K KAAGAZ KE PHOOL Niogret, H,"Les moyens de I'emotion, in Positif(Paris), Janu ary1985. Mishra, V, ""Decentering History: Some Versions of Bombay Cin (Paper Flowers) ema, in East-West Film Journal(Honolulu), vol 6, no. 1, 1992 Rajadhyaskaha, Ashish, The Epic Melodrama: Themes of National- dia.1959 ity in Indian Cinema, in Journal of Arts and Ideas, nos. Director: Guru dutt Khan, Pervaiz, Nasreen Munni Kabir, and Ashish Rajadhyaksh The Song Picture Man, 'in Sight Sound (London), vol. 4, no. Production: Guru Dutt Films Pvt Ltd; colour, 35mm: CinemaScope 10 October 1994 (first Indian CinemaScope production); running time: 150 minutes Producer: Guru Dutt; screenplay and dialogue: Abrar Alvi: pho tography: V.K. Murthy; editor: Y G Chauhan; art director: M.R. chrekar; sound: S. V. Rama; music: S. D. Burman: songs: Kaifi Guru Dutt's tour de force, Kaagaz Ke Phool, is a tale of a mov cts on his life. Unhappily married to Bin Azmi: costumes: Bhanumati. because her elitist, colonial family cannot reconcile themselves to his career in the degraded movie industry, Suresh Sinha falls in love with Cast: Baby Naaz(Pammy): Venna(Bina): Mahesh Kaul (Father-in a young orphaned woman, Shanti. He makes her into a famous movie law): Waheeda Rehman (Shanti): Guru Dutt (Suresh Sinha): Johnny star, and gossip journals suggest a romantic liaison between the two Walker (Bina's brother-in-law): Minoo Mumtaz: Pratima Devi Sinha's daughter Pammy, who believes that her parents can reconcile Niloufer, Sulochana; Sheila Vaz: Bikram Kapoor; Mehmood: Mohan their differences if Shanti were to quit films, gets Shanti to promise to Choti; Haroun; Munshi Munaqga; V Ratra; Tony Walker; Tun Tun disappear from Sinha's life However, her disappearance only leads to a rapid decline in Sinha's fortunes. Refusing to face Shanti in his impoverished condition, Sinha eventually dies sitting on the direc- Publications tors chair in a gigantic, womb-like studio interior. The plot is often seen as Dutt's autobiography, and to some extent Books derives its astonishing power in the director/lead stars extraordinary impersonation of the tragic hero, rejected as it were by fate itself-as Khopkar, Arun, Guru Dutt: A Three Act Tragedy, Marathi, n.d. suggested in the opening musical refrain( Waqt hai meharbaan) and Rangoonwala, Firoze, Guru Dutt 1925-1965: A Monograph, repeated throughout the film. The persona continues from Dutt's Poona, 1973 previous work, Pyaasa, where he plays a romantic poet exiled from Micciollo. Henri. Guru Dutt. Paris. 1978 the world and believed dead while his oppressors celebrate his Burra, Rani, editor, Looking Back, 1896-1960, New Delhi, 1981 Gandhy, Behroze, and Paul willeman, Indian Cinema, London, 1982 Such an idiom--of the romantic melodrama--was well estab Banerjee, Shampa, Profiles: Five Film-makers from India: V. lished especially in the Hindi cinema when the film was made. Critics Shantaram, Raj Kapoor, Mrinal Sen, Guru Dutt, Ritwik Ghatak, generally accept that the idiom, which I have elsewhere(1993)called New Delhi. 1985 the"epic melodrama, emerged in the context of Indian nationalism, Kabir, Nasreen M, Guru Dutt: A Life in Cinema, New York, especially as the utopian dimension of the freedom struggle gave way 1996,1998 to a coercive state, corruption, mass culture, and to the despair that Dutt, better than any other filmmaker, expresses in Pyaasa with his Articles. lines:*"This land of castles. thrones and crowns/./Burn this land/ Blow it away /Remove it from my sight(Yeh mehlon ki duniya). To Padukone, Vasanthi, " "My Son Gurudutt, in Imprint, April 1979 a great extent Dutt, as actor, comes in line with the previous male stars Blanchet, C, Cinema(Paris). December 1984 reflecting this infantile Oedipal longing, with images built up over a body of work: Dilip Kumar(e. g. in Deedar, 1951, where he blinds Cinema(Paris), December 1984. himself), Raj Kapoor, the outcast of modern society. Kaagaz Ke Ostria, V,"L'ombre d'un Dutt, in Cahiers du Cinema(Paris), Phool in fact refers directly to what is considered by some as the December 1984 origin of this romantic stereotype: Devdas, a Saratchandra literary 619
619 KAAGAZ KE PHOOL K (Paper Flowers) India, 1959 Director: Guru Dutt Production: Guru Dutt Films Pvt. Ltd.; colour, 35mm; CinemaScope (first Indian CinemaScope production); running time: 150 minutes. Producer: Guru Dutt; screenplay and dialogue: Abrar Alvi; photography: V. K. Murthy; editor: Y. G. Chauhan; art director: M. R. Achrekar; sound: S. V. Rama; music: S. D. Burman; songs: Kaifi Azmi; costumes: Bhanumati. Cast: Baby Naaz (Pammy); Venna (Bina); Mahesh Kaul (Father-inlaw); Waheeda Rehman (Shanti); Guru Dutt (Suresh Sinha); Johnny Walker (Bina’s brother-in-law); Minoo Mumtaz; Pratima Devi; Niloufer; Sulochana; Sheila Vaz; Bikram Kapoor; Mehmood; Mohan Choti; Haroun; Munshi Munaqqa; V. Ratra; Tony Walker; Tun Tun. Publications Books: Khopkar, Arun, Guru Dutt: A Three Act Tragedy, Marathi, n.d. Rangoonwala, Firoze, Guru Dutt 1925–1965: A Monograph, Poona, 1973. Micciollo, Henri, Guru Dutt, Paris, 1978. Burra, Rani, editor, Looking Back, 1896–1960, New Delhi, 1981. Gandhy, Behroze, and Paul Willeman, Indian Cinema, London, 1982. Banerjee, Shampa, Profiles: Five Film-makers from India: V. Shantaram, Raj Kapoor, Mrinal Sen, Guru Dutt, Ritwik Ghatak, New Delhi, 1985. Kabir, Nasreen M., Guru Dutt: A Life in Cinema, New York, 1996, 1998. Articles: Padukone, Vasanthi, ‘‘My Son Gurudutt,’’ in Imprint, April 1979. Blanchet, C., Cinéma (Paris), December 1984. Bassan, R., ‘‘Une autopsie du monde du spectacle,’’ in Revue du Cinéma (Paris), December 1984. Ostria, V., ‘‘L’ombre d’un Dutt,’’ in Cahiers du Cinéma (Paris), December 1984. Niogret, H., ‘‘Les moyens de l’emotion,’’ in Positif (Paris), January 1985. Mishra, V., ‘‘Decentering History: Some Versions of Bombay Cinema,’’ in East-West Film Journal (Honolulu), vol. 6, no. 1, 1992. Rajadhyaskaha, Ashish, ‘‘The Epic Melodrama: Themes of Nationality in Indian Cinema,’’ in Journal of Arts and Ideas, nos. 25–26, 1993. Khan, Pervaiz, Nasreen Munni Kabir, and Ashish Rajadhyaksha, ‘‘The Song Picture Man,’’ in Sight & Sound (London), vol. 4, no. 10, October 1994. *** Guru Dutt’s tour de force, Kaagaz Ke Phool, is a tale of a movie director who reflects on his life. Unhappily married to Bina, mainly because her elitist, colonial family cannot reconcile themselves to his career in the degraded movie industry, Suresh Sinha falls in love with a young orphaned woman, Shanti. He makes her into a famous movie star, and gossip journals suggest a romantic liaison between the two. Sinha’s daughter Pammy, who believes that her parents can reconcile their differences if Shanti were to quit films, gets Shanti to promise to disappear from Sinha’s life. However, her disappearance only leads to a rapid decline in Sinha’s fortunes. Refusing to face Shanti in his impoverished condition, Sinha eventually dies sitting on the director’s chair in a gigantic, womb-like studio interior. The plot is often seen as Dutt’s autobiography, and to some extent derives its astonishing power in the director/lead star’s extraordinary impersonation of the tragic hero, rejected as it were by fate itself—as suggested in the opening musical refrain (Waqt hai meharbaan) and repeated throughout the film. The persona continues from Dutt’s previous work, Pyaasa, where he plays a romantic poet exiled from the world and believed dead while his oppressors celebrate his greatness. Such an idiom—of the romantic melodrama—was well established especially in the Hindi cinema when the film was made. Critics generally accept that the idiom, which I have elsewhere (1993) called the ‘‘epic melodrama,’’ emerged in the context of Indian nationalism, especially as the utopian dimension of the freedom struggle gave way to a coercive state, corruption, mass culture, and to the despair that Dutt, better than any other filmmaker, expresses in Pyaasa with his lines: ‘‘This land of castles, thrones and crowns/ . . . /Burn this land/ Blow it away/Remove it from my sight’’ (Yeh mehlon ki duniya). To a great extent Dutt, as actor, comes in line with the previous male stars reflecting this infantile Oedipal longing, with images built up over a body of work: Dilip Kumar (e.g. in Deedar, 1951, where he blinds himself), Raj Kapoor, the outcast of modern society. Kaagaz Ke Phool in fact refers directly to what is considered by some as the origin of this romantic stereotype: Devdas, a Saratchandra literary
