By Lotte H. Eisner, Roger Greaves
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Extra info for The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt
In the interiors, a tracery of Gothic ribs and ogives tran fornled into oblique setui-ellipses composes a fran1ework for the character. This gives stability to the fluctuating inten it y of the atmosphere, which is at tilues curiously ' hnpres ioni ti c' for this authentically 'Expressionistic' stru cture. W do find fron1. * 59 c he by H;lJl\ ri POcl71g" /e;;. d n th w h Ie, th white c nq ucred by the black he took Die hronik lIon talc by torm, a ani hp e ion) , u d in reating one of the ture th fi ling of fre h air and n [) the w di h cin rna.
One has to rC:11 cmb r that thecontelnporary prints, toned in brown, gn: 'n r ( or night cene) dark blue, were more subtle. p * Under Paul David h Union Film produ ced rem arka ble film s ; the A Nielsen fi lms were mad here. The company' a later bought up by De 1 Bioskop . -dllL'. olldOIJ and New York, 1')4<)· Of course the il1lages - by Guido Seeber, the best cameraman of his day - lack the quality and depth of foclls to which the German cinema of the twenties has accllst0111ed us: the real interiors filmed in the Lobkowitz palace See111 rather fiat.
But this The Co/elll (1920): rhe rabbi 's furnace r m calling til much-di ni t It d th by m f he Th a/em ar origin J * far thi r -bl \\. : tri ted th ugh \ c1cmcnt. ovement of a painting by E1 reco. The brio of these masses has nothing in COlumon w ith the m echanical use of extras found in Lubitsch, or the geometric groupings of crowds found in Fritz Lang. Th e shaping effect is particularly successful when the ornam ntal cleri ves from the natural, as in the high-angle shot of the thora-tabernacle bordered by the great sacred trumpets.