There is so much remarkable value of the silent era that is far too easily overlooked and forgotten in all the many years since. As fantastic as more modern films are, it seems like an additional layer of challenge to create an engaging and compelling feature with visuals alone. Yet without question, there are countless such titles that easily hold up and stand tall with the best of anything to have followed the introduction of talkies. Why, in 'Diary of a lost girl' alone we are presented with the directorial skills of G. W. Pabst, a master filmmaker if ever there were one, and the incredible acting skills of Louise Brooks, a woman both alluring and captivating in every way. With these two essential figures effectively providing a foundation, whatever ensues is all but guaranteed to be distinctly engrossing - and sure enough, this is most excellent indeed.
We're treated to familiar themes borne in no small part from the sensibilities of a past age, notions that were already far outdated even at that time. We see the oppressively dehumanizing and restrictive expectations forced upon independent young women, and the consequences thrust upon them for their willfulness and sense of self. We see the hypocrisy, self-serving machinations, and outright cruelty of those same figures who would castigate women for their freedom and autonomy. And still, for all the familiar ideas at play, the quality is dampened - rather, the stage is set in the narrative for all to illustrate their craft.
I can claim no knowledge of the novel this is based on, but without a doubt Rudolf Leonhardt's adapted screenplay is outstanding. Characters are complex and vivid, sympathetic at their best and detestable at their worst. Some of the intertitles may lack a desirable delicate touch at times, yet the minor inelegance is counterbalanced by wonderfully strong, dynamic, and absorbing scene writing - and a narrative that is most assuredly rich, and altogether captivating. Through it all, everyone in the cast is simply splendid, giving tremendous performances of spirit and heart. And I do mean everyone: Valeska Gert and Andrews Engelmann, wielding fantastic forcefulness as the harsh and spiteful taskmasters of the reformatory; Franziska Kinz, showing imposing poise in her part as conniving Meta; Edith Meinhard, embodying the great warmth yet misunderstanding of Erika; André Roanne shows fine personality as kind yet naive Count Osdorff; and on and on down the list of credits. Above all, of course, Brooks is a joy to behold as protagonist Thymian. As has been remarked upon through the years, Brooks demonstrates a marvelous sense of of range and nuance that rather defies the characteristic commonalities of acting in the silent era. It's an utmost delight to watch her at the peak of her career, and one surely wishes she would have been part of more pictures that were similarly deserving of her.
And it's all tied together with the exceptional abilities of director Pabst, whose reputation marks him as all but a legend. And it's proven again here. It feels so often throughout 'Diary of a lost girl' as though the screenplay were developed with input from the filmmaker - the orchestration of every last aspect is so tight, and vibrant, and the whole so riveting, it's as though Pabst and Leonhardt's minds were as one throughout the production. Shot composition, the arrangement of each scene, the guidance of the cast, the meticulous order of every element - every last bit is executed with a careful, refined attentiveness that is a true pleasure to watch as a viewer. That the rounding details of the feature are so super - hair, makeup, costume design, set design and decoration, and so on - is just a bonus.
To an extent the film occupies an odd space - toying with antiquated social norms (devaluing sex workers, slut-shaming, general persecution and demeaning of women), while also in some ways evincing somewhat progressive conceptions (emphasizing the circumstances in which a person may fall; showing the familial amiability and compassion that sex workers may share; highlighting the worth of every life, and the possibility that anyone may just as easily be claimed by such woes). There's so much going on in this movie - so much story; so much that it wants to do, and say, and be. Every now and again story beats feel like they may linger, and be overlong - yet at the precise moment, the tipping point when it counts the most, the scene shifts and balance is maintained. And at great length, the end result through every dramatic turn is a film that is fabulously enthralling, satisfying - even rewarding, and satisfying, with greater impact than I'd have expected when I first began watching.
