the film for social hygiene and medicine. Munich, Georg Müller, 1920.
  • Irene Stratenwert with Hermann Simon (Ed.): Pioneers in Celluloid. Jews in the early film world. Henschel, Berlin 2004, ISBN 3-89487-471-6 , pp. 180-205.
  • Erika Wottrich (Ed.): M as in minor number. Nero film production between Europe and Hollywood. A CineGraph book. Edition Text + Critique, 2002. ISBN 3883777102 , p. 30 f.
  • Friedrich von Zglinicki: The way of the film. History of cinematography and its predecessors. Berlin, Rembrandt Verlag 1956.

Web links

Individual evidence

  1. ↑ Heinrich (orig. Chaskel / Jesekiel) Nebenzahl, a native of Krakow / Kraków, see. Bock, CineGraph, Lg. 24, 1994: "In 1925 Heinrich and Seymour Nebenzahl founded Heinrich Nebenzahl & Co GmbH, Unter den Linden 21. Nero-Film GmbH was established as a joint subsidiary with Richard Oswald Produktion GmbH in 1925. Acting as managing directors Heinrich Nebenzahl and Richard Oswald, whose film MAY WE SILENCE? Will be the company's first production. "
  2. ↑ cf. Birett p. 137 on B 12 550 - VIII 722
  3. ↑ Benzion Fett, later Fett & Wiesel, under the umbrella of EMELKA, cf. Zglinicki p. 430, Jan-Christopher Horak in: filmlexikon.uni-kiel [1]
  4. ↑ cf. Andy wheels, University of Film and Television "Konrad Wolf", Potsdam: battlefield, educational institution, dream factory - film and cinema in the Weimar Republic. Organizer: Center for Media and Interactivity (ZMI), Justus Liebig University Giessen; Institute for Media Studies, University of Trier; Kinemathek of the German Historical Museum Berlin, conference from June 5, 2009 to June 6, 2009, Berlin. Published on July 9, 2009
  5. ↑ cf. received movie poster from GRAD
  6. ↑ cf. Bundesarchiv-Filmarchiv Archived copy ( memento of the original from May 6, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. : Franziska Rojahn explains the reconstruction of the silent film MAY WE SILENCE? (D 1925/1926 D: R. Oswald) based on the only surviving Russian and French film versions. @1@ 2Template: Webachiv / IABot / www.bundesarchiv.de
  7. ↑ cf. Bundesarchiv-Filmarchiv [2] : DVD, 90 min., Receipt number: B 111154-1, archive number: 24542
  8. ↑ May we be silent? at stummfilm.at
  9. ↑ Source: sf-radio.net