The ritual murder
| Movie | |
|---|---|
| German title | The ritual murder [T 2] |
| Original title | The outlaws |
| Country of production | Germany |
| original language | German |
| Publishing year | 1919 |
| length | 7 acts, 2,560 m, after censorship still 2,447 m; at 20 fps 107 minutes |
| Rod | |
| Director | Joseph Delmont |
| script | Helmuth Orthmann, Rita Barré |
| production | Max Nivelli |
| camera | Gustave Preiss |
| occupation | |
also Hermann Bachmann, Eugen Eisenlohr, Werner Stein | |
The outlaws was the name of a "Gigantic film work in seven acts by Rita Barré", which Joseph Delmont published in 1919 for the Nivo-Film Comp. GmbH of Max Nivelli in Berlin. The writer Helmuth Orthmann edited the literary source of the author Barré, which deals with the coexistence of Christians and Jews and with the legend of ritual murders that Jews have repeatedly been told, for the film.
"The tragedy of a people: persecuted and enslaved through millennia, without rights and peacetime - strange where their homeland - wandering on all the streets of the world - is outlawed"
The film came to the cinemas in 1921 as an "educational film" under the new title "The Ritual Murder". It was filled with first-class members such as Alfred Abel , Leonhard Haskel , Wilhelm Diegelmann , Hella Tornegg , Sybill Morel and Rosa Valetti .
action
Jealous girl unleashes a pogrom.
“In the introductory atmospheric images, the content of the film tells of the initial peaceful coexistence between Christian and Jewish families in a larger Russian town with a predominantly rural character; In the further course he describes the brutal procedure of a Russian Cossack detachment when requesting the necessary quarters, which leads to the most ruthless evacuation of all Jewish families when the place is overcrowded with homeless people [...]
The civil servant Mulnikow (Wilhelm Diegelmann) has pity on the relatives of the head of the Jewish community Chaim Abramowitsch (Leonhard Haskel), from which the overflowing gratitude of the eldest daughter Manja (Sybill Morel) for this token of love leads to a rapprochement with the student Sascha (Alfred Abel) , the firstborn of the civil servant Mulnikov, as if by itself.
Veras, the student Dimitri Vronsky's sister (Rita Clermont), suspecting jealousy overhears the aforementioned couple in a tender get-together. Wild emotions flash through the beautiful face. Your wounded vanity seeks an opportunity for revenge. Occasionally, during a mass student visit to Sascha's, Vera discovers his interest in educational reading about ritual murders.
The small, very successful interlude of a student excursion to the rural pub of the Polish landlord Czapka (Ludwig Rex) provides information about his ancillary business, the secret looping. At the same time an explanation for the mysterious disappearance of little Sonja, Mulnikov's youngest daughter, who gets caught up in the noose while looking for attractive berries and is only found half dead after a few days by the greedy Polish landlord.
In the meantime, Vera uses the child's disappearance to instigate a pogrom by spreading the fairy tale of ritual murder and inciting the people to exterminate the Jews on the basis of the hat found on Abramovich. Your inflammatory speeches will only have good results. The mob persecutes, abuses and kills all accessible Jews with devilish bestiality and finally stones their heads in the face of their family members, who are forcibly forced to watch the martyrdom of their breadwinner.
Saascha cannot believe the fairy tale of ritual murder; he broods and searches the historical books for truth and clarification. What a reading of a treatise reveals to him appears in wonderfully reconstructed images from the time of Alexander the Great before the eyes of the viewer. [...]
The courageous Sascha finally discovers Sonja, who was deliberately kept hidden, and with the manly energy of the staunch advocate of a good cause he rushes with the little one on the arm towards the angry crowd, which, in the face of this clear debilitation of a supposed guilt, drops the stones under their throwing force old Abramovich should breathe out his life .... "
(from: Kinematograph No. 668, 1919)
background
The film buildings were built by Willi A. Herrmann . Gustave Preiss took care of the photography . The producer was Max Nivelli . in his company Nivo-Film Comp. GmbH. Berlin SW 68., Friedrichstrasse. 37.
The outlaws were submitted to the Berlin police in December 1919 for examination; under no. 43 591 he received a youth ban. The Munich police initially banned the film, but then released it (test nos. 35108, 35109, 35110, 35111, 35112, 35113, 35114). The film was banned by the Reichsfilmzensur on October 16, 1920 under the number 596 for young people.
The film had an original length of 2560 meters on 7 acts; after censorship cuts it was still 2,460 meters, then 2,447 meters long.
There was a press screening on November 9, 1919 in the “Schauburg” on Potsdamer Platz. However, the film was not released until 1921 under the new title Der Ritualmord .
The still young Friedel Behn-Grund , later known as a cameraman, can be seen in a supporting role as a high school student .
reception
Both the daily and the trade press reacted positively to the screening of the film.
