Tagebuch einer Verlorenen (1929) [aka Diary of a Lost Girl] Louise Brooks (silent)

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Tagebuch einer Verlorenen (1929) [aka Diary of a Lost Girl] Louise Brooks (silent) (Size: 1.54 GB)
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Description

http://www.imdb.com/title/tt0020475/
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Tagebuch einer Verlorenen (1929)





Directed by

Georg Wilhelm Pabst



Writing credits

Margarete Böhme novel

Rudolf Leonhardt writer



Thymiane is a beautiful young girl who is not having a storybook life. Her governess, Elizabeth, is thrown out of her home when she is pregnant...





Cast

Louise Brooks ... Thymian

André Roanne ... Count Nicolas Osdorff

Josef Rovenský ... Robert Henning

Fritz Rasp ... Meinert

Vera Pawlowa ... Aunt Frieda

Franziska Kinz ... Meta

Arnold Korff ... Elder Count Osdorff

Andrews Engelmann ... The director of the establishment

Valeska Gert ... The director's wife

Edith Meinhard ... Erika

Sybille Schmitz ... Elisabeth

Sig Arno ... Guest (as Siegfried Arno)

Kurt Gerron ... Dr. Vitalis

Hedwig Schlichter

Hans Casparius

Jaro Fürth

Emmy Wyda

Marfa Kassatskaya (as M. Kasazkaya)

Sylvia Torf

Michael von Newlinsky





Produced by

Georg Wilhelm Pabst .... producer



Original Music by

Otto Stenzeel



Cinematography by

Sepp Allgeier

Fritz Arno Wagner



Art Direction by

Emil Hasler

Ernö Metzner



Production Management

Heinz Landsmann .... unit production manager

Victor Skutezky .... production manager



Second Unit Director or Assistant Director

Paul Falkenberg .... assistant director

Marc Sorkin .... assistant director



Release Dates:

Country Date

Austria 27 September 1929 (Gartenbau-Kino, Vienna) (premiere)

Germany 15 October 1929 (premiere)

Japan 24 April 1930

Finland 18 May 1998 (TV premiere)



Also Known As (AKA)

Diário de Uma Perdida Brazil

Diario di una donna perduta Italy

Diary of a Lost Girl USA

Dusze bez steru Poland

Dziennik upadlej dziewczyny Poland (informal literal title)

El diario de una joven perdida Venezuela

Il diario di una ragazza perduta Italy

Kadotetun päiväkirja Finland

Le journal d'une fille perdue France

Le journal d'une jeune fille perdue Canada (French title)

Trois pages d'un journal Belgium (French title)



Genre:Drama



Runtime:104 min | Germany:100 min (restored version) (24 fps) | USA:79 min | 115 min (Kino Print)





Goofs for

Tagebuch einer Verlorenen (1929)

advertisementRevealing mistakes: When the sheet is removed from the face of the "corpse", she reacts slightly.





Continuity: The scene in the notary's office (for the reading of the will): Thymian moves over to the window and looks out. Meinert joins her, and puts his hand on her shoulder. The camera view suddenly changes, and his hand is no longer on her shoulder. It changes back to its original POV, and the position has changed again (though his hand is now drawing away from her shoulder).







User Comments (Comment on this title)

7 out of 8 people found the following comment useful.

The modern melodrama was born., 8 August 2005



Author: dbd



The melodrama we would love with Stahl's and Sirk's works was born with Pabst .We are far from DW Griffith's "orphans in the storm" !Although implausible,this film has realist accents and Pabst's directing takes our breath away.And what a beautiful last line:"Nobody's lost when there's a little love!"



Melodrama is par excellence a woman's story.An unfairly treated woman.Its construction is parabolic: happiness,downfall,redemption. But "Tagebuch" is much more complex;its first part already features tragedy:Elisabeth's suicide is a sinister omen.



Admirable sequences:



The reformatory where two martinets (a shrew and a terrifying smiling bald man)treat their pupils like dogs.The scene when the girls eat their soup is unforgettable.



The scene at the notary's office where Thymiane returns good for evil ,which climaxes the movie.Pabst uses no (or so few) subtitles : his pictures have the strength of a Chaplin movie.The close-up on Meinert's hand after the girl has refused to shake it,sublimates her redemption.



The final scene when Thymiane meets again her former mate and her final rebellion:"I know the benefits of that house!"



Like very few silent movies,"Tagebuch" can grab today's audience at least as much as "Pandora's box" (aka "Loulou" aka "der büchse der Pandora").Both movies have a very dense screenplay full of twists and unexpected ends -Loulou's death in the former;Thymiane's rebellion in the latter).Both feature Louise Brooks ,who remains an attractive woman even by today's canons when so many silent screen actresses'charm -and actors' - seems outdated nowadays (think of Brigitte Helm -Maria in Lang's masterpiece "Metropolis").Her charisma was so strong that she did not have to speak to move us.That may account for her failure in the talkies.



Do not miss Pabst's anti-war "West front 1918" either.It compares favorably to Milestone's "All quiet on the western front" and Gance's "J'accuse".