It bears repeating that Pabst, Brooks, and indeed the picture itself had been recognized in subsequent years for their contributions to cinema. And still, lest one witness for oneself, it's difficult to put into words just how worthwhile it is to seek out, more than 90 years later. Alongside Pabst and Brooks' other collaboration, 'Pandora's box,' I firmly believe 'Diary of a lost girl' is a terrific classic, undoubtedly one of the many greats of the silent era. It holds its own against the best that the past nine decades have had to offer, and I enthusiastically recommend it to all comers. Anywhere that you can find it, I think these two hours are a fine way to spend one's time.
We're treated to familiar themes borne in no small part from the sensibilities of a past age, notions that were already far outdated even at that time. We see the oppressively dehumanizing and restrictive expectations forced upon independent young women, and the consequences thrust upon them for their willfulness and sense of self. We see the hypocrisy, self-serving machinations, and outright cruelty of those same figures who would castigate women for their freedom and autonomy. And still, for all the familiar ideas at play, the quality is dampened - rather, the stage is set in the narrative for all to illustrate their craft.
I can claim no knowledge of the novel this is based on, but without a doubt Rudolf Leonhardt's adapted screenplay is outstanding. Characters are complex and vivid, sympathetic at their best and detestable at their worst. Some of the intertitles may lack a desirable delicate touch at times, yet the minor inelegance is counterbalanced by wonderfully strong, dynamic, and absorbing scene writing - and a narrative that is most assuredly rich, and altogether captivating. Through it all, everyone in the cast is simply splendid, giving tremendous performances of spirit and heart. And I do mean everyone: Valeska Gert and Andrews Engelmann, wielding fantastic forcefulness as the harsh and spiteful taskmasters of the reformatory; Franziska Kinz, showing imposing poise in her part as conniving Meta; Edith Meinhard, embodying the great warmth yet misunderstanding of Erika; André Roanne shows fine personality as kind yet naive Count Osdorff; and on and on down the list of credits. Above all, of course, Brooks is a joy to behold as protagonist Thymian. As has been remarked upon through the years, Brooks demonstrates a marvelous sense of of range and nuance that rather defies the characteristic commonalities of acting in the silent era. It's an utmost delight to watch her at the peak of her career, and one surely wishes she would have been part of more pictures that were similarly deserving of her.
And it's all tied together with the exceptional abilities of director Pabst, whose reputation marks him as all but a legend. And it's proven again here. It feels so often throughout 'Diary of a lost girl' as though the screenplay were developed with input from the filmmaker - the orchestration of every last aspect is so tight, and vibrant, and the whole so riveting, it's as though Pabst and Leonhardt's minds were as one throughout the production. Shot composition, the arrangement of each scene, the guidance of the cast, the meticulous order of every element - every last bit is executed with a careful, refined attentiveness that is a true pleasure to watch as a viewer. That the rounding details of the feature are so super - hair, makeup, costume design, set design and decoration, and so on - is just a bonus.
To an extent the film occupies an odd space - toying with antiquated social norms (devaluing sex workers, slut-shaming, general persecution and demeaning of women), while also in some ways evincing somewhat progressive conceptions (emphasizing the circumstances in which a person may fall; showing the familial amiability and compassion that sex workers may share; highlighting the worth of every life, and the possibility that anyone may just as easily be claimed by such woes). There's so much going on in this movie - so much story; so much that it wants to do, and say, and be. Every now and again story beats feel like they may linger, and be overlong - yet at the precise moment, the tipping point when it counts the most, the scene shifts and balance is maintained. And at great length, the end result through every dramatic turn is a film that is fabulously enthralling, satisfying - even rewarding, and satisfying, with greater impact than I'd have expected when I first began watching.
It bears repeating that Pabst, Brooks, and indeed the picture itself had been recognized in subsequent years for their contributions to cinema. And still, lest one witness for oneself, it's difficult to put into words just how worthwhile it is to seek out, more than 90 years later. Alongside Pabst and Brooks' other collaboration, 'Pandora's box,' I firmly believe 'Diary of a lost girl' is a terrific classic, undoubtedly one of the many greats of the silent era. It holds its own against the best that the past nine decades have had to offer, and I enthusiastically recommend it to all comers. Anywhere that you can find it, I think these two hours are a fine way to spend one's time.