The film was reviewed in:
- Film Courier No. 135, 1919
- The film No. 35, 1919
- The film No. 37, 1919
- First International Cinematographers Magazine No. 40, 1919
- The film No. 42, 1919
- Film art / Haase No. 6, 1919
- Cinematograph No. 673, 1919
- Film Courier No. 85, 1919
- Film Courier No. 125, 1920
- German movie newspaper No. 2, 1920
- Film and press No. 7, 1920
- Film technology No. 19, 1919
- Film show No. 25, 1919
- Film art / Haase No. 4, 1919
- The film No. 40, 1919
- First International Cinematographers Magazine No. 44, 1919
- First International Cinematographers Magazine No. 45, 1919
- Film art / Haase No. 5, 1919
“Everything takes place in a natural way, as the revolution days of the present time have shown us. The types shown here touch on plausible authenticity, the landscape motifs and townscapes are appropriately adapted to the milieu, the modern and ancient architectural images by WA Hermann are stylistically and artistically positioned and selected. Gustav Preiss's photography is a highly valued achievement, Joseph Delmont's director is above all praise. "
- Film show No. 32/34, 1919
- First International Cinematographers Magazine No. 49, 1919
- Film art / Haase No. 8, 1919
"It would only be desirable that" The Outlaws "penetrate into the smallest movie theater, not only because it is a work of art, but because the performance is especially important and valuable in our days when people want to stir up Germans and Germans would …"
"Events as we encounter them daily from the newspaper columns, artistically tamed by Joseph Delmont's copied director ..."
"In the film palace on Potsdamer Platz, the film drama 'Die Geächteten' provided evidence that the flicker wall can act as a cultural factor ..."
Berliner Börsenzeitung
“Is film more than mere diversion and entertainment, is it even more than just art? It has become a cultural factor, a weapon in the intellectual and moral struggle, and the huge film work that passed on Sunday in front of an audience that was deeply spellbound, captivated and infinitely moved, is a cultural act. Director Nivelli, whose very own thought it was to bring the light of enlightenment and philanthropy into the whole world through such a film, has set himself a permanent monument ... "
The film “The Outlaws” must be considered lost today. The censorship cards have been preserved. The film is recorded at:
Birett: Directory of films run in Germany. Munich 1980 (Munich) No. 293, 1920
Birett: Directory of films run in Germany. Munich 1980 (Munich) No. 466, 1920
Note: there was already a film with this title in 1917 based on a manuscript by Gertrud David , which Robert Reinert dramatized, who was originally called "Fräulein Mutter" and addressed the social position of children born out of wedlock; it was in September d. J. came before censorship and was initially banned for the duration of the war, but released in November under the changed title "The Outlaws".
literature
- Ofer Ashkenazi: Weimar Film and Modern Jewish Identity. Studies in European Culture and History. Verlag Palgrave Macmillan, 2012, ISBN 978-1-137-01083-4 , p. 223. (English)
- Herbert Birett: Silent film music. Material collection. Deutsche Kinemathek, Berlin 1970.
- Herbert Birett: Directory of films run in Germany. Saur, Munich 1980.
- Sybille Buske: Miss mother and her bastard. (= Modern times. Volume 5). Wallstein Verlag, Göttingen 2013, ISBN 978-3-8353-2060-4 .
- Dan Diner (Ed.): Yearbook of the Simon Dubnow Institute / Simon Dubnow Institute Yearbook. XI (2012) (= Religious Cultures in Modern Europe. Volume 2). Verlag Vandenhoeck & Ruprecht, Göttingen 2012, ISBN 978-3-647-36941-9 , pp. 269-270 u. Note 37.
- Ronald Hinrichs: Joseph Delmont. In: Irene Stratenwerth, Hermann Simon (Ed.): Pioneers in Celluloid. Jews in the early film world. Henschel, Berlin 2004, ISBN 3-89487-471-6 , pp. 131-134.
- Thomas Koebner (Ed.): This side of the "demonic canvas". Ed. Text + Criticism, 2003, ISBN 3-88377-732-3 , p. 204.
- Siegbert Salomon Prawer: Between Two Worlds. The Jewish Presence in German and Austrian Film, 1910–1933. (= Film Europe. Volume 3). Verlag Berghahn Books, Oxford / New York City 2007, ISBN 978-1-84545-303-9 , p. 197. (English)
- Christian Rogowski: The Many Faces of Weimar Cinema. Rediscovering Germany's Filmic Legacy. (= Screen cultures: German film and the visual ). Publisher Camden House, Suffolk, UK 2010, ISBN 978-1-57113-429-5 , pp. 85 f. (English)
- Irene Stratenwerth: Moving out of the ghetto. In: Irene Stratenwerth, Hermann Simon (Ed.): Pioneers in Celluloid. Jews in the early film world. Henschel, Berlin 2004, ISBN 3-89487-471-6 , pp. 221-239, esp. 234-239.
