The house without a door

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Movie
Original title The house without a door
Country of production German Empire
original language German
Publishing year 1914
Rod
Director Stellan Rye
script Henrik Galeen
production Deutsche Bioscop GmbH Berlin
camera Guido Seeber
occupation

The house without a door is the title of a German silent film that the Dane Stellan Rye directed in 1914 for Deutsche Bioscop GmbH in Berlin based on the manuscript by Henrik Galeen . The psychodrama , classified as a forerunner of Expressionism , featured leading stage actors such as Paul Biensfeldt , Theodor Loos and the Russian Vladimir Maksimoff.

background

The film was made in the Bioscop-Atelier Neubabelsberg , Potsdam. It was Stellan Rye's last directorial work and Rose Veldtkirch's first film role . At the camera stood the German film pioneer Guido Seeber , who had already taken over the photography for several Ryes films.

The film is titled by various sources in France with La maison sans porte and in Russia with The Satan's Tavern / Das Gasthaus des Teufels (possibly a back translation from Russian), although there is no evidence of any performance. As things stand at the moment, it must be considered missing. To date, no copy of the film has been found. The length and number of acts are not known.

“The house without a door” should not be confused with the film “The house without a door and window”, which Friedrich Fehér made for the Berlin-based Victor-Film in 1921 based on a novel by Thea von Harbou .

literature

  • Manfred Behn: Black dream and white slave. Ed. Text + Criticism, 1994, ISBN 3-88377-483-9 .
  • Isa Bickmann: The color woodcut in Vienna around 1900. at faustkultur.de (2016)
  • Oksana Bulgakova: The Unusual Adventures of Dr. Mabuse in the land of the Bolsheviks. the book for the film series “Moscow-Berlin”. Publisher: Friends of the Deutsche Kinemathek, 1995, ISBN 3-927876-10-0 .
  • Paolo Caneppele, Filmarchiv Austria (Ed.): Decisions of the Viennese film censorship 1911–1914. Materials on Austrian film history (= decisions of the Viennese film censorship, Filmarchiv Austria. Volume 1). Publisher: Filmarchiv Austria, 2002, ISBN 3-901932-13-5 , pp. 152, 289 u. 298.
  • Günther Dahlke, Günter Karl: German feature films from the beginning to 1933: a film guide. Henschelverlag Art and Society, Berlin 1988.
  • Ulrich Gregor, Enno Patalas: History of Modern Film. Volume 1: 1895-1939. C. Bertelsmann Verlag, Gütersloh 1973, ISBN 3-570-00816-9 , p. 58.
  • Wiebke Hölzer: "The Golem is happy about its huge success" - Paul Wegener's and Henrik Galeen's film "The Golem" from 1914. p. 112. (PDF)
  • Norbert Jochum (Red.): The moving picture. The film pioneer Guido Seeber [1879–1940, inventor, cameraman, technician, artist, filmmaker, publicist]. ed. from D. Foundation Dt. Cinematheque. (= EP. 23). Elefanten-Press, Berlin (West) 1979, ISBN 3-88520-023-6 .
  • Gerhard Lamprecht: German Silent Films 1903–1931. Volume 14, Berlin 1967/70, p. 373.
  • Wolfgang Raible: Modern poetry in France: Presentation and interpretations (= language and literature. ISSN  0584-9446 Volume 77). Verlag W. Kohlhammer, 1972, ISBN 3-17-234011-2 , p. 43.
  • Peter Rollberg: Historical Dictionary of Russian and Soviet Cinema. Rowman & Littlefield, 2016, ISBN 978-1-4422-6842-5 .
  • Heide Schönemann: Paul Wegener - Early Modernism in Film. Verlag Edition Axel Menges, 2003, ISBN 3-932565-14-2 , pp. 96, 128, 131.
  • Irene Stratenwerth, Hermann Simon (Ed.): Pioneers in Celluloid. Jews in the early film world. Henschel, Berlin 2004, ISBN 3-89487-471-6 , pp. 139-145 on Henrik Galeen (Heinrich Wiesenberg).
  • Jerzy Toeplitz: History of the Film. Volume 1: 1895-1928 . Henschel Verlag, Berlin 1984, pp. 136-137.
  • Casper Tybjerg: The Faces of Stellan Rye. In: Thomas Elsaesser, Michael Wedel (Eds.): A Second Life: German Cinema's First Decades. Amsterdam University Press, 1996, pp. 151-159.
  • Friedrich v. Zglinicki: The way of the film. The history of cinematography and its predecessors . Rembrandt-Verlag, Berlin 1956, p. 380 u. 585.

