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Hollywood has done it, so has France, and the theatres had it twenty years ago. That is the disappointment. This film is old-fashioned in its tendency, in its thought and its conventions, whereas all Pabst's previous films have been completely modern. It has nothing to say against system where such arrogant conduct is necessary, no new suggestion, no comment. It was in many w^ays an excellent film, and the situation marvellously worked out. But Pabst is a philosopher, and we have, grown to expect some valuable contribution to thought from him. Jeanne Ney had it. Joyless Street was nothing else. But in Abwege the obvious problems arising from just this situation are ignored. It is an artistic trifle. If the husband is the kind of man who turns frivolous but otherwise quite nice people out of his house, when his wife has seen fit to accept them, we need nowadays to be shown that this line of arbitrary conduct is not going to be tolerated, and that no wife of to-day is going to be treated like an irresponsible moron, and that her friends would put such a man quickly in the place that belongs to him. Wo do not wish his silly actions to be allowed to pass as right or virtuous. They are wrong and reactionary, and this is the time to keep on showing it.
And a wife who cannot express her independance except in meretricious and vulgar liaisons is also a product of the past. It would have been so much more stimulating and real if she had walked out and taken a job.
This may seem unduly harsh, but it is true at bottom, and we cannot in honour to ourselves pass as first rate a film which is so obviously second.
The technique . . . but one does not have to speak of Pabst's
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