DAS KABINETT DES DR CALIGARI FILMS. 4 EDITIoN character filmed by P C Barua with K L Saigal in 1935, and then by Producer: Erich Pommer, screenplay: Carl Mayer and Hans Janowitz, Dilip Kumar in 1955. The fictional Suresh Sinha is in from an original story by Carl Mayer and Hans Janowitz; photogra fact directing a Devdas version, and is desperately looking for an ideal phy: Willy Hameister; production designers: Hermann Warm, Paro when he chances upon Shanti. Walter Reimann, and Walter Rohrig; costume designer: Walter Kaagaz Ke Phool however, took that tradition of romantic melo- Reimann drama onto a wholly new, and unprecedented plane, and to see how it did so, we need only to continue with the sequence of how Sinha Cast: Werner Krauss(Dr Caligari): Conrad Veidt(Cesare): Friedrich discovers Shanti. He has been rejected by his wife and by his haughty Feher(Francis): Lil Dagover (Jane): Hans Heinz von Twardowski father-in-law, and stands beneath a tree to shelter himself from the(Alan): Rudolf Ettinger(Dr. Olsen); Rudolph Klein-Rogge( Criminal) rain. Shanti, standing next to him and shivering in the cold, receives a gift of his overcoat, and later, arrives on his film set to return that coat. She intrudes onto Sinha's frame, and in an extraordinary follow. Publications up, is seen in close-up in the directors editing room where he realizes that she is the star he is waiting for. Script That sequence spins throughout the film a whole dimension of cinematic space, as shown by the two extraordinary and justly Mayer, Carl, and Hans Janowitz, The Cabinet of Dr Caligari, edited celebrated scenes of Sinha and Shanti standing apart in a cavernous by robert Adkinson, New York, 1972; also included in Masterworks studio, lit centrally by a straightforward metaphoric beam, as their of the German Cinema, edited by Roger Manvell, London and disembodiedspirits emerge and unite; and at the end when the New York. 1973 director dies in that very space. It extends into one of the most sophisticated crane movements in what was Indias first full Books CinemaScope film, constantly dramatizing the conflict between open and constricted spaces, spaces controlled by the director and space Kracauer, Siegfried, From Caligari to Hitler: A Psychological Hi constraining him, spaces that he can enter and those from which he tory of the German Cinema, Princeton, 1947. Wollenberg, Hans H, 50 Years of German Cinema, London, 1948 It also extends into the poet Kaifi Azmi's remarkable songs, set to Huaco. George A, The Sociology of Film Art, New York, 1965 music by Burman and picturized in an unprecedentedly new idiom by Eisner, Lotte, The Haunted Screen, Berkeley, 1969 Dutt. The best known is of course the Waqt hai meharbaan which Manvell. Roger and Heinrich Fraenkel. The German Cinema. New resurfaces, e.g. when the director, reduced to being an extra on Y a movie set, faces a giant stone eagle, and then escapes from Shanti Everson, William K, Classics of the Horror Film,Secaucus, New ven as nature generates a storm of protest all around him. The songs, Jersey, 1974 especially, evoke something like a Sufi idiom, of the tragedy of Laqueur, Walter, Weimar: A Cultural History1918-1933,New unreachable, unattainable desire, and in the process also rescue the York,1974. film from the sentimentalism that afflicts several other filmmakers Prawer, S.S., Caligaris Children: The Film as Tale of Terror, New yorking in the idiom of romantic melodrama--notably Kidar Sharma. York, and Oxford, 1980 The film it might be added was a commercial failure when it was Barton, John D, German Expressionist Film, Boston, 1982 first released, prompting Dutt to not sign his future productions. Over Brunner, Stephen Eric, and Douglas Kenner, Passion and Rebellion he years it has, however, become something of a cult movie, notabl The Expressionist Heritage, London, 1983 for its songs and their picturization. Budd, Mike, editor, The Cabinet of Dr. Caligari: Texts, Contexts, Histories, New Brunswick, New Jersey, 1990. -Ashish Rajadhyaksha Hardt, Ursula, From Caligari to California: Eric Pommer's Life in Robinson, David, Das Cabinet des Dr Caligari, London, 19 Jung, Uli, and Walter Schatzberg, Beyond Caligari: The DAS KABINETT DES DR CALIGARI Robert Wiene. New York. 1999 CThe Cabinet of Dr Caligari) Articles Germany. 1920 Variety(New York), 8 April 1921 Kracauer, Siegfried, in Partisan Review(New Brunswick, New Director: robert wiene Jersey), March-April 1947. Melnitz, William, Aspects of War and Revolution in the Theater and Production: Decla Filmgellschaft(Berlin): black and white, 35mm. Film of the Weimar Republic, in Hollywood Quarterly, no.3 silent, originally tinted in green, brown, and steely-blue: length: 4682 1948-49. feet. Released February 1920, Berlin. Filmed Winter 1919 in Decla Luft, Herbert, in Quarterly of Film, Radio, and Television(Berkeley), Summer 1954
DAS KABINETT DES DR. CALIGARI FILMS, 4th EDITION 620 character filmed by P. C. Barua with K. L. Saigal in 1935, and then by Bimal Roy with Dilip Kumar in 1955. The fictional Suresh Sinha is in fact directing a Devdas version, and is desperately looking for an ideal Paro when he chances upon Shanti. Kaagaz Ke Phool however, took that tradition of romantic melodrama onto a wholly new, and unprecedented plane, and to see how it did so, we need only to continue with the sequence of how Sinha discovers Shanti. He has been rejected by his wife and by his haughty father-in-law, and stands beneath a tree to shelter himself from the rain. Shanti, standing next to him and shivering in the cold, receives a gift of his overcoat, and later, arrives on his film set to return that coat. She intrudes onto Sinha’s frame, and in an extraordinary followup, is seen in close-up in the director’s editing room where he realizes that she is the star he is waiting for. That sequence spins throughout the film a whole dimension of cinematic space, as shown by the two extraordinary and justly celebrated scenes of Sinha and Shanti standing apart in a cavernous studio, lit centrally by a straightforward metaphoric beam, as their disembodied spirits emerge and unite; and at the end when the director dies in that very space. It extends into one of the most sophisticated crane movements in what was India’s first full CinemaScope film, constantly dramatizing the conflict between open and constricted spaces, spaces controlled by the director and spaces constraining him, spaces that he can enter and those from which he is excluded. It also extends into the poet Kaifi Azmi’s remarkable songs, set to music by Burman and picturized in an unprecedentedly new idiom by Dutt. The best known is of course the Waqt hai meharbaan which resurfaces, e.g. when the director, reduced to being an extra on a movie set, faces a giant stone eagle, and then escapes from Shanti even as nature generates a storm of protest all around him. The songs, especially, evoke something like a Sufi idiom, of the tragedy of unreachable, unattainable desire, and in the process also rescue the film from the sentimentalism that afflicts several other filmmakers working in the idiom of romantic melodrama—notably Kidar Sharma. The film, it might be added, was a commercial failure when it was first released, prompting Dutt to not sign his future productions. Over the years it has, however, become something of a cult movie, notably for its songs and their picturization. —Ashish Rajadhyaksha DAS KABINETT DES DR. CALIGARI (The Cabinet of Dr. Caligari) Germany, 1920 Director: Robert Wiene Production: Decla Filmgellschaft (Berlin); black and white, 35mm, silent, originally tinted in green, brown, and steely-blue; length: 4682 feet. Released February 1920, Berlin. Filmed Winter 1919 in Decla studios; cost $18,000. Producer: Erich Pommer; screenplay: Carl Mayer and Hans Janowitz, from an original story by Carl Mayer and Hans Janowitz; photography: Willy Hameister; production designers: Hermann Warm, Walter Reimann, and Walter Röhrig; costume designer: Walter Reimann. Cast: Werner Krauss (Dr. Caligari); Conrad Veidt (Cesare); Friedrich Feher (Francis); Lil Dagover (Jane); Hans Heinz von Twardowski (Alan); Rudolf Lettinger (Dr. Olsen); Rudolph Klein-Rogge (Criminal). Publications Script: Mayer, Carl, and Hans Janowitz, The Cabinet of Dr. Caligari, edited by Robert Adkinson, New York, 1972; also included in Masterworks of the German Cinema, edited by Roger Manvell, London and New York, 1973. Books: Kracauer, Siegfried, From Caligari to Hitler: A Psychological History of the German Cinema, Princeton, 1947. Wollenberg, Hans H., 50 Years of German Cinema, London, 1948. Huaco, George A., The Sociology of Film Art, New York, 1965. Eisner, Lotte, The Haunted Screen, Berkeley, 1969. Manvell, Roger, and Heinrich Fraenkel, The German Cinema, New York, 1971. Everson, William K., Classics of the Horror Film, Secaucus, New Jersey, 1974. Laqueur, Walter, Weimar: A Cultural History 1918–1933, New York, 1974. Prawer, S. S., Caligari’s Children: The Film as Tale of Terror, New York, and Oxford, 1980. Barton, John D., German Expressionist Film, Boston, 1982. Brunner, Stephen Eric, and Douglas Kenner, Passion and Rebellion: The Expressionist Heritage, London, 1983. Budd, Mike, editor, The Cabinet of Dr. Caligari: Texts, Contexts, Histories, New Brunswick, New Jersey, 1990. Hardt, Ursula, From Caligari to California: Eric Pommer’s Life in the International Film Wars, New York, 1996. Robinson, David, Das Cabinet des Dr. Caligari, London, 1998. Jung, Uli, and Walter Schatzberg, Beyond Caligari: The Films of Robert Wiene, New York, 1999. Articles: New York Times, 4 April 1921. Variety (New York), 8 April 1921. Kracauer, Siegfried, in Partisan Review (New Brunswick, New Jersey), March-April 1947. Melnitz, William, ‘‘Aspects of War and Revolution in the Theater and Film of the Weimar Republic,’’ in Hollywood Quarterly, no.3, 1948–49. Luft, Herbert, in Quarterly of Film, Radio, and Television (Berkeley), Summer 1954
