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THE OTHER EYE
by Hannah Heer & Werner Schmiedel

A/USA 1991 color 125 min

Cast: Henri Alekan, Anne Friedberg, Jan-Christopher Horak, Rudolph S. Joseph, Hilde Krahl, Francis Lederer, Ronny Loewy, Harold Nebenzal, Jean Oser, Michael Pabst, Micheline Presle, Heide Schlüpmann, Carl Szokoll, a.o.

 

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"The Other Eye" examines the career of G.W.Pabst, the Austrian-born director who is best known for his work with Louise Brooks ("Pandora's Box," "Diary of a Lost Girl") and least well known for those films he made under the auspices of the Third Reich. This documentary by Johanna Heer and Werner Schmiedel pays particular attention to the latter chapter in Pabst's life, and to the connections between an artist's work and the political climate in which it is engendered. Interviewing an assortment of film scholars and first-hand observers of Pabst's work, the film makers assemble a meandering but often illuminating portrait. Among those providing details of Pabst's history are Anne Friedberg of the University of California, who discusses the director's collaboration with Sigmund Freud in the 192O's on "Secrets of a Soul," a film that attempted to dramatize the process of Freudian analysts and included some remarkable dream sequences, which are glimpsed here briefly in film clips. Ms. Friedberg, in one of the film's many interesting digressions, also mentions an attempted collaboration between Freud and Samuel Goldwyn that would surely have been bizarre had it come to pass.
Francis Lederer, looking remarkably fit and vigorous here, describes his acting experiences in "Pandora's Box" with Brooks. "Naturally, it was like talking to a sphinx," he says of the actress, with whom he did not share a common language at the time. Harold Nebenzal, whose father, Seymour, was the producer of much of Pabst's best work, recalls a close friendship between the two families. The great cinematographer Henri Alekan describes Pabst's way of holding preproduction meetings and welcoming ideas from members of his cast and crew, which was unusual for its time.
The sense of Pabst that emerges from the first part of the film is often scholarly but impersonal. Much more is revealed, for instance, about his relations with a film journal that especially revered him than about what sort of character and background he brought to his work. Only when it focuses on Pabst's return to Europe, after a largely unsuccessful stint in Hollywood, does the film take on much urgency.
The directors are quite clear in excoriating a director who worked under the watchful eye of Joseph Goebbels, no matter how seemingly apolitical his films may have been. Although "The Other Eye" includes numerous clips from Pabst's films, even more would have been welcome, especially of those films whose underlying meanings are most in dispute here. Glimpses of two costume films made under the Nazi regime, "Comedians" and "Paracelsus," are intriguing but brief. "For goodness' sake', I didn't think politics had anything to do with it!" exclaims the actress Hilde Krahl, who appeared as a young girl in "Comedians." But Ms. Krahl later bursts into tears, quite movingly, in describing her own remorse over having remained in Germany during the war. Pabst, it is noted, often brandished unused tickets for an ocean crossing and spoke of sudden illness and the outbreak of war to explain why he himself did not leave. After the war, Pabst made some notable efforts to come to terms with the Nazi past; the film includes clips from "The Trial," with a scene set in a synagogue, and "The Last Ten Days," depicting Adolph Hitler in his bunker. "I believe it was a very difficult time for my father," says Michael Pabst, the director's son, with considerable understatement.
"Pabst never knew the impression it made to go back in l939," says Jean Oser, another of the director's frequent collaborators. As the film makes clear, the director may not have understood the implications of his actions at the time, but they became unavoidable for him later. "The Other Eye" will be shown tonight at 6:15 as part of the New York Film Festival.
THE NEW YORK TIMES, By JANET MASLIN, 9/1991

"... a stimulative reflecting painting of time, which deals with the past not as a closed chapter, but as a mission to explanation and as a key towards the present and the future." --AUFBAU (America's only German-Jewish publication)

