Intoxication (film)
| Movie | |
|---|---|
| Original title | Intoxication |
| Country of production | Germany |
| original language | German |
| Publishing year | 1919 |
| Rod | |
| Director | Ernst Lubitsch |
| script | Hanns Kraly |
| production | Argus-Film GmbH |
| camera | Karl friend |
| occupation | |
| |
Rausch is a German silent film in five acts by Ernst Lubitsch from 1919. It was made after August Strindberg's play Rausch (orig. Brott och Brott ) and is one of the director's lost films.
content
A play by the writer Gaston was a great theatrical success. He falls in love with Henriette, the wife of his friend Adolph, and leaves his wife Jeanne and their little daughter Marion for her in a frenzy of emotions. Marion dies by an unfortunate accident and Gaston and Jeanne are suspected of manslaughter . Both accuse each other - Gaston in turn becomes a social outsider and increasingly unsuccessful both professionally and personally.
In the end, it turns out that Marion died of natural causes. Gaston and Jeanne are now finally going their separate ways.
production
During the First World War , Nielsen had come into contact with August Strindberg's former wife Frida Strindberg during a trip to America in New York City . Strindberg wanted Fox to film Rausch and Asta Nielsen, who was involuntarily stuck in New York due to the sea blockade, had agreed to take on the lead role for financial reasons. It was only because of the production conditions - Nielsen wrote in retrospect that "three different directors were working simultaneously in three corners of the studio on three different films, while a decoration was hammered in the fourth corner" - was the film abandoned before filming began.
It was only after the end of the First World War that theater director Carl Meinhard took up the idea of the Strindberg film again, especially since Rausch had run successfully in German theaters. He persuaded Nielsen, who was living in Copenhagen at the time , to take on the lead role in the film, while he took on a supporting role as the painter Adolph. It was Nielsen's first film after the end of the war and also the only one that brought her together with director Ernst Lubitsch . There were repeated differences of opinion between Lubitsch, the screenwriter Hanns Kräly and Asta Nielsen during the filming in the Berlin film studio Chausseestrasse. "Everything that, in my opinion, was distinctly cinematic and characteristic of Strindberg was discarded and replaced in the script by everyday ideas that were as far removed from Strindberg's spirit and style as possible," said Nielsen, looking back. Nonetheless, Nielsen described the filming as “a happy collaboration with Lubitsch”, partly because he showed understanding for the actors and already at that time had “excellent… skills as a director”.
The film's buildings were made by Rochus Gliese and probably also by Paul Leni , so Leni's drafts for the film are in the National Film Archive in London . However, rediscovered credits of the film do not bear Leni's name. In May 1919, censorship imposed a youth ban on Rausch . Rausch premiered on August 1, 1919 in the UT Kurfürstendamm in Berlin and in Munich .
criticism
Lubitsch himself saw Rausch and Die Flamme as a counterpart to his historical dramas and described them as "small, intimate chamber plays". Asta Nielsen wrote in her biography that the film was "an epoch-making success".
Herta-Elisabeth Renk suspected that Lubitsch "perhaps in noise , safe in the flame , [...] already on the way to sensitive impressionistic drama [was] the quaint charms of the camera, subtle observation of everyday life with the psychology and drama Schnitzler joined . "
Web links
- Noise in the Internet Movie Database (English)
- Intoxication at filmportal.de
Individual evidence
- ↑ Asta Nielsen: The silent muse . 1st edition of the paperback edition. Henschel, Berlin 1992, p. 219.
- ↑ Asta Nielsen: The silent muse . 1st edition of the paperback edition. Henschel, Berlin 1992, p. 223.
- ↑ a b Asta Nielsen: The silent muse . 1st edition of the paperback edition. Henschel, Berlin 1992, p. 224.
- ↑ Ernst Lubitsch . Cahiers du cinéma, 1985, p. 136.
- ^ As an antidote against the great big historical canvasses I felt the necessitiy of making ... small, intimate Kammerspiel . Quoted from Scott Eyman : Ernst Lubitsch: Laughter in Paradise . P. 85.
- ^ Herta-Elisabeth Renk: Ernst Lubitsch . Rowohlt, Reinbek bei Hamburg 1992, p. 42.