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BEGINNING OF THE YEAR IN GERMANY
Berlin, January, 1933.
The Berlin daily paper Der Deutsche is not verv likely to have a large circulation. It is certainly neither too popular nor very important in any respect. It has a limited, but steady number of readers, and maintains the temperate attitude of an official gazette. In this quality of an official organ it serves the christian trade-union. Its editor is perhaps the busiest newspaper scientist of Germany ■ Professor Dr. Emil Dovifat, the director of the Berlin University Institute of Journalism.
For some years (since 1924) this paper — having previously held little influence — has been of interest to the film observer. Every New Year's issue contains the question : " Which film impressed you most last year?" This question is put to a comparatively great number of people in Germany and abroad — to people working on the film, to authors, artists, journalists, instructors, to organisations and firms of every kind and tendency. This time nearly 300 answers have been sent in, among which is Mussolini's as well as the answer of Oskar Tietz, the German competitor in the 6 days' race. The total circulation of all the papers whose film critics have stated their opinion is more than millions.
Most frequently the film Der traumende Mund (The Dreaming Mouth) was mentioned — the work of Paul Czinner, with Elizabeth Bergner playing the leading role. Second came Les Croix des Boix by the French director, Raymond Bernard.
One need not overestimate this voting, for its importance is lessened by the fact that the various participants in all parts of the world cannot have seen the same films within the same space of time. But vet it remains remarkable and convincing, that every year films which doubtlessly mean an achievement, are victorious : Two years ago it was Sous les toits de Paris, last year it was Madchen in Uniform, and now it is Der traumende Mund. It is evident that this is not merely by chance. Once only, but by one of the cleverest German critics the film Unmogliche Liebe (Impossible Love), and the name of Asta Nielsen were mentioned.
I don't know really whether this means anything to England and the Anglo-Saxon countries, or not. Even in Germany her name has been almost forgotten, although about 25 years ago only, it was Asta Nielsen from Denmark who — by her ardent endeavours after serious film dramatism — began the struggle for artistic films, a struggle which is still going on. What she did was done for Germany, for Europe, for the world. And the laurel wreath she was given by the " Dachorganisation der Filmschaffenden Deutschlands EV," rightly bore the dedication : "To the first genius of
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