Miss Julie (1921)
| Movie | |
|---|---|
| Original title | Miss Julie |
| Country of production | Germany |
| original language | German |
| Publishing year | 1921 |
| length | approx. 69 minutes |
| Rod | |
| Director | Felix Basch |
| script |
Max Jungk Julius Urgiß based on the tragedy of the same name (1888) by August Strindberg |
| production | Asta Nielsen for Art-Film, Berlin |
| camera | Julius Balting |
| occupation | |
| |
Fräulein Julie is a German silent film from 1921 based on the eponymous template by August Strindberg . Asta Nielsen plays the title role under the direction of Felix Basch .
action
Somewhere in a small Swedish town. Julie, daughter of the count's parents, grows up on her parents' estate. Her mother is in strict control of her. Disappointed in a lover, Julie's mother demands that she swear never to become totally dependent on a man. The old countess fell more and more mentally deranged and one day she set fire to the family's own castle. While the Countess dies a cruel death in flames, the young, agile and powerful servant Jean saves the young Comtesse Julie.
Years go by and Julie meets Jean again. Although she actually despises him out of class awareness and social arrogance, she begins an affair with Jean and follows him to his barren room. But she has no idea that it is not just pure lust that drives Jean to her. Rather, he sees the count's daughter as a means to an end. And that means: Julie is supposed to steal money from her father's desk in order to escape with him. But the father returns earlier than planned. Jean hands Julie a razor so that she can end her life, and it does so.
Production notes
Miss Julie passed film censorship on November 24, 1921, was banned from young people and premiered on February 2, 1922 in the Marble House . The five-stroke was 1589 meters long.
The film structures were created by the architects Robert Herlth and Walter Röhrig .
criticism
Paimann's film lists summed up: “As was to be expected, it was not possible for film editing to completely reproduce the spirit of poetry, and in many places one encounters actions whose psychological motives are missing, which gives the impression of the unnatural. Nevertheless, especially towards the end, the picture is rich in dramatically valuable sequences of scenes. The actors made a real effort, Dieterle in particular deserves praise. The presentation found little scope for development in the rural environment, the photos were good. "
“It was only in the film 'Fräulein Julie' (1922) that Asta Nielsen showed a genuinely Strindbergian nature: there was nothing whore or vampire about her. As a girl who was basically never a backfish, she struggled between instinct and ancestry, and saw the highest price in the lackey, so that body and soul finally broke on this astray. "
In Strindberg's home country Sweden, too, the stripe received attention and, moreover, received very different reception with regard to the decorations. During the Stockholms-Tidningen was in its issue of 27 March 1922, "that the interiors very make well the dilapidated estate of Count ... the sound of Strindberg's drama," complained the same day, the resident also in the Swedish capital Svenska Dagbladet on "Ridiculously fantastic huge rooms, the style, the design and the furnishing that you have never seen in any Swedish mansion".
Web links
- Miss Julie in the Internet Movie Database (English)
- Miss Julie at filmportal.de
Individual evidence
- ↑ Miss Julie ( Memento of the original from March 24, 2016 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. In: Paimann's film lists
- ^ Oskar Kalbus: On becoming German film art, part 1: The silent film , Berlin 1935. P. 71