FILMS. 4th EDItION DAS KABINETT DES DR CALIGARI Das Kabinett des Dr. Caligari Pegge, C. Denis, Caligari: Its Innovations in Editing, in Quarterly Warm, Hermann, Naissance de Caligari: Les Trois Lumieres, of Film, Radio, and Television(Berkeley ), Winter 1956 Cinematographe(Paris), February 1982. Lightman, Herb A,""From Caligari to Caligari, in American Simsolo, Noel, in Image et Son(Paris), October 1982. Cinematographer(Hollywood), July 1962. Cardullo, B, " Expressionism and the Real Cabinet of Dr. Caligari, Whitford, Frank, ""Expressionism in the Cinema, in Studio Interna in Film Criticism(Edinboro, Pennsylvania), Winter 1982 tional( Lugano), January 1970 Tomasulo, F,Cabinet of Dr. Caligari: History/Psychoanalysis/ Helman, A,"Robert wiene czyli pozory niefilmowosci, in Kino Cinema, in On Film(Los angeles), Summer 1983 Warsaw ), April 1974 Budd, Michael, Authorship as a Commodity: The Art Cinema and Clement, Catherine, Les Charlatans et les hysteriques, in Commu The Cabinet of Dr. Caligari, ' in Wide Angle(Athens, Ohio), nications(Paris), no 23, 1975 Caligari et la critique, ' in Avant-Scene du Cinema(Paris), July Gout, C, in Skoop(Amsterdam), September-October 1984 mber 1975 Ahlander, L, " Filmhistoriskt nytt: Dr. Caligari och Queen Kelly, Carroll, Noel, The Cabinet of Dr Kracauer, in Millenium(New Chaplin(stockholm), 1985 mmer 1978 williams, D,"The Cabinet of Dr. Caligari: The Remake, in Film Budd, M, ""Retrospective Narration in Film: Re-Reading The Cabi- Threat(Beverly Hills), no 20, 1989 net of Dr Caligari, in Film Criticism(Edinboro, Pennsylvania), Weihsmann, H, Die vierte dimension-architektur im film, in Blimp( graz, Austria), Summer 1989. Combs, Richard. in Monthly Film Bulletin(London). June 1979. Schneider, I, " Deus ex animo, or Why a Doc?, in Journal of Mazowa, M, ""Sleepwalking Through Weimar, in Stills(London), Popular Film and Television(Washington, D. C ) no. 1, 1990. Spring 1981 appabianca, A, ""Cine/archeologia, in Filmcritica(Rome), Novem- Budd, M. in Cine-Tracts(Montreal), Winter 1981 ber 1990
FILMS, 4 DAS KABINETT DES DR. CALIGARI th EDITION 621 Das Kabinett des Dr. Caligari Pegge, C. Denis, ‘‘Caligari: Its Innovations in Editing,’’ in Quarterly of Film, Radio, and Television (Berkeley), Winter 1956. Lightman, Herb A., ‘‘From Caligari to Caligari,’’ in American Cinematographer (Hollywood), July 1962. Whitford, Frank, ‘‘Expressionism in the Cinema,’’ in Studio International (Lugano), January 1970. Helman, A., ‘‘Robert Wiene czyli pozory niefilmowosci,’’ in Kino (Warsaw), April 1974. Clement, Catherine, ‘‘Les Charlatans et les hysteriques,’’ in Communications (Paris), no.23, 1975. ‘‘Caligari et la critique,’’ in Avant-Scène du Cinéma (Paris), JulySeptember 1975. Carroll, Noël, ‘‘The Cabinet of Dr. Kracauer,’’ in Millenium (New York), no. 2, Spring-Summer 1978. Budd, M., ‘‘Retrospective Narration in Film: Re-Reading The Cabinet of Dr. Caligari,’’ in Film Criticism (Edinboro, Pennsylvania), no.1, 1979. Combs, Richard, in Monthly Film Bulletin (London), June 1979. Mazowa, M., ‘‘Sleepwalking Through Weimar,’’ in Stills (London), Spring 1981. Budd, M., in Ciné-Tracts (Montreal), Winter 1981. Warm, Hermann, ‘‘Naissance de Caligari: Les Trois Lumières,’’ in Cinématographe (Paris), February 1982. Simsolo, Noël, in Image et Son (Paris), October 1982. Cardullo, B., ‘‘Expressionism and the Real Cabinet of Dr. Caligari,’’ in Film Criticism (Edinboro, Pennsylvania), Winter 1982. Tomasulo, F., ‘‘Cabinet of Dr. Caligari: History/Psychoanalysis/ Cinema,’’ in On Film (Los Angeles), Summer 1983. Budd, Michael, ‘‘Authorship as a Commodity: The Art Cinema and The Cabinet of Dr. Caligari,’’ in Wide Angle (Athens, Ohio), vol.6, no.1, 1984. Gout, C., in Skoop (Amsterdam), September-October 1984. Ahlander, L., ‘‘Filmhistoriskt nytt: Dr. Caligari och Queen Kelly,’’ in Chaplin (Stockholm), 1985. Williams, D., ‘‘The Cabinet of Dr. Caligari: The Remake,’’ in Film Threat (Beverly Hills), no. 20, 1989. Weihsmann, H., ‘‘Die vierte dimension—architektur im film,’’ in Blimp (Graz, Austria), Summer 1989. Schneider, I., ‘‘Deus ex animo, or Why a Doc?,’’ in Journal of Popular Film and Television (Washington, D.C.), no. 1, 1990. Cappabianca, A., ‘‘Cine/archeologia,’’ in Filmcritica (Rome), November 1990
KAMERADSCHAFT FILMS. 4 EDITIoN Kuleshov, L, "Caligari, Mr. West, Aelita: Trois conceptions du film perception of character status and narrational authority within the nuet, 'in Positif(Paris), January 1991 film. This in turn opens the film to a range of possible readings. The Pratt, D. B."Fit Food for Madhouse Inmates: The Box Office film has been seen, for example, in terms of a female fantasy, focusing Reception of the German Invasion of 1921, in Griffithiana on Jane as the enigmatic source of the narrative ( Gemona, Italy ) October 1993 In other words, the film is structured in such a way that it represents contradictory ways of understanding the central sequence of events. This is supported by the consistency of the films mise-en- scene. The artificiality and stylized exaggeration of acting, decor, and The Cabinet of Dr. Caligari is usually identified as the first lighting are maintained throughout the film. There are no visual cues significant German Expressionist film, exemplifying the narrative indicate that the world of the framed tale of past events is different and visual traits of that movement. The primary story concerns from the framing scenes in the asylum. The film,'s visual style is series of murders which occur in a German town, coinciding with crucial to its exemplary status within the context of the german the arrival of Dr Caligari who runs a side-show at the local fair. Alan Expressionist film movement. In The Haunted Screen Lotte Eisner and Francis, friends and rivals for the affection of the same woman, explains that the overall design scheme of the film creates a pervasive Jane, witness his show: there the somnambulist Cesare predicts the feeling of anxiety and terror. It is characterized by extreme contrasts future, and forecasts Alans impending death. That night, Alan is in light and dark, distorted angles, exaggerated perspective and scalar murdered. Francis pursues the mysterious Caligari as Cesare kidnaps relations within the decor, and painted backdrops and shadows. The ane. In the ensuing chase, Cesare collapses and dies. The investiga basic tone of the decor extends to costume and make-up tion then leads to a local asylum from which Cesare has reportedly escaped. Dr Caligari is discovered to be the director of the hospital, German Expressionist film. Some critics have argued that German gone mad in his obsessive efforts to re-enact an 18th century film producers consciously adopted this"arty"style to differentiate owman'smurders-by-proxy. This story is presented as the narrative German film from other national cinemas(notably American)in account of Francis. The film opens in a park; Francis sits with another order to compete in the international film market. Others have nan as Jane, in a trance-like state, walks by. To explain her condition, stressed the fact that this movement expresses the troubled state of the Francis recounts the bizarre events of the central story. At the end of German national psyche after the war, or represents a retreat to the film, the scene returns to francis, who is revealed to be an inmate Romantic despair. In addition, the films artificiality and subversion at the asylum. His doctor is actually the Caligari figure from his tale. of realistic codes of representation have led to discussion of the film Upon hearing Francis's ravings in the courtyard, the doctor declares an early example of self-refiexivity and deconstructive processes that he now understands the case the cinema The history of the framing device is well known, and is discussed y Siegfried Kracauer in his study of post-World War I German The films equivocal narrative and visual stylization combine to create a disturbing fictional world. Moreover, its position in German cinema, From Caligari to Hitler. It was not a part of the initial script. cinema, and in German history, makes it a compelling case for by Carl Mayer and Hans Janowitz, but was presumably added by the producer Erich Pommer. According to Kracauer this framing cont examining relations between films and their social context. In these vance served to contain the inherent horror of the original story terms The Cabinet of Dr. Caligari provides a wealth of material to be study of authoritative madness and abusive power was recast as the mined by film critics and historians. delusion of an insane narrator; the evil doctor was re-defined as a benign, ministering figure who can cure the lunatic. At the same -M.B. White time Kracauer sees the final film as a powerful expression of the inherent tensions of the collective German psyche of the period-the fear that individual freedom will lead to rampant chaos which can only be constrained by submission to tyrannical authority. If the KAMERADSCHAFT original script depicted the potential abuses of absolute authority, the (Comradeship) But the narrative significance of the film is not necessarily france-Germany, 1931 either/or proposition as Kracauer suggests. The film does start by presenting Francis as a credible narrator. His reliability as a source is only called into question in the final scenes. In this sense the film is Director: g. w. pabst more equivocal and expresses a more disturbed sensibility than even Kracauer allows. Indeed, the film simultaneously presents at least two Production: Nero-Film(Berlin) and Gaumont-Franco(Paris), the viewpoints on the depicted events: 1) Francis is in fact mad and his collaboration of these two companies frequently referred to as Nero- ory totally or partially delusional; 2)Francis is a reliable source, Film AG; black and white, 35mm; running time: 85 minutes, French a position assumed through most of the film. From this second version is 93 minutes, length: 3060 feet (German version) perspective the director of the asylum might be considered a psy Released 193 chotic tyrant whose power extends to include Francis'confinement One is not, however, led directly to this conclusion. Rather, this Producer: Seymour Nebenzel; screenplay: Ladislaus (Laszlo)Vajda, version of the narrative causes a disruption of any stable or conclusive Karl Otten, Peter Martin Lampel and Fritz Eckardt, from a story by
