Strange as it may seem, as a huge horror movie fan I couldn't pass up watching this silent drama, even though it has absolutely nothing to do with horror. For starters, it was directed by Carl Th. Dreyer, who is possibly most famous for THE PASSION OF JOAN OF ARC (1928) but also made the genre classics VAMPYR (1932) and VREDENS DAG (1943). Even though this was filmed in Germany during a time of heavy government control of film output, Dreyer managed to secure full artistic control over this particular production. It stars Benjamin Christensen, who directed HAXAN (1921), one of the strangest and most bizarre and most innovative of all horror movies, silent era or not. The interiors were shot by Karl Freund, who later directed the horror classics THE MUMMY (1932) and MAD LOVE (1935) at Universal and would win two Oscars during his long and distinguished career. Freud also makes his first and only on-screen appearance here, playing an art dealer in a single scene. Exteriors were shot by Rudolph Maté, a five-time Oscar nominee who also directed the science fiction classic WHEN WORLDS COLLIDE in 1951. The basis for the film was Herman Bang's novel "Mikaël," which was adapted by the director and Thea von Harbou; the latter being well known for her collaborations with then-husband Fritz Lang. Her writing credits include METROPOLIS (1927), M (1931) and a whole series of "Dr. Mabuse" films. So from top to bottom, a bunch of very talented and influential filmmakers and production people worked on this particular film. The line-up of talent itself should appeal to a wide range of classic film fans and not just horror buffs like myself. The content also secures this film an audience, even today, as it's one of the first films to ever deal with homosexuality in a mature way. In fact, I really can't recall a film made prior to this one to include such content. For 1924, it must have been a very bold and courageous project for these people to take on.
The main character in MICHAEL isn't really Michael himself, but an established, older artist by the name of Claude Zulot (played very well by Christensen). Over the years, Claude has become a wealthy and acclaimed painter specializing in human portraits. When approached by the youthful, almost angelic-looking artist Michael (Walter Slezak), Claude tells him his own sketches need some work but he'll let him become his "muse" and model. Five years later the men are still working - and living - together, but their relationship crumbles once an attractive destitute countess (Nora Gregor) stumbles onto the scene. Michael starts seeing more of her and less of Claude, at first behind Claude's back but eventually with little regard for his feelings. Before long, Michael abandons his mentor for the countess and moves out of the home, but continues to pop in from time to time to see Claude. Those visits usually end in Michael needing financial assistance, whether it be willingly offered to him or stolen. Though the relationship between the men is played off as an "adopted son" type thing to the public, it's obvious there's much more going on beneath the surface. This is evidenced by scenes of Claude's loneliness and agony over his abandonment, the sense of betrayal, a scene where the countess discovers a love letter and many other subtle moments. Adding another dimension to the story is the presence of a journalist named Charles (Robert Garrison), whose unwavering care and support for Claude hints at the kind of unrequited romantic love Claude unwisely tried to find with Michael. The people who truly care for and love you will be willing to put up with your hangups. The people who truly care for and love you will be with you at the end.
Interestingly, on the sidelines, there's a contrasted love triangle between a man, his wife and a young duke she's having an affair with, almost as if to say, "Hey, we ALL have the same feelings, the same relationship problems and go through the same exact things whether we're male or female, gay or straight." Seems simple enough, but it took a lot of courage to put this message on the screen back in 1924. Unfortunately, the whole moral crusade and censorship took hold soon after this was made in much of the world and gay characters weren't tolerated in mainstream cinema unless they were comically exaggerated or hidden behind so much metaphor and subtext you'd need a decoder to spot them. While the content here is subtle by conventional standards, the movie does not shy away from it. Homosexuality is portrayed through adoring looks, touching (the hair, the shoulders, the arms) and holding hands, as well as through emotional reactions to the various events going on. The movie is extremely well made for its time, both in technical terms and in terms of content. The acting from the principals is very, very good and the insight into relationships are relatable to basically anyone who has ever been in one.
The main character in MICHAEL isn't really Michael himself, but an established, older artist by the name of Claude Zulot (played very well by Christensen). Over the years, Claude has become a wealthy and acclaimed painter specializing in human portraits. When approached by the youthful, almost angelic-looking artist Michael (Walter Slezak), Claude tells him his own sketches need some work but he'll let him become his "muse" and model. Five years later the men are still working - and living - together, but their relationship crumbles once an attractive destitute countess (Nora Gregor) stumbles onto the scene. Michael starts seeing more of her and less of Claude, at first behind Claude's back but eventually with little regard for his feelings. Before long, Michael abandons his mentor for the countess and moves out of the home, but continues to pop in from time to time to see Claude. Those visits usually end in Michael needing financial assistance, whether it be willingly offered to him or stolen. Though the relationship between the men is played off as an "adopted son" type thing to the public, it's obvious there's much more going on beneath the surface. This is evidenced by scenes of Claude's loneliness and agony over his abandonment, the sense of betrayal, a scene where the countess discovers a love letter and many other subtle moments. Adding another dimension to the story is the presence of a journalist named Charles (Robert Garrison), whose unwavering care and support for Claude hints at the kind of unrequited romantic love Claude unwisely tried to find with Michael. The people who truly care for and love you will be willing to put up with your hangups. The people who truly care for and love you will be with you at the end.
Interestingly, on the sidelines, there's a contrasted love triangle between a man, his wife and a young duke she's having an affair with, almost as if to say, "Hey, we ALL have the same feelings, the same relationship problems and go through the same exact things whether we're male or female, gay or straight." Seems simple enough, but it took a lot of courage to put this message on the screen back in 1924. Unfortunately, the whole moral crusade and censorship took hold soon after this was made in much of the world and gay characters weren't tolerated in mainstream cinema unless they were comically exaggerated or hidden behind so much metaphor and subtext you'd need a decoder to spot them. While the content here is subtle by conventional standards, the movie does not shy away from it. Homosexuality is portrayed through adoring looks, touching (the hair, the shoulders, the arms) and holding hands, as well as through emotional reactions to the various events going on. The movie is extremely well made for its time, both in technical terms and in terms of content. The acting from the principals is very, very good and the insight into relationships are relatable to basically anyone who has ever been in one.