Tragedy of a passion
| Movie | |
|---|---|
| Original title | Tragedy of a passion |
| Country of production | Germany |
| original language | German |
| Publishing year | 1949 |
| length | 89 minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | Kurt Meisel |
| script | Emil Burri |
| production | Georg Witt |
| music | Mark Lothar |
| camera |
Heinz Schnackertz Josef Illig |
| cut | Werner Jacobs |
| occupation | |
and Katharina Berger , Ernst Brasch , Gisela Fackeldey , Walter Kiaulehn , Ernst Rotmund , Alwin Lippisch | |
Tragedy of a Passion is a 1948 German drama film by the actor Kurt Meisel , who made his directorial debut here. The main roles in this ensemble production are played by Joana Maria Gorvin , Hermine Körner , Carl Kuhlmann and Friedrich Schoenfelder . The story is based on the novella Pavlin (1874) by Nikolai Lesskow .
action
Russia, during the tsarist rule. Old Pawlin works as a caretaker for the greedy Anna Ivovna, a cold-hearted, scheming and calculating house owner and landlord. The caretaker, in the spirit of his boss, usually shows no mercy if one of the tenants cannot pay. When little Lyuba, whose mother dies in one of the rented apartments that are completely hypothermic in winter, becomes an orphan, Pawlin takes the penniless little one with him and, with all his love and care, becomes the perfect father substitute. At the age of 14, Lyuba was already a beauty, and eventually she became the lover of Anna Ivovna's son, the handsome officer Woldemar, called Dodja. Since Lyuba cannot live under the same roof with the adult Dodja, neither for “moral” reasons or for reasons of class, Anna Ivovna persuades the young woman to marry Pavlin. Ljuba finally agrees, deeply disappointed by Dodja's attitude. It is less the enormous age difference between her and her husband that bothers Ljuba. No, Ljuba rather has a certain idea of her future, and that means social advancement. There is no room for a countless lackey, who is ultimately Pawlin.
On the wedding night, Ljuba returns in Dodja's arms. Pawlin continues to be determined by a downright submissive, idolatrous love for Lyuba. He does all of the housework and leaves all of his savings to her. The money goes straight to Ljuba's lover, because Dodja leads a lavish lifestyle that he cannot finance on his own. Pawlin realizes that he cannot hold Lyuba a la longue and releases her for Dodja, on the condition that this idiot will marry Lyuba after his divorce from her. Meanwhile, Dodja's young wife becomes pregnant, and the officer slips more and more offside. Dodja is taken into custody by the police and then banished from his regiment far away. Lyuba follows him to Siberia , always watched by Pavlin, who follows her like a shadow to ensure her integrity. Finally, Pawlin forces Dodja, who is unwilling to marry, to marry Lyuba. But he continues to indulge in gambling. Now the old caretaker feels compelled to finally create facts. When Dodja wants to sacrifice his wife Ljuba as the last stint at the gaming table, the old man intervenes and stabs the depraved officer. Whether and how Pawlin for this bloody act, this tragedy of a passion. is convicted, the film leaves open.
Production notes
Tragedy of a Passion originated in Munich and the surrounding area in 1948 and was premiered on March 25, 1949 in Berlin.
Producer Georg Witt also took over the production management. Hermann Warm designed the film structures executed by Bruno Monden .
Reviews
Die Zeit writes: “The preference for topics from old Russian literature has sprouted a new, very pale bloom in the film on which the actor Kurt Meisel tried his hand at for the first time as a film director. An almost typical Russian material, which is also complicated by a very clumsy, astonishingly conventional means exhausting script, serves, without any relation to a current problem and without any special cinematic art for the presentation of the peculiar charm of Joana Maria Gorvin in particular. For the sake of this actress ... this film with the demanding and cinematic title "Tragedy of a Passion" is not an exclusively useless endeavor. If it is good, then at most as photographed literature. (…) This "tragedy", however, appears like a film from 1926. "
In the Spiegel it said: “It is the first German film after 1945 without post-war problems and props. "Kabale und Liebe" in Russian, as tragic as one might expect according to the title, and with an effort of passion that also corresponds to the title. (...) Meisel made his debut as a film director. Some things slipped into the pathetic, but he also got beautiful pictures in the French style, with chiaroscuro effects and reduced tone. Karl Kuhlmann (Pawlik) and Hermine Körner (Countess) sometimes played as if they were acting on stage, Hermine Körner with a rolling schemer-R. Friedrich Schönfelder (Dodja) is a new lover in German film and not one in the sugary DIN format. Ljuba: Joana Maria Gorvin (...) She is not as passive as the role dictates. This Lyuba cries too much. "
The Lexicon of International Films says: “The flashback film based on a novella by Leskow (1831-1895) portrays a realistic picture of the decadent aristocratic society in Russia. Melodrama, sensitive in the setting of the milieu and played considerably by first-class theater actors. Depressing in the dull fate of what happened. "
Individual evidence
- ^ Review in: The time of April 7, 1949
- ↑ Russian Cabal and Love . Review in: Der Spiegel from April 5, 1949
- ↑ Tragedy of a Passion. In: Lexicon of International Films . Film service , accessed March 4, 2020 .
Web links
- Tragedy of a passion in the Internet Movie Database (English)
- Tragedy of a passion at filmportal.de