KAMERADSCHAFT FILMS, 4th EDITION 622 Kuleshov, L., ‘‘Caligari, Mr. West, Aelita: Trois conceptions du film nuet,’’ in Positif (Paris), January 1991. Pratt, D. B., ‘‘Fit Food for Madhouse Inmates: The Box Office Reception of the German Invasion of 1921,’’ in Griffithiana (Gemona, Italy), October 1993. *** The Cabinet of Dr. Caligari is usually identified as the first significant German Expressionist film, exemplifying the narrative and visual traits of that movement. The primary story concerns a series of murders which occur in a German town, coinciding with the arrival of Dr. Caligari who runs a side-show at the local fair. Alan and Francis, friends and rivals for the affection of the same woman, Jane, witness his show; there the somnambulist Cesare predicts the future, and forecasts Alan’s impending death. That night, Alan is murdered. Francis pursues the mysterious Caligari as Cesare kidnaps Jane. In the ensuing chase, Cesare collapses and dies. The investigation then leads to a local asylum from which Cesare has reportedly escaped. Dr. Caligari is discovered to be the director of the hospital, gone mad in his obsessive efforts to re-enact an 18th century showman’s murders-by-proxy. This story is presented as the narrative account of Francis. The film opens in a park; Francis sits with another man as Jane, in a trance-like state, walks by. To explain her condition, Francis recounts the bizarre events of the central story. At the end of the film, the scene returns to Francis, who is revealed to be an inmate at the asylum. His doctor is actually the Caligari figure from his tale. Upon hearing Francis’s ravings in the courtyard, the doctor declares that he now understands the case. The history of the framing device is well known, and is discussed by Siegfried Kracauer in his study of post-World War I German cinema, From Caligari to Hitler. It was not a part of the initial script, by Carl Mayer and Hans Janowitz, but was presumably added by the producer Erich Pommer. According to Kracauer this framing contrivance served to contain the inherent horror of the original story. A study of authoritative madness and abusive power was recast as the delusion of an insane narrator; the evil doctor was re-defined as a benign, ministering figure who can cure the lunatic. At the same time Kracauer sees the final film as a powerful expression of the inherent tensions of the collective German psyche of the period—the fear that individual freedom will lead to rampant chaos which can only be constrained by submission to tyrannical authority. If the original script depicted the potential abuses of absolute authority, the framing scenes concede to this authority and suggest it may be beneficial. But the narrative significance of the film is not necessarily an either/or proposition as Kracauer suggests. The film does start by presenting Francis as a credible narrator. His reliability as a source is only called into question in the final scenes. In this sense the film is more equivocal and expresses a more disturbed sensibility than even Kracauer allows. Indeed, the film simultaneously presents at least two viewpoints on the depicted events: 1) Francis is in fact mad and his story totally or partially delusional; 2) Francis is a reliable source, a position assumed through most of the film. From this second perspective the director of the asylum might be considered a psychotic tyrant whose power extends to include Francis’ confinement. One is not, however, led directly to this conclusion. Rather, this version of the narrative causes a disruption of any stable or conclusive perception of character status and narrational authority within the film. This in turn opens the film to a range of possible readings. The film has been seen, for example, in terms of a female fantasy, focusing on Jane as the enigmatic source of the narrative. In other words, the film is structured in such a way that it represents contradictory ways of understanding the central sequence of events. This is supported by the consistency of the film’s mise-enscène. The artificiality and stylized exaggeration of acting, decor, and lighting are maintained throughout the film. There are no visual cues to indicate that the world of the framed tale of past events is different from the framing scenes in the asylum. The film’s visual style is crucial to its exemplary status within the context of the German Expressionist film movement. In The Haunted Screen Lotte Eisner explains that the overall design scheme of the film creates a pervasive feeling of anxiety and terror. It is characterized by extreme contrasts in light and dark, distorted angles, exaggerated perspective and scalar relations within the decor, and painted backdrops and shadows. The basic tone of the decor extends to costume and make-up. These qualities came to be known as the defining stylistic trait of German Expressionist film. Some critics have argued that German film producers consciously adopted this ‘‘arty’’ style to differentiate German film from other national cinemas (notably American) in order to compete in the international film market. Others have stressed the fact that this movement expresses the troubled state of the German national psyche after the war, or represents a retreat to Romantic despair. In addition, the film’s artificiality and subversion of realistic codes of representation have led to discussion of the film as an early example of self-reflexivity and deconstructive processes in the cinema. The film’s equivocal narrative and visual stylization combine to create a disturbing fictional world. Moreover, its position in German cinema, and in German history, makes it a compelling case for examining relations between films and their social context. In these terms The Cabinet of Dr. Caligari provides a wealth of material to be mined by film critics and historians. —M.B. White KAMERADSCHAFT (Comradeship) France-Germany, 1931 Director: G. W. Pabst Production: Nero-Film (Berlin) and Gaumont-Franco (Paris), the collaboration of these two companies frequently referred to as NeroFilm AG; black and white, 35mm; running time: 85 minutes, French version is 93 minutes, length: 3060 feet (German version). Released 1931. Producer: Seymour Nebenzel; screenplay: Ladislaus (Laszlo) Vajda, Karl Otten, Peter Martin Lampel and Fritz Eckardt, from a story by
FILMS. 4th EDItION KAMERADSCHAFT Amengual, Barthelemy, Georg Wilhelm Pabst, Paris, 1966. Aubry, Yves, and Jacques Petat, G. w. Pabst, in Anthologie du Cinema 4. Paris. 1968 Eisner, Lotte, The Haunted Screen, Berkeley, 1969. Manvell. Roger and Heinrich Fraenkel. The German Cinema. New Atwell. Lee. G.W. Pabst. Boston. 1977. Barth, Hermann, Psychagogische Strategien des Filmischen Diskurses in G. w. Pabst's Kameradschaft, Munich, 1990. Metzner, Erno, in Close Up(London), March 1932. New Statesman and Nation(London). 5 March 1932. Spectator(London), 12 March 1932. New York Times, 9 November 1932. Variety(New York), 15 November 1932. Potamkin, Harry A,"Pabst and the Social Film, in Hound and Horn(New York), January-March 1933 Manvell, Roger, in Sight and Sound(London), November 1950 "Pabst Issue"of Filmkunst(Vienna), no. 18, 1955. ¨ Pabst issue” of Cinemages( New York,May195: Image et Son(Paris), November 1960. Cineforum(Bergamo), no. 14, 1962. Luft, Herbert, G. W. Pabst, in Films in Review(New York) February 1964 Luft, Herbert, "G. W. Pabst, in Films and Filming (London) Karl Otten; photography: Fritz Armo Wagner and Robert Baberski Pulleine, Tim, in Monthly Film Bulletin(London), March 1978 Carroll, N, "Lang, Pabst, and Sound, in Cine-Tracts(Montreal). editor: Hans Oser, sound recordist: A Jansen; production design- Fall 1978 ers: Erno Metzner and Karl Vollbrecht: French advisor: Robert Filmkunst(Vienna), no 86, 1980 Beaudoin Sauvaget, D, in Image et Son(Paris), March 1981 Cast: Alexander Granach(Kaspar); Fritz Kampers(Wilderer): Dan- "Kameradschaft oder Neoverismo anno 1931, in Filmkunst(Vi- iel Mendaille(Pierre): Ernst Busch(Kaplan): Elisabeth Wendt enna),no.124,1990. (francoise): Gustav Puttjer(Jean): Oskar Hocker(Emile): Helena Manson (Albert's wife ) Andree Ducret(Francois): Alex Bernard Kameradschaft is a noble filmin theme and execution. It reflects Roll and like them it has at the back of its mind a shadow of doubt. In 1931 in Germany events were moving slowly to the rise of Hitler, which all the good will in the world could not stop, and the film does in fact end Otten, Karl, and others, Kameradschaft, in Le Cinema realist The action turns on a single event On the borders of france an allemande, edited by Raymond Borde, Lyons, 1963 Germany a vein of coal cuts through the frontier. Above ground a frontier post separates two communities; in the mine a brick wall separates the German and French workers From the very fin Books boys quarrelling over a game of marbles to those of three German workers who decide to spend a Saturday night in a French dance hall, Kracauer, Siegfried, From Caligari to Hitler: A Psychological His- the director G. w. Pabst sets the mood of the film. Action is sparked tory of the German Film, Princeton, 1947 off when an explosion in the French mine is reported to the German Joseph, Rudolpf, editor, Der Regisseur. G. w. Pabst, Munich, 1963. miners as they stand naked in the great shower room with their clothes Buache, Freddy, G. w. Pabst, Lyons, 1965. raised above the sprinklers by chains. Ernst Busch, their spokesman