Web links

Individual evidence

  1. ↑ cf. I. Stratenwerth, H. Simon: Pioneers in Celluloid. 2004, p. 140.
  2. ↑ cf. G. Dahlke, G. Karl: German feature films. 1988, p. 370, Behn p. 149: “The film Das Haus ohne Tür, which has not yet been found again, is considered the forerunner of caligarism”, and I. Bickmann: “Spaces, which in the sense of subjectivism, the inner state of mind in an expressive way dramatize are still a long way off around 1900. Developed on German theater stages in the late 1910s, it was only with the film “Das Kabinett des Dr. Caligari ”(1920) celebrity whose outfitters Hermann Warm, Walter Reimann and Walter Röhrig - all from the immediate vicinity of Walden's“ The Storm ”- created the nightmare. The Danish screenwriter and film director Stellan Rye (1880–1914), who first used expressionist decorations in the film “Das Haus ohne Tür” in 1914, had anticipated them. "
  3. ↑ Wladimir Wassilijewitsch Maksimoff, 1880–1937, actually Samus, Russian actor who was also a master in synchronizing his projected image live in kinodeklamatsii , cf. Rollberg p. 466: "In Germany, Maksimov starred in Stellan Rye's esoterical The Satan's Tavern (aka The House without Windows and Doors / Das Haus ohne Tür, 1914)" and Bulgakowa p. 34; a photo at kinotv.com
  4. ↑ cf. plus Berlin film studios. A small lexicon at cinegraph.de
  5. ↑ actually Rose Ludmilla Karoline Frommel, singer and stage actress, cf. Kinotv.com
  6. ↑ z. B. A Midsummer Night's Dream in Our Time (1913), The Eyes of Ole Brandis (1913), Evinrude (1914), condition - no attachment! (1914), Erlkönig's daughter (1914), cf. The wandering picture p. 68 u. 70
  7. ↑ cf. IMDb / akas and Rollberg p. 466.
  8. ↑ cf. Behn p. 149 "The film 'Das Haus ohne Tür', which has not been found until today ..."
  9. ↑ GECD has another film “Das Haus ohne Tür” (1917) from “G. Different Film Centrale "(film distributor?) And gives the length of 1062 meters on 3 acts. Identical ?
  10. ^ The authors Helmut Korte, Reinhold Happel u. Margot Michaelis in her book "Film and Reality in the Weimar Republic: With analyzes of the films" Kuhle Wampe "and" Mother Krausens Fahrt ins Glück ", edited by Helmut Korte" (S. Fischer Verlag, 2016), do this in their enumeration of "films that stood out from the mass-produced, such as The Student of Prague (1913), The House Without Doors and Windows (1914), The Golem (1915) ..."; Zglinicki p. 585 cites Rye's 1914 film as "Das Haus ohne Fenster" [sic], Rollberg p. 466 as "Das Gasthaus des Teufels (aka The House without Windows and Doors / Das Haus ohne Tür, 1914)" .
  11. ↑ Thea von Harbou: The house without door and window. Novel. Verlag Ullstein & Co, Berlin 1920. In addition: Anke Zechner: Poisonous Cinema - Gift motif and mixing in early German cinema. 3/8/2015, at nachfilm.de
  12. ↑ Performance: January 26, 1922, cf. filmportal.de