Well, this was it, I long ago decided to not watch my DVDs of this film as I wanted to see it first on the big screen and Herr Pabst and Louise Brooks did not disappoint. Diary is
not another Pandora’s Box but it is a film that gives Brooks the chance
to show her acting range and Pabst the opportunity to focus on her remarkable
expression and, yes, the rest of her; perhaps the sexual superpower of the silent era (awarded
retrospectively), with a character in
search of herself and not a purely natural spirit like Lulu.
After watching Mother Krause and Kuhle Wumpe earlier
in the BFI’s Weimar season, this is a more focused and ultimately more politically liberal and mainstream tale although we still have the seemingly
obligatory suicides… they needed to do something about those windows and
accessibility to dangerous prescription drugs. Pabst's film is certainly part of die neue Sachlichkeit, but it's more polished than those
two films but that’s not to say it
doesn’t cover the darker side of life. Writer and Brooks/Pabstpert, Pamela
Hutchinson, gave a fascinating introduction, quoting the actress in saying they
were attempting to show the “flaming reality” of “sexual hatred” and this film
does indeed burn right up until a telling last moment.
“I think in the two films Pabst made with me… he was
conducting an investigation into his relations with women, with the object if
conquering any passion that interfered with his passion for his work…” Louise Brooks
Louise Brooks |
The thing that flames the fiercest is of course Louise Brooks
and whether she’s playing an ingenue, a reform school girl, prostitute or woman
grasping her destiny, performs with grace and an almost casual conviction. Pabst’s camera closes
in over and over on her astonishing believability lost as much as his audience
in the emotional intelligence as well as the structure of her expression: killing us softly with her smile. One
first viewing this film does not have the script or story power of Pandora
and yet the performance is all of the same quality: this is It squared.
Pabst may well have been fighting to overcome sexual
instinct but he was keen to maximise his new found asset and had it in mind to
cast her as Lola Lola in what would become The Blue Angel, but whilst he
lost out on the rights to that, he also could never really make a Dietrich out of Brooks who,
having burned her Yankee bridges by refusing to overdub The Canary Murder Case,
decided Europe wasn’t for her after one more film, Prix de Beauté with
Pabst’s script involvement and direction from Augusto Genina, which, along with
Beggars of Life, completes an impressive top four from her brief career.
A crown of innocence: Josef Rovensky and LB |
Who knows what could have been but, we have what we have and
this film added so much delightful substance to my impression of Brooks as an
actor proving that Pandora’s Box – which I’ve seen dozens of times – was no one
off and that she and her director could almost match it even with subject
matter drawn from Margarete Böhme’s sensationalist 1906 novel which dealt with
a woman’s fall into prostitution – a story Böhme claimed to be based on truth.
All a far cry from a Frank Wedekind play. It’s a simpler story but one that
provides an interesting fall and rise for Brooks to contend with. Her character
Thymiane is the daughter of a well-to-do pharmacist, Robert Henning (Josef
Rovensky) who’s only weaknesses are a fondness for young housekeepers and
trusting his assistant Meinert (Fritz Rasp) rather too much.
Brooks later said that Fritz Rasp was one of her more alluring co-stars... |
Meinert takes advantage of Thymiane – forcibly - and she gets pregnant. At the same time her father is seducing his latest housekeeper, Meta (Franziska Kinz) with the previous one Elizabeth (Sybille Schmitz, later to star in Vampyr) having already been dismissed. There’s perhaps a line between the two men and their relationships with younger women especially given what is to come for Thymiane and later for Meta…
Thymiane has the baby but refuses, understandably, to marry
a man she doesn’t love. The baby is placed into care and the young woman is
sent to a reform school as her father is encouraged by Meta who knows her
power.
The story takes a dark and more expressionist turn as
Thymiane enters a highly disciplined reform school run by a director played by
the extraordinary Valeska Gert and her husband, the equally odd Andrews
Engelmann. These two create an evil pairing although Gert gives her nastiness
an extra twist with her curious enjoyment in watching the girl’s exercise… all
I can say is Hedy, you and your pearls may have been beaten to the punch by a
couple of years and in the weirdest of ways.
Thymiane escapes the school with her pal Erika (Edith
Meinhard) aided by her pal the penniless Count Osdorff (Andre Roanne) who has
been disinherited by his Uncle (Arnold Korff) for being a likeable if listless
waster. Thymiane discovers that her baby has died and in desperation moves in
with Erika at a brothel in sequences that still carry coy intent directly or
indirectly. The madam (Marfa Kassatskaya) kits her out in high heels and
evening dress and in a moment of transcendence offers the young woman a glass of
champagne which she gulps down – a baptism of Bollinger.
Brooks and Edith Meinhard |
Soon, after collecting on her first customer, Thymiane lying
unhappily in bed as a wad of notes rest next to her… Thymiane advertises herself
as a fitness/dance instructor and Brooks herself would return to dance teaching in the thirties
and, much later, would turn tricks in New York before finding salvation in writing
after rediscovery. Her first customer features a bizarre turn from a weirdly
bearded Sig Arno who follows her callisthenics before getting too excited and
being shooed away with a lighter wallet.
The “lost girl” has found a new direction and yet things cone
to a head when she spots her father and, Meta, now his wife, slumming it in a low-rent
night club. Father and daughter are heartbroken but Meta rushes her husband
away before any rapprochement is possible. Her father dies in misery and her
inheritance offers Thymiane the chance to finally change direction… what would Lulu
do? Nothing at all like Thymiane whose character gets the chances denied her more
elemental “twin” in an ending I must admit I didn’t see coming at all…
Ultimately, I am amazed that given the intense interest in Brooks
,that Diary gets screened so rarely; it’s a fine companion to Pandora
and helps give a more complete picture of the actress; she was no one-hit
wonder, just A Wonder and, with Pabst’s help and a very strong supporting cast,
made her mark here too.
Thank you, BFI, PH, GWP and LB! There’s still more Pabst to come in June with The Joyless Street (1925) details on the BFI
website along with the last few weeks of this splendid Weimar season.
Sybille Schmitz |
Josef Rovenský and Franziska Kinzas |
Sexy Fritz Rasp (apparently) |
Andrews Engelmann |
The excellent Valeska Gert |
Edith Meinhard |
Sig Arno, dontcha know |
Trapped? |
Pabst was pleased with this tracking shot of Brooks running up the stairs, it's mirrored by her slow trudge near the ending... |
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