The fault of Lavinia Morland
| Movie | |
|---|---|
| Original title | The fault of Lavinia Morland |
| Country of production | Germany |
| original language | German |
| Publishing year | 1921 |
| length | 129 minutes |
| Rod | |
| Director |
Joe May Robert Wuellner (Assistant) |
| script | Joe May Wilhelm Auspitzer |
| production | Joe May |
| camera | Werner Brandes |
| occupation | |
| |
Lavinia Morland's Guilt is a 1921 German drama film directed by Joe May .
action
Lavinia Morland is wrongly suspected of adultery by her jealous husband. To prove this and to force a divorce, he hires an impostor who is supposed to seduce Lavinia into adultery. After the job was carried out, Lavinia stabbed him as she was deeply offended by her honor. She is acquitted in the subsequent legal proceedings. She finds new happiness with her childhood sweetheart.
background
The film was produced by May-Film GmbH Berlin. Manager was Robert Wuellner . The buildings were designed by Martin Jacoby-Boy and Erich Kettelhut (assistant). The film was 2,662 meters long, which corresponds to about 129 minutes. He went through the censorship on November 12, 1920. The German premiere was in February 1921. The novel Die Schuld der Lavinia Morland by Ernst Klein was based on this film.
criticism
“In front of the theater, the usual picture of the May premieres. Enthusiastic admirers, and especially admirers, tend to queue up for hours at the ticket counter and fight battles for a seat. You could still see the film on the following days, but Mia May is personally present at the premiere, and a particularly fanatical admirer said at the end of the performance: "I have to see her, even if I had to climb a tree."
The success was accordingly a great one, as always, but also a well-deserved one, and the applause went not only to Mia May, but also to all of her fellow actors, as well as not least the excellent directors Wüllner and Joe Mays, who did not unjustly direct his film -Master film calls.
Joe May has put the tragedy of the poor, rich woman, who is irritated to the point of desperation by the persecution of the brutal gentleman who bought her for his money, in a dazzling frame: Magnificent images of the Riviera light up, blue golfs too a wreath of palm trees and southern vegetation surround elegant tourist hotels, princely interiors; Images of unusual beauty. The game is polished down to the smallest detail; few crowd scenes, but the individual scenes are well thought out and equipped with nice director ideas. The plot often digresses a little for the sake of details, but always remains interesting and rises to the most gripping effect in the last acts.
Mia May plays her role as Lavinia with a calm, matter-of-fact way of life, without starrying or obtrusiveness, with a visible striving for deepening. Albert Steinrück gives the sober, domineering money man Marland, brutal, sensual, ruthlessly attacking his goal. The act of Lavinia Marland is completely understandable to this squat, violent man. The Vicomte de Cardillac, hired as the seducer of Marland, the soldier of fortune and the darling of women, is played by Alfred Gerasch, the beautiful Viennese castle actor, with casual grace and amiable channeling, without appearing soft. Paul Bildt as consumptive painter, Albert Patry as Dr. Harrison and Otto Treptow as worthy servants of his master, the Viscount, gave proven services. (...) "
“One of the best corporate films in a long time. That is said beforehand. Just a social film: but very good of its kind. Maybe a little tedious; but succeeded on the whole. A simple and strong subject. Strong and finely executed; effective; at the same time psychologically subtly chiseled. But not only strong; also fine: so we said. Amazing in some details. The prelude is an Allegro furioso. The following frame scenes in court are a masterpiece of clear grouping of scenes. And then: a nimble, steady, never flagging pace, no: the pace of the film. An achievement full of love: perhaps only as completely possible when, as here, author and director are united in one person. There - there is something marvelous happening. The hired seducer, who has a premonition, falls on his knees in front of the woman, and, while she takes up the dog whip - - he confesses everything: that he is a hired seducer. Yes - that he loves her, really loves her. That he cannot go on. Thereupon she, the sacrificed self, becomes his lover - because of the confession. Psychologically amazingly fine. Mia May is simple, big, untouchable. Her playing takes away the obnoxiousness that could easily cling to her from the marble rigidity of her role. Her simple, al fresco gestures give a clear figure in great style. Everything around these three is actually excellent. Another very small batch role has been obtained from the excellent Rosa Valetti, who in three minutes puts a striking, picturesque Frans Hals figure, a Hille Bobbe, on two legs. Otherwise - but why list them all; Because, as we already said, they are all very good. Finally, the beautiful buildings by Jacoby-Boy. Only one small mistake: for the picture that the lung patient, then the rented villain, paints, Botticelli's would never have been so popular "Venus, rising from the waves". It would have been better wrapped in benevolent darkness. The audience was enthusiastic. The performers thanked them. Ms. Henny Porten applauded diligently with - without any artistic oath. That was very nice to look at. "
Web links
- The fault of Lavinia Morland at filmportal.de
- The guilt of Lavinia Morland in the Internet Movie Database (English)
- The fault of Lavinia Morland at Murnau Foundation
Individual evidence
- ↑ Film length calculator , frame rate : 18
- ^ Review I at filmportal.de
- ↑ Critique II at filmportal.de