FILMS, 4 KAMERADSCHAFT th EDITION 623 Kameradschaft Karl Otten; photography: Fritz Arno Wagner and Robert Baberski; editor: Hans Oser; sound recordist: A. Jansen; production designers: Ernö Metzner and Karl Vollbrecht; French advisor: Robert Beaudoin. Cast: Alexander Granach (Kaspar); Fritz Kampers (Wilderer); Daniel Mendaille (Pierre); Ernst Busch (Kaplan); Elisabeth Wendt (Françoise); Gustav Püttjer (Jean); Oskar Höcker (Emile); Hélèna Manson (Albert’s wife); Andrée Ducret (François); Alex Bernard (Grandfather); Pierre Louis (George). Publications Script: Otten, Karl, and others, Kameradschaft, in Le Cinema réaliste allemande, edited by Raymond Borde, Lyons, 1963. Books: Kracauer, Siegfried, From Caligari to Hitler: A Psychological History of the German Film, Princeton, 1947. Joseph, Rudolpf, editor, Der Regisseur: G. W. Pabst, Munich, 1963. Buache, Freddy, G. W. Pabst, Lyons, 1965. Amengual, Barthélemy, Georg Wilhelm Pabst, Paris, 1966. Aubry, Yves, and Jacques Pétat, ‘‘G. W. Pabst,’’ in Anthologie du Cinéma 4, Paris, 1968. Eisner, Lotte, The Haunted Screen, Berkeley, 1969. Manvell, Roger, and Heinrich Fraenkel, The German Cinema, New York, 1971. Atwell, Lee, G.W. Pabst, Boston, 1977. Barth, Hermann, Psychagogische Strategien des Filmischen Diskurses in G. W. Pabst’s Kameradschaft, Munich, 1990. Articles: Metzner, Ernö, in Close Up (London), March 1932. New Statesman and Nation (London), 5 March 1932. Spectator (London), 12 March 1932. New York Times, 9 November 1932. Variety (New York), 15 November 1932. Potamkin, Harry A., ‘‘Pabst and the Social Film,’’ in Hound and Horn (New York), January-March 1933. Manvell, Roger, in Sight and Sound (London), November 1950. ‘‘Pabst Issue’’ of Filmkunst (Vienna), no. 18, 1955. ‘‘Pabst Issue’’ of Cinemages (New York), May 1955. Image et Son (Paris), November 1960. Cineforum (Bergamo), no. 14, 1962. Luft, Herbert, ‘‘G. W. Pabst,’’ in Films in Review (New York), February 1964. Luft, Herbert, ‘‘G. W. Pabst,’’ in Films and Filming (London), April 1967. Pulleine, Tim, in Monthly Film Bulletin (London), March 1978. Carroll, N., ‘‘Lang, Pabst, and Sound,’’ in Ciné-Tracts (Montreal), Fall 1978. Filmkunst (Vienna), no. 86, 1980. Cinématographe (Paris), February 1981. Sauvaget, D., in Image et Son (Paris), March 1981. ‘‘Kameradschaft oder Neoverismo anno 1931,’’ in Filmkunst (Vienna), no. 124, 1990. *** Kameradschaft is a noble film—in theme and execution. It reflects the proletarian idealism of its time. It smacks of Toller and Rolland, and like them it has at the back of its mind a shadow of doubt. In 1931 in Germany events were moving slowly to the rise of Hitler, which all the good will in the world could not stop, and the film does in fact end on an ironic note. The action turns on a single event. On the borders of France and Germany a vein of coal cuts through the frontier. Above ground a frontier post separates two communities; in the mine a brick wall separates the German and French workers. From the very first shots of boys quarrelling over a game of marbles to those of three German workers who decide to spend a Saturday night in a French dance hall, the director G. W. Pabst sets the mood of the film. Action is sparked off when an explosion in the French mine is reported to the German miners as they stand naked in the great shower room with their clothes raised above the sprinklers by chains. Ernst Busch, their spokesman
KANAL FILMS. 4 EDITIoN decides to lead a rescue party which ultimately breaks through the Producer: Stanislaw Adler; screenplay: Jerzy Stefan Stawinski, frontier barrier and arrives at the gates of the French mine to the from a short story by Jerzy Stawinski; photography: Jerzy Lipman astonishment of the waiting and despairing relatives. ""Les Allemands. art directors: Roman Mann and Roman Wolzniec: music: Jan Ce n'est pas possible. The rest of the film is concerned with Krenz, ocarina theme by Adam Pawlikowski. Pabst has stamped the exterior and interior of the mine with uncompromising realism. The people are the protagonists, and ind- Teresa lzewski(Stokrotka); Emil Karewicz(Madry) Wldysta Sheybal vidual characters never leave the ambience which shapes them and to Composer): Tadeusz Gwiazdowski(Kula); Stanislaw Mikulski(Slim) which they bel Emo Metzner, Pabst has achieved a triumph of studio construction. Teresa Berezowska(Halinka): Adam Pawlikowski( German officer) Life in the mine and the terror of the disaster are translated into film terms that remain unforgettable. No music is used. The noises of the Award: Cannes Film Festival, Special Prize, 1957 ne, the clanking of chains, metal rubbing against metal, the hiring sounds of lifts-all this brings the strange world of the miner vividly before the spectator. It is a shared and illuminated experience Pabst's great humanity shines through the film. Its technical virtuos- Publications ity is no less. Wagner's camera catches the light shining in darkness, follows the ravaged, terrified faces. It gives significance to darkness. Script There is no plot as such. Human relations are hinted at. But the mine disaster leaves us in no doubt as to those relationships: Francoise Stawinski, Jerzy Stefan, Kanal, in Three Films by Andrzej Wajda, and her lover: The old man and his grandson; The three German New York. 1973 friends. All are people we know, and from the event Pabst creates a richly textured canvas of life and reality Faces haunt us. The hysterical miner, tap tapping a signal on metal Books pipe, who hears the guttural sounds of his German rescuer wearing a gasmask; he thinks he is back in the war and hurls himself on his Rhode, Eric, Tower of Babel: Speculations on the Cinema, New rescuer. Anna dragging her child beside the lorry that carries her husband to the dangers of rescue work. The actors do not play in this Geduld, Harry M, editor, Film Makers on Filmmaking, Bloomington, film; they are embedded in it. Indiana. 1967 he technical problems of creating movement in a narrow space McArthur, Colin, editor, Andrzej Wajda: Polish Cineme n,1970 were superbly overcome, as were the problems of proportioning light Michatek, Boleslaw. The Cinema of Andrzej Wajda,London, 1973 dark areas. But above all it is the great spirit of Pabst that is the real Stoil. Michael Jon Cinema bevond the Danube. The Camera and triumph of the film. Politics, Metuchen, New Jersey, 1974. Sadly, as the miners celebrate their new found friendship-"Why Leihm, Mira, and Antonin Liehm, The Most Important Art: east must we cooperate only at times of disaster. Why not every day below ground the brick wall which was smashed to allow the german European Film After 1945, Berkeley, 1977 Douin, Jean-Luc, Wajda, Paris, 1981 rescuers through is rebuilt with much official rubber-stamping and paul. David W. editor. Politics, Art, and Commitment in the Eastem exchanging of documents. A new shadow was falling on the Ger European Cinema, New York, 1983 Wajda, Andrzej, Un Cinema nomme des 1986. Wajda, Andrzej, Wajda on Film: A Notes. Los Ange -Liam OLeary les,1989 Wajda, Andrzej, Double Vision: My Life in Film, New York, 1989 article KANAL Wajda, Andrzej, Destroying the Commonplace, in Films and (Canal) Filming(London), November 196 Higham, Charles, "" Grasping the Nettle: The Films of Andrzej Poland. 1957 Wajda, in Hudson Review(New York), Autumn 1965 Wajda Issue of Etudes Cinematographiques(Paris), no 69-72, 1968. Hauru, A,"Kanal-kirottujen tie, in Filmihullu(Helsinki), Director: Andrzej wajda Holloway, Ronald, in Variety(New York), 5 September 1979 Production: Film Polski and ZAF, black and white, 35mm; running Wajda Issue"of Avant-Scene du Cinema(Paris), 1 January 1980 time: 95 minutes, some sources list 97 minutes; length: 8569 feet. Andrzej Wajda, in Village Voice(New York), 20 December 1981 Released April 1957. Filmed 1957 in Poland. Andrzej Wajda, in Current Biography Yearbook, New York, 1982. 624
KANAL FILMS, 4th EDITION 624 decides to lead a rescue party which ultimately breaks through the frontier barrier and arrives at the gates of the French mine to the astonishment of the waiting and despairing relatives. ‘‘Les Allemands. Ce n’est pas possible.’’ The rest of the film is concerned with the rescue. Pabst has stamped the exterior and interior of the mine with uncompromising realism. The people are the protagonists, and individual characters never leave the ambience which shapes them and to which they belong. With the brilliant cooperation of his designer, Ernö Metzner, Pabst has achieved a triumph of studio construction. Life in the mine and the terror of the disaster are translated into film terms that remain unforgettable. No music is used. The noises of the mine, the clanking of chains, metal rubbing against metal, the whirring sounds of lifts—all this brings the strange world of the miner vividly before the spectator. It is a shared and illuminated experience. Pabst’s great humanity shines through the film. Its technical virtuosity is no less. Wagner’s camera catches the light shining in darkness, follows the ravaged, terrified faces. It gives significance to darkness. There is no plot as such. Human relations are hinted at. But the mine disaster leaves us in no doubt as to those relationships: Françoise and her lover; The old man and his grandson; The three German friends. All are people we know, and from the event Pabst creates a richly textured canvas of life and reality. Faces haunt us. The hysterical miner, tap tapping a signal on metal pipe, who hears the guttural sounds of his German rescuer wearing a gasmask; he thinks he is back in the war and hurls himself on his rescuer. Anna dragging her child beside the lorry that carries her husband to the dangers of rescue work. The actors do not play in this film; they are embedded in it. The technical problems of creating movement in a narrow space were superbly overcome, as were the problems of proportioning light in dark areas. But above all it is the great spirit of Pabst that is the real triumph of the film. Sadly, as