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12 August 2024 Bonn (Germany)
Internationale Stummfilmtage: Jealousy
Richard Siedhoff (Piano) & Mykyta Sierov (Oboe) - Arkadenhof der Universität Bonn
Program Info: A chamber play-like relationship drama from the heyday of German silent film, which follows the downfall of an initially happy married couple as they increasingly find themselves in conflict due to mutual jealousy. With its simple plot and simple equipment, the film lives primarily from the emotionally charged acting performances of the two main characters as well as Karl Grune's stylish production, which shows similarities to his best-known film, the expressionist masterpiece DIE STRASSE (1923). World premiere of the DFF's new digital restoration.
Available to stream from August 14th to 16th, 2024 on https://stummfilmtage.culturebase.org
An intimate relationship drama from the heyday of German silent film that portrays the downfall of aninitially happy married couple who descend into increasing strife due to reciprocal jealousy. With its simple plot and unpretentious setting, the film derives much of its appeal from the emotional performances of the two main characters and Karl Grune's elegant staging that occasionally recalls, his most famous film, the expressionist masterpiece DIE STRASSE (1923). The screening in Bonn marks the world premiere of DFF's new digital restoration.
The huge studio hall in Staaken, where Karl Grune shoots the street scenes in his new film JEALOUS, seemed so frighteningly empty that one thought it had arrived a day early and before the buildings had been completed. But it is precisely this impression that will be characteristic of the film studios from now on, and Grune is right when he said that the future will bring the “empty studio”. This idiosyncratic but strong director, possessed of artistic will, will once again prove himself a pioneer. He dedicates his film to the experiment of making the decoration appear in the Schüfftan mirror. Today it is already a small matter to prophesy the future of this invention and to use it to displace the film architect, the giant building. But when Grune began working with Schüfftan-Spiegel a quarter of a year ago, there was a courage to make sacrifices that is probably only present in Erich Pommer in the German film industry.
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