King Pausole
| Movie | |
|---|---|
| Original title | King Pausole |
| Country of production |
Austria France |
| original language |
German French |
| Publishing year | 1933 |
| length | 71 minutes |
| Rod | |
| Director | Alexis Granowsky |
| script |
Fernand Crommelynck based on the novel Les Aventures du roi Pausole (1901) by Pierre Louÿs |
| production | Marc Azarov |
| music | Karol Town Hall |
| camera | Rudolph Maté |
| cut | Paul Falkenberg |
| occupation | |
| |
König Pausole is an Austro-French fictional film made in 1932 by Alexis Granowsky with Emil Jannings in the title role, based on the French novel The Adventures of King Pausole , published in 1901 .
action
The easy-going, peaceful King Pausole rules a fantasy land called Trypheme. This is located, far from everything, on an island that is not shown on any map. The good-natured monarch is kindness in person has a proud harem of 365 wives who are wedded to him, so that he could have a new queen around him all year round, a new face every day ... if he wanted. All other citizens of Tryphemes enjoy these freedoms, but the queens do not. They are condemned to be loyal to only one man, their cheerful monarch. His despotic Chancellor Taxis and the senior governess Perchuque make sure that this enforced modesty is observed.
The pretty Diane, who is supposed to be his very personal "Queen one day" today, is trying hard to get Pausole like the other women before, but she too is biting her teeth on him. Because there is only one worry that plagues the fat king at the moment, that of his daughter Aline. She, just turned 18, fell madly in love with the neat sports pilot Giglio, who has just landed with his plane on the beach of the queens on the tiny island. Entering this harem is of course strictly forbidden, and so Giglio is “locked” in the prison of the country, which is as free and as humane as everything in Trypheme: no walls, no bars, but a swimming pool in the courtyard. Pausole invites the brazen young man to celebrate Aline's birthday. There Aline tries to make it clear to her father that she, too, has fallen in love with Giglio. But she is not allowed to see him.
Thereupon Aline, together with her best friend Mirabelle, escapes the narrow palace walls. She is only ready to return home when Giglio fetches her. Pausole immediately goes in search of his own flesh and blood, and Giglio wants to find them too. The corpulent king soon becomes a nuisance to travel and searching, and he leaves Giglio to do the research while he stays behind with his one-day Queen Diana and gradually begins to get used to the idea of having this woman around forever. Meanwhile, at home, behind the palace walls, the remaining 364 harem ladies or “queens for a day” are rehearsing the uprising. You are tired of all this patronizing and nibbling from taxis and perchuque. Pausole, who returned home from his trip, also came to the conclusion that 365 women are definitely too much for a man. After taxis were exiled, from now on he only wants Diana and no other. And since Aline and Giglio have found each other, he no longer has to worry about his successor.
Production notes
The film was shot from September to the end of November 1932 in the Tobis Sascha studio in Vienna and then (mid-December 1932) in the Billancourt studios in Paris. The exterior shots were taken in Antibes on the Mediterranean. The Austrian production partners took part in this film in the expectation of being able to land a guaranteed box-office success in Germany with Emil Jannings as the star. But shortly after rotating in Berlin who had Nazis seized power. The new censorship authority refused to show King Pausole in the Reich (probably for moral reasons) , and so the film had its German-language premiere at a celebratory premiere on August 30, 1933 at 9:15 p.m. in the Vienna Löwe-Kino in the presence of Emil Jannings. The mass start was the next day. In France, the strip started on December 15, 1933.
The buildings were designed by Pierre Schildknecht and Marcel Vertès. Jannings also appeared in The Merry Monarch , produced for the English-speaking market , while his role in the original French version was played by André Berley. None of the three versions was a great success (commercial or critical).
Music track
The following two music tracks were played:
- Do you hear how softly the night wind rustles?
- I dreamed of you
The titles were published by Dacapo-Verlag, Vienna.
Reviews
In the Neue Freie Presse you can read: “The legends that were told in the studio were by no means whimpering or exaggerating. Everything is right. Huge sums of money are wasted on the film work. Enchanting scenery of the Riviera appear on the screen. (...) Nevertheless, one is still disappointed. The connoisseurs of the art of film have to struggle to fight back an increasing sadness and the cinema audience does not know what to do with this King Pausole. There is above all Emil Jannings. He is constantly at the beginning of a great role that seems to suit him excellently and that promises memorable laughs in his portrayal. But it sticks to this promise. Jannings is only allowed to play the very first step ... which gives nothing more than a first outline, a first foretaste, a concept of shape (...) ... but in the splendor of the set the parody, plot and the title role disappeared. Jannings remained passive. He couldn't help it. Didn't get a chance to show anymore. (...) As a man possessed, Granowsky directed it. You know his intoxicating, his original obsession with the theater. This time he had unlimited resources and he did not impose any coercion on his inner vision. (...) But ... the dramaturgy was missing. More precisely: the film dramaturgy! The plot remained rudimentary. (...) The parodic, the humor, the great entanglements, for which the court of the King Pausole offers so innumerable possibilities, this film has completely left aside. Nevertheless, this film has again brilliantly demonstrated Granowsky's outstanding artistic qualities. "
Paimann's film lists summed up: “Dominating: the presentation: crowd scenes, always kept in flux. Stylized, just like the large-scale buildings, which, despite their caricature basic character, differentiate the different locations. Unused effort, as everything is colorful, picture book-like, instead of being used in an optical synthesis to promote action. Rarely a dramatic approach, nowhere an opportunity for the ensemble, even for a Jannings, to act out. Only remarks, sentence fragments as a sparse dialogue. Many a successful image inspiration, many an acoustic aperçu in the music, which still underlines the hustle and bustle of the mass movement and rarely offers resting points (town hall). Clean picture and sound technology. Plus and minus weighed against each other, just a good medium film. "
The Österreichische Film-Zeitung wrote: The Märchenland Trypheme offers director Alexis Granowsky's imagination the greatest opportunities for unheard-of magnificence. A magical landscape is the setting for the original, revue-like scenes performed by countless beautiful women. Emil Jannings embodies the King Pausole, also excellent in his first humorous role. (…) The fun-loving atmosphere of the film is effectively underlined by the idiosyncratic, original music by Karol Rathaus.
Individual evidence
- ↑ Ulrich J. Klaus: Deutsche Tonfilme 4th year 1933. S. 16 (003.33), Berlin 1992
- ^ New Free Press of September 1, 1933
- ↑ "King Pausole". In: Neue Freie Presse , September 2, 1933, p. 9 (online at ANNO ).
- ↑ König Pausole in Paimann's film lists ( Memento of the original from May 1, 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.
- ↑ "King Pausole". In: Österreichische Film-Zeitung , September 2, 1933, p. 2 (online at ANNO ).
Web links
- King Pausole in the Internet Movie Database (English)
- König Pausole at filmportal.de