"... unusual directorial style... What fascinates me about their style, is its tendency to destabilize and defamiliarize the filmed image during shots that might otherwise seem flatly conventional and lacking in irony. The film is exceptionally successful at bringing a little-known subject to life." --David Sterritt, THE CHRISTIAN SCIENCE MONITOR

"...unterstützt durch eine ausgefeilte Farbdramaturgie und eine Kameraführung, die alle schlechten Beispiele der heute beim Dokumentarfilm leider weitverbreiteten Fernsehästhetik souverän hinter sich läßt - entsteht nicht nur das Portrait eines bedeutenden, problematischen und vielleicht deshalb exemplarischen Künstlerlebens, sondern gleichzeitig auch die Skizze eines kulturellen Milieus, das durch die Nazi-Herrschaft brutal vernichtet wurde... "Der andere Blick" versteht sich nicht als neutrale Aufzeichnung der unterschiedlichen Blickpunkte auf einem Lebensweg, sondern auch als politische Positionsbestimmung, Eingriff und Appell an die persönliche Verantwortung des einzelnen." - RHEINISCHE POST, Düsseldorf

"Ein kühnes Unternehmen, bedenkt man die Brüche, sowohl in Pabsts Biographie (er kehrte 1939 nach Nazideutschland zurück) wie auch in seiner Filmbiographie, die neben anerkannten Meisterwerken auch Fragwürdiges wie den NS-Film "Paracelsus" enthält... ein höchst informativer Film..." - BERLINER ZEITUNG

"Ein lebendiges Stück Film- und Zeitgeschichte, auch ein Beitrag zu dem heute wieder aktuellen Thema Künstler und Diktatur." - DER TAGESSPIEGEL, Berlin

"Als Essayfilm konzipiert, geht DER ANDERE BLICK in seiner visuellen Eindringlichkeit weit über sein Genre hinaus. Um die Person des österreichischen Filmregisseurs G.W.Pabst weben die Autoren ein dichtes Netz unterschiedlicher Beobachtungen, um an Hand differenzierter Befunde die Entwicklung jener - wie es zunächst scheint - untadeligen Filmikone zu untersuchen. Vor dem Hintergrund einer langen, sorgfältigen Recherche entstand eine Dokumentation, die Nachdenklichkeit hervorruft, ohne sich voyeuristischer Reportagemethoden zu bedienen.
An der subtilen filmischen Operationsweise intensiver Beobachtungen brechen sich individuelle Schicksale und werden die Facetten des Filmpioniers G.W.Pabst wie in einem Drama mikroskopisch freigelegt. Und doch bleibt am Ende alles offen. Die materielle Welt der Portraits, ihre stoffliche Realität, transformiert Johanna Heer als Cinematographin in schwebende Farbmuster, erzeugt immaterielle Lichtsituationen, einen Dialog von Film und Malerei. Ihre ästhetische Terminologie kommentiert und kontrapunktiert die inhaltlichen Aussagen.
Die absolute Präsenz der Farbe erzeugt einen eigenen, zweiten Rhythmus im Film. Geometrische Farbmuster verschieben sich gegeneinander, bilden eine eigene Syntax, ein autonomes, malerisches Gefüge, das dabei nie den konkreten Bezug zur "Geschichte" verliert. So bietet der Film unterschiedliche Sehweisen, verschiedene Methoden der Wahrnehmung an und verlangt von seinem Betrachter unterschiedliche Formen der Aufmerksamkeit.
Die 130 Minuten Spannung basieren nicht zuletzt auf dem komplizierten visuellen und intellektuellen Apparat, mit dem Johanna Heer und Werner Schmiedel in diesem Film in komplexer Weise operieren. Das präzise historische Inventar und die formalen Aspekte der filmischen Umsetzung lassen das Resultat als faszinierendes Beispiel interdisziplinärer Kunst erscheinen, das Malerei, Photographie, Film und politische Botschaft in einer eindrucksvollen Synthese neu definiert."
- Brigitte Huck, Kuratorin, MAK - Österreichisches Museum für angewandte Kunst/Gegenwartskunst, 1992

   
 

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