the miners celebrate their new found friendship—‘‘Why must we cooperate only at times of disaster. Why not every day’’— below ground the brick wall which was smashed to allow the German rescuers through is rebuilt with much official rubber-stamping and exchanging of documents. A new shadow was falling on the German people. —Liam O’Leary KANAL (Canal) Poland, 1957 Director: Andrzej Wajda Production: Film Polski and ZAF; black and white, 35mm; running time: 95 minutes, some sources list 97 minutes; length: 8569 feet. Released April 1957. Filmed 1957 in Poland. Producer: Stanisław Adler; screenplay: Jerzy Stefan Stawiński, from a short story by Jerzy Stawiński; photography: Jerzy Lipman; art directors: Roman Mann and Roman Wołzniec; music: Jan Krenz, ocarina theme by Adam Pawlikowski. Cast: Wieńczysław Gliński (Lt. Zadra); Tadeusz Janczar (Korab); Teresa Izewski (Stokrotka); Emil Karewicz (Madry); Włdysła Sheybal (Composer); Tadeusz Gwiazdowski (Kula); Stanisław Mikulski (Slim); Teresa Berezowska (Halinka); Adam Pawlikowski (German officer). Award: Cannes Film Festival, Special Prize, 1957. Publications Script: Stawinski, Jerzy Stefan, Kanal, in Three Films by Andrzej Wajda, New York, 1973. Books: Rhode, Eric, Tower of Babel: Speculations on the Cinema, New York, 1967. Geduld, Harry M., editor, Film Makers on Filmmaking, Bloomington, Indiana, 1967. McArthur, Colin, editor, Andrzej Wajda: Polish Cinema, London, 1970. Michatek, Boleslaw, The Cinema of Andrzej Wajda, London, 1973. Stoil, Michael Jon, Cinema Beyond the Danube: The Camera and Politics, Metuchen, New Jersey, 1974. Leihm, Mira, and Antonin Liehm, The Most Important Art: East European Film After 1945, Berkeley, 1977. Douin, Jean-Luc, Wajda, Paris, 1981. Paul, David W., editor, Politics, Art, and Commitment in the Eastern European Cinema, New York, 1983. Wajda, Andrzej, Un Cinéma nommé désir, Paris, 1986. Wajda, Andrzej, Wajda on Film: A Master’s Notes, Los Angeles, 1989. Wajda, Andrzej, Double Vision: My Life in Film, New York, 1989. Articles: Wajda, Andrzej, ‘‘Destroying the Commonplace,’’ in Films and Filming (London), November 1961. Higham, Charles, ‘‘Grasping the Nettle: The Films of Andrzej Wajda,’’ in Hudson Review (New York), Autumn 1965. ‘‘Wajda Issue’’ of Etudes Cinématographiques (Paris), no. 69–72, 1968. Hauru, A., ‘‘Kanal—kirottujen tie,’’ in Filmihullu (Helsinki), no. 2, 1979. Holloway, Ronald, in Variety (New York), 5 September 1979. ‘‘Wajda Issue’’ of Avant-Scène du Cinéma (Paris), 1 January 1980. ‘‘Andrzej Wajda,’’ in Village Voice (New York), 20 December 1981. ‘‘Andrzej Wajda,’’ in Current Biography Yearbook, New York, 1982
FILMS. 4 EDITIoN KANAL Kanal Lewis, Clifford, and Carroll Britch, "Andrzej Wajdas War Trilogy commentary which presents the individual characters: "These are the A Retrospective, in Film Criticism(Meadville, Pennsylvania), main heroic tragedies. Watch them closely; these are the last hours of Spring 1986. their lives. It is from this point of view that we see the unfoldin Bukoski, A, "'Wajda's Kanal and Mrozek's Tango, ' in Literature/ story of one group of fighters who are no longer able to hold off the Film Quarterly(Salisbury, Maryland), no. 2, 1992 enemy and must retreat through underground sewers. The film is structured in two parts which differ from one another in heir use of cinematic techniques. The first part is documentary in nature. It acquaints the viewer with the heroes and briefly conveys something of their lot before the Uprising. The follows them Kanal, Andrzej wajdas second film, is based on a story by Jerzy through everyday situations: they prepare their food, shave, make Stefan Stawinski which appeared in the magazine Tworczose. The love, and talk about their loved ones and about their past. The effects events of the story are drawn from the writer's personal experience. of the war are ever present as these apparently everyday moments Stawinski had taken part in two battles for Warsaw, as an 18-year-old occur amid the ruins of the city where not a single house has been left in 1939 and then in the Warsaw Uprising of 1944 standing. The war itself intrudes only with occasional explosions and purposely renounced any possibility of producing an small-scale attacks. This relative quiet is expressed through long exhaustive chronicle of the Uprising or commemorative poem on the takes, tracking shots and the use of only a minimum of detail. The heroic insurgents. His approach to examining this event was different. actual tragedy commences only after the group has withdrawn under From the outset he limited himself to the time in which the story itself ground. There is also a change in the style of representation, which is set. The Uprising lasted 63 days, and he followed his heroes from takes on an expressive eloquence; the lighting changes, there are more the fifty-seventh day, just a few days and nights before the Uprising contrasts of light and dark, the camera focuses on the heroes in detail. was suppressed. Defeat is present in the film from the introductory the sequences of reality alternate with scenes that have symbolic
FILMS, 4 KANAL th EDITION 625 Kanal Lewis, Clifford, and Carroll Britch, ‘‘Andrzej Wajda’s War Trilogy: A Retrospective,’’ in Film Criticism (Meadville, Pennsylvania), Spring 1986. Bukoski, A., ‘‘Wajda’s Kanal and Mrozek’s Tango,’’ in Literature/ Film Quarterly (Salisbury, Maryland), no. 2, 1992. *** Kanal, Andrzej Wajda’s second film, is based on a story by Jerzy Stefan Stawiński which appeared in the magazine Twórczość. The events of the story are drawn from the writer’s personal experience. Stawiński had taken part in two battles for Warsaw, as an 18-year-old in 1939 and then in the Warsaw Uprising of 1944. Wajda quite purposely renounced any possibility of producing an exhaustive chronicle of the Uprising or commemorative poem on the heroic insurgents. His approach to examining this event was different. From the outset he limited himself to the time in which the story itself is set. The Uprising lasted 63 days, and he followed his heroes from the fifty-seventh day, just a few days and nights before the Uprising was suppressed. Defeat is present in the film from the introductory commentary which presents the individual characters: ‘‘These are the main heroic tragedies. Watch them closely; these are the last hours of their lives.’’ It is from this point of view that we see the unfolding story of one group of fighters who are no longer able to hold off the enemy and must retreat through underground sewers. The film is structured in two parts which differ from one another in their use of cinematic techniques. The first part is documentary in nature. It acquaints the viewer with the heroes and briefly conveys something of their lot before the Uprising. The camera follows them through everyday situations: they prepare their food, shave, make love, and talk about their loved ones and about their past. The effects of the war are ever present as these apparently everyday moments occur amid the ruins of the city where not a single house has been left standing. The war itself intrudes only with occasional explosions and small-scale attacks. This relative quiet is expressed through long takes, tracking shots and the use of only a minimum of detail. The actual tragedy commences only after the group has withdrawn underground. There is also a change in the style of representation, which takes on an expressive eloquence; the lighting changes, there are more contrasts of light and dark, the camera focuses on the heroes in detail, the sequences of reality alternate with scenes that have symbolic
KAOS FILMS. 4 EDITIoN ing. A comparison of the two parts brings out the specific use of art director: Francesco Bronzi; costumes: Lina Nerli Taviani, light, and darkness music: Nicola piovani Above ground in the films beginning, the basic component of the soundtrack is the staccato of firearms, while underground the sound Cast: L' Altro figlio(The Other Son): Margarita Lozano(spoken by component is far richer-the distorted voices of the heroes Fiorella Mari)(Mother); Mali di luna(Moon Sickness): Claudio sounds which the viewer is often unable to identify, ever Bigagli (Bata): Enrica Maria Modugno (Sidora): Massimo Bonetti harmonic note of an ocarina. Here. sound has the extra f (Saro): Anna Malvica(Sidora's Mother); La giara(The Jar): Ciccio heightening the drama, for the underground odyssey must take place Ingrassia(Don Lollo): Franco Franchi(Zi Diam); Requiem: Biagio in absolute stillness so that the insurgents do not betray their positions to the germans who are lurking above. Light and shadow play Barone (Salvatore): Salvatore Rossi (Patriarch); Franco Scaldati Father Sarso): Pasquale Spadola(Baron); Colloquio con la madre a similar role. The first part is depicted in light, non-contrasting (Conversing with Mothe shades of grey, while darkness and sharp flashes of light are assigned Regina Bianchi(at"): Omero Antonutti(Luigi Pirandello); the underground sequences. Traditionally, the light/sun is a symbol of hope. For Wajda, the symbol has the opposite meaning, for the fulfilment of longing for light would mean death for the heroes. Therefore, at the conclusion both symbolic meanings-light as good, Publications darkness as threat-fow together and empty into tragedy, both extremes of the light spectrum bring the ineluctable endin Kanal had its Polish premiere in the spring of 1957, the same year Articles it was introduced at the International Festival at cannes where it won a prize. Its reception abroad was decidedly positive, while its appea Variety(New York), 12 September 1984 ance in Poland stirred