- Georges Sturm: The Circe, the Peacock and the Half-Blood: the films by Fritz Lang, 1916–1921. (= International Film History: Series of publications by the Cinémathèque Municipale de Luxembourg. Volume 8). Wissenschaftlicher Verlag, Trier 2001, ISBN 3-88476-434-9 , p. 109.
- Hillel Tryster, Steven Spielberg Jewish Film Archive (Ed.): Israel before Israel: silent cinema in the Holy Land. Verlag Steven Spielberg Jewish Film Archive of the Avraham Harman Institute of Contemporary Jewry, Hebrew University of Jerusalem and the Central Zionist Archives, 1995, OCLC 469865699 , p. 101. (English)
- Gerhard Winkler: Joseph Delmont, 1873–1935: adventurer, filmmaker, writer: his life, his films, his books. Verlag Literaturedition Niederösterreich, 2005, ISBN 3-901117-70-9 , pp. 25, 101, 104.
- Friedrich von Zglinicki: The way of the film. History of cinematography and its predecessors. Rembrandt Verlag, Berlin 1956, DNB 455810680 .
Web links
- The ritual murder in the Internet Movie Database (English)
- The ritual murder at The German Early Cinema Database
- The ritual murder at filmportal.de (with photo gallery)
Illustrations
- Photo of the director Joseph Delmont at bibliograph.ru bibliograph.ru
- Title page Jll. Film-Kurier No. 5, born in 1919 (both titles Die Geächteten / Der Ritualmord ) with Sybil Morell and Alfred Abel juris-world.com
- Max Nivelli Collection archive.org , therein: Jll. Program archive.org and reviews of Die Geächteten archive.org , plus pictures of the Nivo-Film staff (including Rita Barre and Helmuth Orthmann, Max Nivelli and Joseph Delmont) archive.org
Individual evidence
- ↑ to: film length calculator cinematography.de
- ↑ cf. defa-stiftung.de defa-stiftung.de
- ↑ cf. kinotv.com kinotv.com , steffi-line steffi-line.de
- ↑ also: Rita Barrée; She also wrote the scripts for the silent films “The Minors - Too Young for Life” (D 1921) and “Prejudice” (USA 1922); the latter was also directed by Joseph Delmont, cf. IMDb imdb.com
- ↑ so Stratenwerth-Simon p. 235.
- ↑ Full-page article in: Israelitisches Familienblatt No. 46 of November 13, 1919, cf. Stratenwerth-Simon pp. 234-235.
- ↑ cf. Criticism in the "Filmkurier", where it says: "There is a hot breath in this film, it has speed and power, the moral seriousness that prevails here makes it an educational work in the best sense of the word ...", in "Film und Brettl": "A cultural document, an educational film in the most noble sense of the word", and in the "Standard": "An educational film, but one that does not speculate on the lowest but on the noblest instincts in people." (Page in the Max Nivelli Collection archive.org )
- ↑ according to GECD # 22972
- ^ Birth name Max Levin, actor, director, producer. See Max Nivelli. In: filmportal.de . German Film Institute , accessed December 26, 2016 . , GECD # 5121 earlycinema.uni-koeln.de Not to be confused with the magician Nivelli (Herbert Levin, 1906–1977), cf. themagicdetective.com themagicdetective.com (English) and magicpromotionclub.ch magicpromotionclub.ch (German)
- ↑ cf. Letterhead reproduced at Max Nivelli Collection archive.org
- ↑ Information according to GECD # 22972
- ↑ belonged to the Munich Emelka group, was closed in 1930, cf. allekinos.com allekinos.com
- ↑ cf. Stratenwerth-Simon p. 235.
- ↑ Information according to GECD # 22972
- ↑ Article “Crank tire new releases”, cf. Stratenwerth-Simon p. 244 note 25, reprinted there pp. 235–237.
- ↑ cit. according to Stratenwerth-Simon p. 244 Anmm. 26-29
- ↑ Illustrated bi-monthly publication. Editor, publisher: Willi Böcker / Richard Falk Verlag, Berlin. Published: 1919–1922. Review reprinted by Stratenwerth-Simon, p. 237.
- ↑ printed by Stratenwerth-Simon p. 237.
- ↑ printed by Stratenwerth-Simon p. 237.
- ↑ printed by Stratenwerth-Simon p. 237.
- ↑ cf. “The Critique ...” page in the Max Nivelli Collection archive.org
- ↑ cf. Stratenwerth-Simon p. 235.
- ↑ cf. The outlaws. In: filmportal.de . German Film Institute , accessed December 27, 2016 . , Is a director Josef Stein at
- ↑ cf. Buske pp. 91–92 and Note 9