8 out of 9 people found the following comment useful :-

Excellent Drama – Earthy, Yet Ultimately Uplifting – With A Fine Performance By Louise Brooks, 14 March 2005

Author: SL from Ohio



This excellent drama accomplishes the difficult task of being quite earthy, and often grim, in the ways that it depicts its characters and their lives, yet at the same time being an ultimately uplifting story about the possibilities of human understanding. It also features a fine performance by Louise Brooks. Her performance in "Diary of a Lost Girl" is on a par with that in "Pandora's Box", her other celebrated collaboration with G.W. Pabst.



The story has Brooks as a pharmacist's daughter whose young life is drastically changed by events that she can only dimly understand. From then on, she must endure a variety of trials while gradually learning some important lessons, often with only the barest help from those around her. The role contrasts nicely with her role in "Pandora's Box". Both in that film and in "Diary of a Lost Girl", she has the same level of energy and appeal, but in the former movie, right from the beginning she was very much the catalyst for the other characters' actions, while here she begins as an innocent youth who is completely at the mercy of all of the others, and then grows as the movie proceeds.



The settings are well-chosen so as both to contrast with her character, and to develop it. Her experiences show many aspects of the seamier side of both human nature and human living, and yet this is by no means a mere gratuitous display of sordidness, but rather a growing experience for Brooks's character. It culminates in an uplifting finale that is all the more effective for having arisen from material that is by no means idealistic.



The expressionistic style in the photography, lighting, and sets enhances the atmosphere and also the effectiveness of the story and the characters. The slightly stylized nature of both works quite well, and all of this contributes significantly to the high quality of the movie.



11 out of 16 people found the following comment useful :-

The Diary, 8 November 2005

Author



*** This comment may contain spoilers ***



There are two things about this that make it essential viewing. The first is obvious. Louise Brooks fills the camera like no one else in my experience. And like no one else probably could now that movies have filled out all the sensory space they can. And we have come to expect information in those channels.



For instance, can you imagine a movie today just showing people dancing? No story information, no bizarre or comic behavior to amuse us, just people dancing. This has three or four such scenes.



I'll leave it for others to speculate on how such an on screen presence happened to be possible, except to say that much must come from the nuance of the eye, all the things associated with the camera and its context. I pay attention particularly to placement and movement, here not obviously novel but intimate nonetheless.



What a woman! Between she and Clara Bow — these two women alone — we changed.



But the other reason I put this on my "must watch" list is because of the sheer virtuosity of the film-making.



Realize that the hardest thing for a filmmaker is to start. How do you begin? You have to create a world, a feel, a system of mechanics and fate. You have to create a situation with context and characters. You have to have a story with events and pull. All this you need to build in a couple minutes and do it in such a way that the viewer is not only fully familiar and comfortable but swept along, she begs for more.



Pay attention to the first few moments of this. If you haven't seen it dear reader, remember that this is a *silent* movie, that there is no rolling text to tell you what is happening, and there haven't been several months of previews that tell you the whole darn story.



In just a few minutes you learn:



It is christening day for Thymiane (whose name we learn) and as a gift from a live-in aunt she gets the diary from which we know what we see later will be drawn.



We learn that she is the daughter of a successful chemist who lives in an opulent house above the pharmacy. That below lives an assistant chemist who is obsessed by sex. We discover that she has a bossy set of relatives who turn a blind eye to her father's dalliances.



And that one of those dalliances impregnates her governess who then kills herself. Meanwhile, the downstairs chemist has designs on the young girl and makes the first entry in her diary.



The story is off.



I dare say that there is no other movie in existence that conveys this much information so compactly and so directly. The way it is done today is by reference to other movies. You enter today's movies with all sorts of tacit knowledge about other movies that is recalled and activated by codes.



Here, it is all done the old fashioned way, cinematically.





2 out of 2 people found the following comment useful :-

An excellent film with one of Louise Brooks best performances, 18 October 2006



Author: j from United States



*** This comment may contain spoilers ***



The comments submitted are from Josh76's Dad, Dan47 I found this film to be deeply moving. Louise Brooks portrays the innocent Thymiane with such pathos that I wanted to reach out to the screen and rescue her. Unlike most films from this period there is no rescue in "the nick of time". Events follow an inexorable nightmare pattern as Thymiane, the victim, is condemned to imprisonment after being raped and impregnated by her father's employer. Abandoned financially and emotionally by her selfish father she can only fall into prostitution after she escapes the home for wayward girls. I couldn't help being reminded of "The Magdalene Sisters", another film where girls are blamed for the lustful acts of their attackers and seducers. Louise Brooks expresses more with her eyes then most actors do with paragraphs of dialogue. Even during the giddiest parties in the brothel she expresses desperation, despair and regret with rare subtlety. Despite its' age and the lack of sound the film stands up well. The presentation is not overly sentimentalized, though the enduring "goodness" of the Thymiane and her eventual "redemption" might stretch the imagination. In an age where "human trafficking" is running rampant we could use an actress of such beauty, charisma, and sympathy to portray the continuing plight of girls and women driven into the sordid life of prostitution.



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Tagebuch einer Verlorenen (1929) [aka Diary of a Lost Girl] Louise Brooks (silent)

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