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THE GERMAN FILM
a modern theme with Alexander Granach and Wilhelm Dieterle. Schinderhannes contained a narrative placed in the year 1796 when the French army occupied the left bank of the Rhine of a band of outlaws who opposed the regime of the French military. It was a difficult theme to treat with conviction, but Bernhardt, aided greatly by the camerawork of Gunthur Krampf, succeeded in making an extremely moving film out of its intricate incident. He attempted to develop the theme outside national feeling, to realise the characteristics and atmosphere of the period, and the sequence of events flowed smoothly to the finale of Schinderhannes' death as a national hero.
Among the more pretentious of the recent German productions r it is necessary to include the work of Hans Schwartz, Joe May, Tourjanski, and Volkoff. Schwartz was the director of an admirable domestic comedy, Love's Sacrifice, in which there played a new German actress of great charm, Kate von Nagy. He has a light touch, almost artificial at times, and a pleasing smoothness of handling. Under the supervision of Erich Pommer he made The Hungarian Rhapsody, a film obviously inspired by Soviet influence (Preobrashenskaia's Peasant Women of Riazan) that was hardly successful, but more recently directed Brigitte Helm and Franz Lederer in Nina Petrovna, a picture of considerable merit with elegant settings by Rohrig and Herlth and some clever camerawork by Karl Hoffman. Joe May, who is connected at an early date with such films as The Hindu Tomb (with Bernard Goetzke) and The Japanese Dagger, has also worked recently for the Ufa Company under Pommer 's control. Asphalt, a good conception made unpractical by studio structure, and Homecoming, a bad realisation of Leonhard Franck's great novel, 'Karl and Anna,' distinguished only by Gunther Rittau's photography, were Joe May pictures. Tourjanski, a Russian emigre, was responsible for the Anglo-German spectacle, Volga-Volga, a film of interest solely for its exterior photography; and Nicolas Volkoff, who is associated with musical comedy spectacles {Casanova and Michael Strogoff), made for Ufa the well-staged but Americanised Secrets of the Orient. Of the lesser-known German directors, those whose names and work must be mentioned are Jaap Speyer (Conscience, a powerful film with Bernard Goetzke and Walter Rilla); Wilhelm Thiele (Hurrah! Fm Alive, with the inimitable Nikolai Kolin); Erich Washneck (Jackals, an excellent film with Olga Tschechowa
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