discussions that included both positive and Coleman, John, in New Statesman(London), 5 October 1984 negative views. The country still had a tragic reminder of the Robinson, David, in Times(London), 5 October 1984 Uprising: people who had been direct participants in this tragedy of Bianco e Nero(rome), October-December 1984. modern history were still living. Their attitude towards the film was Rayns, Tony, in Monthly Film Bulletin(London), November 1984. sometimes too uncompromising: they wanted it to be a literal depic Ranvaud, Don, *"Taking the Centre ground, ' in Monthly Film tion of what they had experienced. However, Wajda could not make Bulletin ( London), November 1984. uch a film. He emphasized his personal approach as a director by Adair, Gilbert, " La tragedia dell'arte, " in Sight and Sound (London), presenting the experiences of a specific group of people whom he Winter 1984-85 divests of heroism but does not condemn, for they chose their fate Wahlstedt, T, in Chaplin(Stockholm), vol. 27, no. 3, 1985 freely and fought not for glory but against bondage and enslavement, Amiel, M, and J Kermabon, in Cinema(Paris), January 1985. and paid the highest price Legrand, Gerard, in Positif(Paris), January 1985 Kanal occupies a crucial position in the Polish cinema. It ushered Martin, Marcel, in Revue du Cinema/lmage et Son(Paris), Janu- in a series of films noted for their sober view of the myths engendered ary 1985 by the war and the Uprising. From this standpoint the film is similar in Philippon, A, in Cahiers du Cinema(Paris), January 1985 function to a declaration of policy Delmas, G, and A. Tournes, Quand la terre est protagonist: Kaos, in Jeune Cinema(Paris), January-February 1985 -B. Urgosik Orto, N, in Cinema Nuovo(Bari), February 1985 Rinieri, D, in Cinematographe(Paris), February 1985 Giguere, A, in Sequences(Montreal), April 1985 Maslin. Janet. in New york Times. 13 October 1985 KAOS Sarris, Andrew, in Village Voice(New York), 18 February 1986. Denby, David, in New York, 24 February 1986. Kael. Pauline. in New Yorker. 10 March 19 Italy. 1984 Listener(London), 27 October 1988 Andrew, Geoff, " Double Takes, in Time Out(London), no 1082 Directors: Paolo Taviani and Vittorio Taviani 15May1991. Tremois. Claude-Marie "Fiorile. Fantomes de la liberte. in telerama Production: Filmtre, for RAl Channel 1; Eastmancolor; running (Paris), no. 2262, 19 May 1993. time: 187 minutes; length: 16, 816 feet. Released 1984 Producer: Giuliani G. De Negri; screenplay: Paolo Taviani, Vittorio Taviani, and Tonino Guerra, from Novelle per un anno by luigi While films are traditionally considered collaborative efforts, few Pirandello: photography: Giuseppe Lanci; editor: Roberto Perpignani; have been so to the extent that two directors have purposefully sound recordist: Sandro Zanon: sound re-recordist: Fausto ancilla initiated collaboration on the same film. Yet the italian directors and 626
KAOS FILMS, 4th EDITION 626 meaning. A comparison of the two parts brings out the specific use of sound, light, and darkness. Above ground in the film’s beginning, the basic component of the soundtrack is the staccato of firearms, while underground the sound component is far richer—the distorted voices of the heroes, dissonant sounds which the viewer is often unable to identify, even a solitary harmonic note of an ocarina. Here, sound has the extra function of heightening the drama, for the underground odyssey must take place in absolute stillness so that the insurgents do not betray their positions to the Germans who are lurking above. Light and shadow play a similar role. The first part is depicted in light, non-contrasting shades of grey, while darkness and sharp flashes of light are assigned to the underground sequences. Traditionally, the light/sun is a symbol of hope. For Wajda, the symbol has the opposite meaning, for the fulfilment of longing for light would mean death for the heroes. Therefore, at the conclusion both symbolic meanings—light as good, darkness as threat—flow together and empty into tragedy; both extremes of the light spectrum bring the ineluctable ending. Kanal had its Polish premiere in the spring of 1957, the same year it was introduced at the International Festival at Cannes, where it won a prize. Its reception abroad was decidedly positive, while its appearance in Poland stirred discussions that included both positive and negative views. The country still had a tragic reminder of the Uprising; people who had been direct participants in this tragedy of modern history were still living. Their attitude towards the film was sometimes too uncompromising; they wanted it to be a literal depiction of what they had experienced. However, Wajda could not make such a film. He emphasized his personal approach as a director by presenting the experiences of a specific group of people whom he divests of heroism but does not condemn, for they chose their fate freely and fought not for glory but against bondage and enslavement, and paid the highest price. Kanal occupies a crucial position in the Polish cinema. It ushered in a series of films noted for their sober view of the myths engendered by the war and the Uprising. From this standpoint the film is similar in function to a declaration of policy. —B. Urgošíkova KAOS Italy, 1984 Directors: Paolo Taviani and Vittorio Taviani Production: Filmtre, for RAI Channel 1; Eastmancolor; running time: 187 minutes; length: 16,816 feet. Released 1984. Producer: Giuliani G. De Negri; screenplay: Paolo Taviani, Vittorio Taviani, and Tonino Guerra, from Novelle per un anno by Luigi Pirandello; photography: Giuseppe Lanci; editor: Roberto Perpignani; sound recordist: Sandro Zanon; sound re-recordist: Fausto Ancillai; art director: Francesco Bronzi; costumes: Lina Nerli Taviani; music: Nicola Piovani. Cast: L’Altro figlio (The Other Son): Margarita Lozano (spoken by Fiorella Mari) (Mother); Mali di luna (Moon Sickness): Claudio Bigagli (Bata); Enrica Maria Modugno (Sidora); Massimo Bonetti (Saro); Anna Malvica (Sidora’s Mother); La giara (The Jar): Ciccio Ingrassia (Don Lollo); Franco Franchi (Zi’ Diam); Requiem: Biagio Barone (Salvatore); Salvatore Rossi (Patriarch); Franco Scaldati (Father Sarso); Pasquale Spadola (Baron); Colloquio con la madre (Conversing with Mother): Omero Antonutti (Luigi Pirandello); Regina Bianchi (Mother). Publications Articles: Variety (New York), 12 September 1984. Coleman, John, in New Statesman (London), 5 October 1984. Robinson, David, in Times (London), 5 October 1984. Bianco e Nero (Rome), October-December 1984. Rayns, Tony, in Monthly Film Bulletin (London), November 1984. Ranvaud, Don, ‘‘Taking the Centre Ground,’’ in Monthly Film Bulletin (London), November 1984. Adair, Gilbert, ‘‘La tragedia dell’arte,’’ in Sight and Sound (London), Winter 1984–85. Wahlstedt, T., in Chaplin (Stockholm), vol. 27, no. 3, 1985. Amiel, M., and J. Kermabon, in Cinéma (Paris), January 1985. Legrand, Gérard, in Positif (Paris), January 1985. Martin, Marcel, in Revue du Cinéma/lmage et Son (Paris), January 1985. Philippon, A., in Cahiers du Cinéma (Paris), January 1985. Delmas, G., and A. Tournes, ‘‘Quand la terre est protagoniste: Kaos,” in Jeune Cinéma (Paris), January-February 1985. Orto, N., in Cinema Nuovo (Bari), February 1985. Rinieri, D., in Cinématographe (Paris), February 1985. Schouten, R., in Skoop (Amsterdam), March-April 1985. Giguere, A., in Séquences (Montreal), April 1985. Maslin, Janet, in New York Times, 13 October 1985. Sarris, Andrew, in Village Voice (New York), 18 February 1986. Denby, David, in New York, 24 February 1986. Kael, Pauline, in New Yorker, 10 March 1986. Listener (London), 27 October 1988. Andrew, Geoff, ‘‘Double Takes,’’ in Time Out (London), no. 1082, 15 May 1991. Trémois, Claude-Marie, ‘‘Fiorile: Fantômes de la liberté,’’ in Télérama (Paris), no. 2262, 19 May 1993. *** While films are traditionally considered collaborative efforts, few have been so to the extent that two directors have purposefully initiated collaboration on the same film. Yet the Italian directors and
FILMS. 4th EDItION KAOS enarists Paolo and Vittorio Taviani, like their older english coun- though, like Pirandello,'s works, contain universal elements that terparts Michael Powell and Emeric Pressburger, have uniquely transcend the superficial quaintness of the stories. created through their writing and directing duality some of the most Of the four tales. "The Other Son. ' ''Moon sickness. ' '"The innovative films of the last decade Jar, and"Requiem, the story of a lonely wife and her husband who Though the brothers began working as a team in the mid-1950s, becomes insane during the full moon, is considered the best. The brief their international fame was not well established until the release of segment before "The Other Son"sets the somber pace of the film and Padre padrone in 1977. Night of the Shooting Stars(1983), coming introduces the signature of the flying crow which is seen throughout after their reputations had grown, was also an international critical the other segments, threading them together. The epilogue complet the cycle with Pirandello himself (played by the Taviani favorite Thus their 1984 film Kaos, loosely adapted by themselves and Omero Antonutti) conversing with his mother about a pleasant Co-writer Tonino Guerra from short stories contained in Luigi Piran- experience from her childhood. llos Novelle per un anno, was chosen to close the 1985 New York Though each segment is filmed in the aesthetic starkness typical of Film Festival. Though it was not a resounding success and was not the Tavianis' work (which might appropriately be labelled"neo-neo generally released in the U.S., some critics ranked it above the Realism), they are peppered with Pirandello's ironic fatalism Taviani's previous works. things are what they are, yet not as they seem; the lines between sanity For Kaos, the Tavianis utilized the infrequently seen compendium and order and chaos and insanity cannot be distinctly drawn. His format, separate short films loosely tied together by a theme or locale. stories reflect characteristics of his reg Kaos, a title taken from the greek word for chaos, which formed the make-up of the characters and their sociological choices can be linguistic root of the name for an area near Pirandello's birthplace in parallelled in any time or age Sicily, consists of four separate stories, a prologue, and an epilogue The Tavianis have taken the currents of the pirandello stories if ach illustrating aspects of Sicilian life. These cinematic folk tales, not their exact content, and elaborated them in a simple, muted style
