Saturday, 6 July 2019

Desperate housewife… The Devious Path/Abwege (1928), with Stephen Horne, BFI Weimar Season


And so ended the BFI’s excellent Weimar Cinema season and all thanks to Margaret Deriaz for programming so many of the best and most representative films of the period. Some of my favourites have of course been Pabst’s and this film shows the director at his subtle best turning what could have been a light romantic tale into an intense psycho-drama that plumbs the depths of naughty, bawdy, gaudy, snorty Berlin club culture.

Pabst brings out the very best of Brigitte Helm as he did with a nervy Garbo and a fearless Brooks, with a mix of instruction, editing and the flying camerawork of Theodor Sparkuhl. She’s almost ever-present and we see every delicate transition as she flits from intense frustration to anger, from desire to fear, hate to love… her body thrown into acute angles just as her unique features shift through gears most of us don’t have. She’s the only thing really happening in the film which is a minimalist story of suburban disconnection stirring horrific extremes in her character Irene Beck.

Pabst digs into her portrayal and the tension is not just surface but disturbed. Helm was a relatively inexperienced actress at this point, just one year on from Maria but she had already worked with Pabst on Die Liebe der Jeanne Ney and there was obviously a connection with the actress willing to commit so much. Occasionally she over-steps but quickly corrects and is always inhabited by the moment; a true “silent actress” supple and sensuous whether tortured or teasing.


But yes, Gustav Diessl is also in it as her neglectful husband Thomas and he’s full of dark-eyed tricks of his own. He too can transmit mixed signals and come over all doe-eyed destroyed seconds after being in control… he’s a very shadowy presence next to Brigitte’s shining light but… casting, lighting, directing will all do that for you.

Thomas is, heh, married to his work and won’t show Irene much attention let alone a good time and their young marriage has hit the rocks at just the wrong point. Irene is much too much to not be noticed and artist Walter Frank (Jack Trevor) can’t help but be drawn to her… constantly sketching his affection in a studio dominated by her image. Irene and Walter plan an escape but Thomas spots the clues and arrives just in time to bring his wife back.

Irene is not to be constrained and breaks away to find her friends, led by Liane (Joyless Street’s Hertha von Walther) in a nightclub. This “den of iniquity” as Councillor Möller (Fritz Odemar) calls it, offers all kinds of temptation and as Irene sits knocking back the champagne her eye is caught by a lone woman, Anita Haldern (Ilse Bachmann). Eventually she follows her behind a curtain emerging somewhat refreshed by powders unknown as Pabst ticks off as many illicit activities as he can.


Irene dances, flirts with a boxer Sam Taylor (Nico Turoff) – who couldn’t be more different than Thomas, and makes sure Walter also sees her independence. It’s a heck of a night and Sparkuhl’s camera draws us, hand-held, into the heart of the action, inebriating the viewer with images.

No less impressive is the scene once Irene gets home to find Thomas lying still in the darkness; the couple re-unite and all seems forgiven until Thomas spots the very odd hairy-chested man-doll Irene had been given at the club. It doesn’t look much to me but as a token of unabashed male sexual interest it’s clear enough to him. The row resumes and the new dawn fades…

Irene now begins a liaison with Boxer Sam who we see soaring in a display of the animalistic masculinity Thomas does not provide, and as he asks Walter to draw her picture, it looks like artist vs athlete unless Thomas the Accountant can intervene…


Ultimately the “devious” path is more about truth and fidelity than sex, drugs and nightclubbing and is very engaging, emotionally heightened cinema that relies on the depth of feeling rather than drama. It looks sensational partly because both Brigitte and Gustav do, and this new restoration, shown at last year’s Berlinale shows this off to maximum effect.

Of course, the experience was also enhanced by another of Stephen Horne’s emotionally-intelligent accompaniments – as fluid as Fräulein Helm and dark and serious as Herr Diesel. A subtle mix of strong lines and syncopated sympathy one senses that Stephen may have played in more than a few Berlin bars…

Two months and a couple of dozen superb films, the BFI’s Weimar Season has been the best silent film strand in my time – I’m a very late adopted having started in 2010. The audience seem to have been there and we have enjoyed the show.

Ich danke dir Margaret und dem BFI!

Interiors...


Close-ups...


Obsession...


Disdain...


Nightclubbing...




And?

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