The notorious
| Movie | |
|---|---|
| Original title | The notorious |
| Country of production | Germany |
| original language | German |
| Publishing year | 1925 |
| length | 18 fps: 113 minutes |
| Rod | |
| Director | Gerhard Lamprecht |
| script | Gerhard Lamprecht Luise Heilborn-Körbitz |
| music | Giuseppe Becce |
| camera | Karl Hasselmann |
| occupation | |
also Rudolf del Zopp , Paul Günther , Robert Garrison , Robert Graff , Max Maximilian , Sylvia Torf | |
The Verrufenen is a social drama by Gerhard Lamprecht from 1925 "based on experiences" by Heinrich Zille . He wrote the script together with Luise Heilborn-Körbitz . It is one of three so-called “ milieu ” films by the director, which at the time were called Zillefilme , certainly not only out of respect for their initiator, the great Berlin illustrator and photographer .
The film is set in Berlin after the First World War and is about two men who are released from prison. While one of them immediately resumes as a petty crook, where he left off before his time in prison, and is also accepted again by those around him, the second has to build a new existence for himself because he is rejected by his family.
Karl Hasselmann was in front of the camera. The production at National-Film AG was headed by Ernst Körner. It is the only film in which Zille himself appeared.
action
The engineer Robert Kramer, who has been released from prison, initially finds no support in bourgeois life: his fiancée has left him, his father cast him out because he "sat". As a convicted person, he cannot find a job because he is met with suspicion everywhere. In desperation he wants to end his life when the street girl Emma saves him and takes him in. When Emma and her brother Gustav get caught in a robbery and have to flee from the police, Robert helps them. His life took a good turn: He found work and a sponsor, even got a managerial position in a factory in Düsseldorf . When he returns to Berlin to see Emma again, he finds her dying and has to say goodbye to her.
background
The production of the film was inspired and supported by Adolf Heilborn , the brother of Lamprecht's colleague Luise Heilborn-Körbitz, who was a doctor, writer and a personal friend of Heinrich Zille. While Erich Pommer from “Decla” and the producers at “Gloria” considered the subject unpopular and hesitated to take it up, Lamprecht found an ally in Franz Vogel , whom he knew from Eiko-Film and the 1925 producer at National-Film AG was.
The film structures come from Otto Moldenhauer . The film was made in the “Terra-Glashaus” studio, Marienfelde , Berlin-Tempelhof and was submitted to the censors for examination on July 20, 1925. It premiered on August 28, 1925 in the Tauentzien Palace and at the same time in the Union Theater in Turmstrasse . According to Zglinicki, it was "one of the most glittering premieres that Berlin experienced". The music for the premiere in the Tauentzien Palace was conducted by Giuseppe Becce .
After America , the film was only two years later, on January 25, 1927 there it was called "Slums of Berlin". The film was also very successful abroad. It has also been shown in France , Spain , Finland and Japan .
reception
In Hans Ostwald's Zille biography , Heinrich Zille expresses himself in his own words about Lamprecht's film “The Fifth Stand”: “One day my friend Dr. Heilborn to take a look at the recordings that were so carefully shot based on my pictures and verbal explanations. I was amazed to see how a man who is not a painter and not a draftsman, but so skilfully draws and paints with photography. Like a child, I was delighted at how well Lamprecht had understood my drawn pictures… ”.
“Today it is not the critic who has been hardened in a thousand good and even more bad films who has the floor, but the person who is deeply touched. I am not ashamed to admit that very often the bare tears have run from my eyes. This film is a social act born out of a truly Christian feeling and out of a love for the poorest of the poor, as the connoisseur, who knew how to see deeper in Heinrich Zille's pictures than the funny surface indicated, has long been allowed to see. What Max Liebermann , Zille's great painter colleague, wrote about this most Berlin artist is extremely apt : “Thousands and thousands of people become careless, and if you pay attention to them, even pass the scenes you depict with disgust when you see them in life encountered. But they are moved by a part. The great pity stirs in you and you hurry to laugh about it, so as not to be forced to cry about it. We can feel the tears behind your laughter. ”- This wonderful work is too good for me to report on the phone and for the limited space available for it. All individual achievements - and they were wonderful - must be discussed in more detail. Today it should only be stated that never-ending applause from moved hearts rewarded the master and his loyal helpers again and again. With the first deeds of its new directorate, the national film could not introduce itself better than with this achievement, which not only the film world will talk about for a long time. "
Lamprecht states that the German cinema audience is growing tired of America, which he sees as being due to the fact that "the human-true material that is not kitschy through cinematic quality has great success here" ( Film-Kurier , September 25, 1926)
The film “Die Verrufenen” (1925), Lamprecht's view of the slums of the poorest, of the backyards, lump cellars and homeless shelters based on the notes of the Berlin painter Heinrich Zille - which a Berlin-folkloristic milieu cinema compassionately and apolitically claimed for itself just as much as the proletarian film […] - after its premiere in 1925 in the elegant West of Berlin, the social democratic “ Vorwärts ” ascribed the “meaning of a gospel”: “These are all people like you, people who really live, live under these conditions; Children grow up here, in 'apartments' that are so wet that kittens die in them… ”.