FILMS, 4 KAOS th EDITION 627 Kaos scenarists Paolo and Vittorio Taviani, like their older English counterparts Michael Powell and Emeric Pressburger, have uniquely created through their writing and directing duality some of the most innovative films of the last decade. Though the brothers began working as a team in the mid-1950s, their international fame was not well established until the release of Padre padrone in 1977. Night of the Shooting Stars (1983), coming after their reputations had grown, was also an international critical success. Thus their 1984 film Kaos, loosely adapted by themselves and co-writer Tonino Guerra from short stories contained in Luigi Pirandello’s Novelle per un anno, was chosen to close the 1985 New York Film Festival. Though it was not a resounding success and was not generally released in the U.S., some critics ranked it above the Taviani’s previous works. For Kaos, the Tavianis utilized the infrequently seen compendium format, separate short films loosely tied together by a theme or locale. Kaos, a title taken from the Greek word for chaos, which formed the linguistic root of the name for an area near Pirandello’s birthplace in Sicily, consists of four separate stories, a prologue, and an epilogue, each illustrating aspects of Sicilian life. These cinematic folk tales, though, like Pirandello’s works, contain universal elements that transcend the superficial quaintness of the stories. Of the four tales, ‘‘The Other Son,’’ ‘‘Moon Sickness,’’ ‘‘The Jar,’’ and ‘‘Requiem,’’ the story of a lonely wife and her husband who becomes insane during the full moon, is considered the best. The brief segment before ‘‘The Other Son’’ sets the somber pace of the film and introduces the signature of the flying crow which is seen throughout the other segments, threading them together. The epilogue completes the cycle with Pirandello himself (played by the Taviani favorite Omero Antonutti) conversing with his mother about a pleasant experience from her childhood. Though each segment is filmed in the aesthetic starkness typical of the Tavianis’ work (which might appropriately be labelled ‘‘neo-neo Realism’’), they are peppered with Pirandello’s ironic fatalism: things are what they are, yet not as they seem; the lines between sanity and order and chaos and insanity cannot be distinctly drawn. His stories reflect characteristics of his region, but the psychological make-up of the characters and their sociological choices can be parallelled in any time or age. The Tavianis have taken the currents of the Pirandello stories, if not their exact content, and elaborated them in a simple, muted style
LA KERMESSE HEROIQUE FILMS. 4 EDITIoN with lingering shots and recurring images. While some critics have ( German), from a story by Charles Spaak; photography: Harry ccasionally found their style too heavy-handed, it blends perfectly Stradling, Louis Page, and Andre Thomas: editor: Jacques Brillouin vith the simple, yet unsettling nature of Pirandello's works sound: Hermann Storr: art directors: Lazare meerson. Alexandre Trauner, and Georges Wakhevitch; music: Louis Beydte: costume designers: Georges K. Benda and J. Muelle; artistic consultant -Patricia King hanson Charles Barrois: history consultant: M. Sterling of the Louvre, technical assistant: Marcel Carne Cast: French version: Louis Jouvet(Chaplain); Francoise Rosay LA KERMESSE HEROIQUE Andre Alerme( Burgomaster: Le we endtiners Fishmonsa: Ginette Burgomaster's wife ); Jean Murat(Duke of Olivares); s wife); Micheline Cheirel(Sisk (Carnival in Flanders) Gaubert (Innkeeper's wife): Marguerite Ducouret (Brewer's wife Bernard Lancret (Jean Breuchel): Alfred Adam(Butcher): Pierre France-Germany, 1935 Labry (Innkeeper); Arthur Devere(Fishmonger): Marcel Carpentier (Baker): Alexandre Darcy(Captain): Claude Sainval (Lieutenant) Delphin (Midget); German version: Wilhelm Holsboer(Chaplin) Director: Jacques Feyder Francoise Rosay(Burgomaster's wife); Paul Hartmann(Duke): Will Dohm(Burgomaster): Charlott Daubert(Siska); Albert Lieven ( ean Production: Film Sonores Tobis distributed through Films Sonor: Breughel); Paul Westermeier(Butcher); Carsta Loegk(Fishmonger's black and white, 35mm; running time: 1 15 minutes. French version wife): Trude Marlen(Innkeeper): Erika Helmke(Baker's wife): Hans released 3 December 1935. Paris: German version released 16 Janu- Henininger(Fishmonger): Wilhelm Gombert(Innkeeper): Heintz ary 1936, Berlin. Filmed June-July and September 1935 in Tobis Forster Ludwig(Baker): Werner Scharf (Ist Spanish Lieutenant) d Epinay-sur-Seine studios(france) Paul Wolka Walker(Midget) Awards: Venice Film Festival, Best Direction, 1936: Le Grand Prix Screenplay: Charles Spaak, adapted by Charles Spaak and Jacques du Cinema Francais, 1936 Feyder, dialogue by Bernard Zimmer(French) and A. Rabenalt Publications Script Spaak, Charles, and others, La Kermesse heroique, in Avant-Scene du Cinema(Paris), May 1963 Books Buzzi. Aldo. La kermesse eroica. Milan. 1945 Feyder, Jacques, and Francoise Rosay, Le Cinema, notre metier, Geneva. 1946 acquis Feyder, ou, le Cinema concret, Brussels, 1949 Paris. 1966 Regent, Roger, " Louis Jouvet, in Anthologie du cinema 5, Paris, 1969 Sadoul, Georges, French Fil. New York, 1972. Barsacq, Leon, Caligari's Cabinet and Other Grand Illusions: A His Ellis, Jack, C, A History of Film, Englewood Cliffs, New Jer- sey,1979. Feyder, Zavattini: Tresors de cinematheque, Perpignan, 1984 New York Times, 23 September 1936
LA KERMESSE HÉROÏQUE FILMS, 4th EDITION 628 with lingering shots and recurring images. While some critics have occasionally found their style too heavy-handed, it blends perfectly with the simple, yet unsettling nature of Pirandello’s works. —Patricia King Hanson LA KERMESSE HÉROÏQUE (Carnival in Flanders) France-Germany, 1935 Director: Jacques Feyder Production: Film Sonores Tobis, distributed through Films Sonor; black and white, 35mm; running time: 115 minutes. French version released 3 December 1935, Paris; German version released 16 January 1936, Berlin. Filmed June-July and September 1935 in Tobis d’Epinay-sur-Seine studios (France). Screenplay: Charles Spaak, adapted by Charles Spaak and Jacques Feyder, dialogue by Bernard Zimmer (French) and A. Rabenalt La Kermesse héroïque (German), from a story by Charles Spaak; photography: Harry Stradling, Louis Page, and André Thomas; editor: Jacques Brillouin; sound: Hermann Storr; art directors: Lazare Meerson, Alexandre Trauner, and Georges Wakhévitch; music: Louis Beydte; costume designers: Georges K. Benda and J. Muelle; artistic consultant: Charles Barrois; history consultant: M. Sterling of the Louvre; technical assistant: Marcel Carné. Cast: French version: Louis Jouvet (Chaplain); Françoise Rosay (Cornelia, the Burgomaster’s wife); Jean Murat (Duke of Olivares); André Alerme (Burgomaster); Lyne Clévers (Fishmonger’s wife); Micheline Cheirel (Siska); Maryse Wendling (Baker’s wife); Ginette Gaubert (Innkeeper’s wife); Marguerite Ducouret (Brewer’s wife); Bernard Lancret (Jean Breuchel); Alfred Adam (Butcher); Pierre Labry (Innkeeper); Arthur Devère (Fishmonger); Marcel Carpentier (Baker); Alexandre Darcy (Captain); Claude Sainval (Lieutenant); Delphin (Midget); German version: Wilhelm Holsboer (Chaplin); Françoise Rosay (Burgomaster’s wife); Paul Hartmann (Duke); Will Dohm (Burgomaster); Charlott Daubert (Siska); Albert Lieven (Jean Breughel); Paul Westermeier (Butcher); Carsta Loegk (Fishmonger’s wife); Trude Marlen (Innkeeper); Erika Helmke (Baker’s wife); Hans Henininger (Fishmonger); Wilhelm Gombert (Innkeeper); Heintz Forster Ludwig (Baker); Werner Scharf (1st Spanish Lieutenant); Paul Wolka Walker (Midget). Awards: Venice Film Festival, Best Direction, 1936; Le Grand Prix du Cinéma Français, 1936. Publications Script: Spaak, Charles, and others, La Kermesse héroïque, in Avant-Scène du Cinéma (Paris), May 1963. Books: Buzzi, Aldo, La kermesse eroica, Milan, 1945. Feyder, Jacques, and Françoise Rosay, Le Cinéma, notre métier, Geneva, 1946. Jacques Feyder, ou, le Cinéma concret, Brussels, 1949. Bachy, Victor, ‘‘Jacques Feyder,’’ in Anthologie du Cinéma 18, Paris, 1966. Bachy, Victor, Jacques Feyder, artisan du cinéma, Louvain, 1968. Régent, Roger, ‘‘Louis Jouvet,’’ in Anthologie du cinéma 5, Paris, 1969. Sadoul, Georges, French Film, New York, 1972. Ford, Charles, Jacques Feyder, Paris, 1973. Barsacq, Léon, Caligari’s Cabinet and Other Grand Illusions: A History of Film Design, New York, 1976. Ellis, Jack, C., A History of Film, Englewood Cliffs, New Jersey, 1979. Feyder; Zavattini; Trésors de cinémathèque, Perpignan, 1984. Articles: New York Times, 23 September 1936. Variety (New York), 30 September 1936