When we
say "German cinema between the two wars", what comes to our
mind? Masterpieces of expressionist cinema like Caligari and
Nosferatu, and a whole series of other great films like
Metropolis, The Last of Men, M the Vampire, Berlin
Alexanderplatz. Pabst, Lang, Murnau.
But what do we know about the lowly material aspects of that cinema? About its economic conditions and commercial prospects?
A book by Thomas Saunders, Hollywood in Berlin: American Cinema and Weimar Germany. University of California Press, 1994, provides interesting information on one aspect: the relationship between the German and American film industries during this period.
Before the First World War, the films shown in Germany were overwhelmingly foreign. Americans, but also French, Italian, Danish (Denmark had a surprisingly important film industry for such a small country).
The war changed everything. Prohibition of imports, resulting in a dramatic increase in the percentage of locally produced films. During the war, German theaters showed almost exclusively German films.
Comes 1918 and the possibility of importing foreign films again. Only, with a mark dropped to ridiculous levels, the price of films in dollars became prohibitive. Hence a continued boom for the German film. It is the golden age for German production: 1919-1924, the inflation years. Because the weakening of the national currency not only made import impossible but it also stimulated exports.
Films such as Caligari and Nosferatu, as well as The Street Without Joy and Madame Dubarry (by Lubitsch) enjoyed resounding successes all over Europe and not least in the enormous American market.
But the relative recovery of the German economy between 1924 and 1929 paradoxically causes economic problems for the film industry: the import becomes accessible and the export is penalized by a mark again relatively strong. The theaters are invaded by American productions and a partly state-owned company like UfA, created precisely to protect the German film, is forced to make agreements with foreign giants like Metro Goldwyn Mayer and Paramount.
It is true that Hollywood productions were appreciated by the public. It was different for the critique. American films are technically perfect and its filmmakers very innovative in terms of narrative recourse, the critics said. A lot of action, a rhythm often hectic. But what about the plots? Poor, was the opinion of most German critics. Lack of depth, no coherent vision behind the dazzling surface. As for historical films such as The Ten Commandments or Ben-Hur, they made the Germans laugh. How could a people without history like the yankees have a historical vision?
But the facts were tough: Hollywood had the dollars that German cinema lacked, and then the public loved both westerns and slapstick comedies.
The change, to the advantage of German films, came around 1930, with the talkies-era. Silent movies were international, talkies were not.
But what do we know about the lowly material aspects of that cinema? About its economic conditions and commercial prospects?
A book by Thomas Saunders, Hollywood in Berlin: American Cinema and Weimar Germany. University of California Press, 1994, provides interesting information on one aspect: the relationship between the German and American film industries during this period.
Before the First World War, the films shown in Germany were overwhelmingly foreign. Americans, but also French, Italian, Danish (Denmark had a surprisingly important film industry for such a small country).
The war changed everything. Prohibition of imports, resulting in a dramatic increase in the percentage of locally produced films. During the war, German theaters showed almost exclusively German films.
Comes 1918 and the possibility of importing foreign films again. Only, with a mark dropped to ridiculous levels, the price of films in dollars became prohibitive. Hence a continued boom for the German film. It is the golden age for German production: 1919-1924, the inflation years. Because the weakening of the national currency not only made import impossible but it also stimulated exports.
Films such as Caligari and Nosferatu, as well as The Street Without Joy and Madame Dubarry (by Lubitsch) enjoyed resounding successes all over Europe and not least in the enormous American market.
But the relative recovery of the German economy between 1924 and 1929 paradoxically causes economic problems for the film industry: the import becomes accessible and the export is penalized by a mark again relatively strong. The theaters are invaded by American productions and a partly state-owned company like UfA, created precisely to protect the German film, is forced to make agreements with foreign giants like Metro Goldwyn Mayer and Paramount.
It is true that Hollywood productions were appreciated by the public. It was different for the critique. American films are technically perfect and its filmmakers very innovative in terms of narrative recourse, the critics said. A lot of action, a rhythm often hectic. But what about the plots? Poor, was the opinion of most German critics. Lack of depth, no coherent vision behind the dazzling surface. As for historical films such as The Ten Commandments or Ben-Hur, they made the Germans laugh. How could a people without history like the yankees have a historical vision?
But the facts were tough: Hollywood had the dollars that German cinema lacked, and then the public loved both westerns and slapstick comedies.
The change, to the advantage of German films, came around 1930, with the talkies-era. Silent movies were international, talkies were not.
 |
| American film stars were popular in Germany |
About
Ernst Lubitsch's Madame du Barry, a piquant story: the success
of this German production in America was perceived in France as a
provocation from the enemy. French critics waged a virulent campaign
against this product of "anti-French propaganda" and called
for the defense of French cinematographic art against "German
attacks". German films are defined as soulless industrial
products for an international audience. Ironically, the same
criticism that the German press directed towards American films
...
But, at the same time, in 1921, the American Legion marched through the street of Los Angeles to the theater where Doctor Caligari was scheduled to open, to protest against the showing of German films, considered a threat to Hollywood...
See Marc Lavastrou: La réception de Madame du Barry d’Ernst Lubitsch par la presse cinématographique française du début des années 1920
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| "Caligari go home!", Los Angeles 1921 |
But, at the same time, in 1921, the American Legion marched through the street of Los Angeles to the theater where Doctor Caligari was scheduled to open, to protest against the showing of German films, considered a threat to Hollywood...
See Marc Lavastrou: La réception de Madame du Barry d’Ernst Lubitsch par la presse cinématographique française du début des années 1920
And this is the poster for the American release of Das Cabinet des doktor Caligari in 1921, two years after its German release. Notice that the graphic of the poster is scarcely expressionnistic. Compare with a German poster for the same film.
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| From Rin Tin Tin in Berlin, by Jan-Christopher Horak, 1993 in Film History |
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| Another poster |
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