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EXPANSION OF GERMAN AND AUSTRIAN FILM
could have done and how, driven by terror, she leads him through endless corridors. In Absturz (Downfall) she, now as a woman grown old and ugly, prepares to receive the lover who has served a ten years' sentence in prison. She is trying to make herself look young and beautiful but suddenly, with feverish resolution, she wipes off the deceptive mask. There she stands, ugly once more, and waits behind a tree by the prison, watching as her man, who has remained young, comes out and looks for her in vain as she does not reveal herself. Her most outstanding film, however, was Frdulein Julie ('Miss Julie'), after Strindberg. In it she excelled all her previous characterizations. That was 35 years ago, but she still stands before me as if it were yesterday. Kathe Dorsch, Wilhelm Dieterle and the discreet Arnold Korff took part as well, but none of them attained Asta Nielsen's filmic acting ability. She seemed to have been born for the film. The restrained yet deepened power of expression of her miming and her gestures finally became the style of film acting. The Danish Asta Nielsen was the most significant actress of the German silent film.
The rise of the German film continued. It won over the masses in Germany and was accepted. There followed Ludwig Berger's Cinderella, Wiene's Raskolnikov, Nathan der Weise (Nathan the Wise). Each film brought new and surprising forms of presentation. Karl Grune's Die Strasse ('The Street'), dealt with the novel theme of a street and its atmosphere and mood at night with lyrically conceived pictures and unity of style. His film Arabella, the story of a horse, was also novel in theme as well as in its sensitive treatment.
The tendency towards the epic treatment and stylisation continued during 1925 with Fritz Lang's UFA film Metropolis. The UFA film Der Letzte Mann ('The Last Laugh'), on the other hand, again brought a new element into German film production. The scenario of this film had been written by Karl Mayer and, similar to his Scherben ('Shattered') (1921) was based completely (without the use of titles and without a love story) on the expressive powers of the film, on the eloquence of careful description of place and atmosphere, and absorbing characterization. Emil Jannings proved himself already in 1918 to be an outstanding interpreter of heavy character parts. In The Last Laugh he portrayed an old, resplendently uniformed hotel commissionaire, whose
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