Unfortunately, the “milieu” that Lamprecht and Zille had treated with “noticeable honesty of intention” (Dahlke-Karl) was quickly and shamelessly marketed by business-minded imitators, which made the term “Zillefilm” a questionable predicate.
Republication
- Double-DVD Gerhard Lamprecht THE CALLED (THE FIFTH STAND) & THE UNMARNED. Published by the Deutsche Kinemathek. DVD authoring: Ralph Schermbach. DVD supervision: Annette Groschke.
Musical accompaniment: Donald Sosin. With booklet (16 pages, in three languages). Berlin 2012
literature
- Antti Alanen: filmdiary. Wednesday, October 09, 2013. (anttialanenfilmdiary.blogspot.de)
- Jörg Becker: The better actors. (ray-magazin.at)
- Herbert Birett: Silent film music. Material collection. Deutsche Kinemathek Berlin, Berlin 1970.
- Günther Dahlke, Günter Karl (eds.): German feature films from the beginnings to 1933. Henschel Verlag, Berlin 1993, pp. 118–119.
- Without author: Rediscovered: Director Gerhard Lamprecht. (dw.de)
- Hans Ostwald, Hans Zille (Ed.): Zille's legacy. Published by Hans Ostwald with the collaboration of his son Hans Zille. Paul Franke Verlag, Berlin 1930.
- Hans-Helmut Prinzler: The 'Zillefilm' by Gerhard Lamprecht. Film screening at the Akademie der Künste March 13, 2008. (hhprinzler.de)
- Johannes Schmid: Erich Kästner films and their remakes. GRIN Verlag, 2011, ISBN 978-3-640-85983-2 , pp. 29-30.
- Stephanie Singh: Berlin. (= Michelin: The green travel guide ). 2007, ISBN 978-3-8342-8989-6 .
- Ralf Thies: ethnographer of dark Berlin. Hans Ostwald and the Big City Documents. Böhlau Verlag, Cologne / Weimar 2006.
- Friedrich v. Zglinicki: The way of the film. The history of cinematography and its predecessors. Rembrandt Verlag, Berlin 1956, pp. 450–451.
Web links
- The disreputable in the Internet Movie Database (English)
- "The Disreputable" at filmportal
Illustrations
- Movie poster for “The Verrufenen” 1925
- Still photo from "The Verrufenen" with Bernhard Goetzke ( Memento from December 2, 2013 in the Internet Archive )
Individual evidence
- ↑ according to Zglinicki p. 451 the film was originally supposed to be called " The Fifth Stand " and was only renamed after completion. The title card of the film shows under the title The Disreputable in brackets and small the fifth estate .
- ↑ "For this film Zille actually delivered the story, the fate of one of his acquaintances, who afterwards even accused him of having been compromising precisely in his retelling", cf. Dahlke-Karl p. 118.
- ↑ cf. Singh p. 46, and adk.de : “Zille-Film” was something of a genre term in German silent film for a short time in the mid-twenties, beginning with “Die Verrufenen” (1925) by Gerhard Lamprecht.
- ↑ “... at the beginning, in a little homage , you see Heinrich Zille at work. The recordings are relatively short. ”, Cf. Prinzler, The 'Zillefilm' by Gerhard Lamprecht
- ↑ cf. adk.de
- ↑ cf. Alanen 2013, Ines Walk at film-zeit ( Memento from December 3, 2013 in the Internet Archive )
- ↑ cf. cinegraph
- ↑ so on p. 450.
- ↑ cf. Birett p. 124, B 10 896 VIII 662 (T)
- ↑ cf. Dahlke-Karl p. 119, rottentomatoes.com
- ↑ so Dahlke-Karl p. 119.
- ↑ cf. IMDb release info
- ↑ cf. Ostwald and Zglinicki p. 451.
- ↑ cit. at Prinzler, completely at filmportal.de
- ↑ so Jörg Becker
- ↑ Dahlke-Karl cites as an example "Stripes like" Die da unten ", D 1926, R Carl Boese ", Zglinicki quotes "Schwere Jungs - Leicht Mädchen", D 1927, also by Carl Boese (p. 451), Prinzler still " Großstadtkinder ”by Arthur Haase (1929); for merchandizing cf. also Thies p. 275.
- ↑ Zille himself was not happy about this development because he was bombarded with begging letters and inquiries: everyone tried to take advantage of him and also to make “Zillefilme”, cf. Zglinicki p. 451.
- ↑ deutsche-kinemathek.de