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The Woman Always Pays (1910)
"Afgrunden" (original title)

 |  Short, Drama  |  18 April 1912 (USA)
6.6
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Ratings: 6.6/10 from 420 users  
Reviews: 9 user | 4 critic

At a tramcar in Copenhagen the piano teacher Magda Vang meets the young man Knud Svane, who falls in love with her. She is invited to spend the summer with him and his parents at the ... See full summary »

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Cast

Cast overview:
...
Magda Vang
Robert Dinesen ...
Ingenieur Knud Svane / Magda's Fiancé
Poul Reumert ...
Artist Rudolf Stern / Circus Performer
Hans Neergaard ...
Pastor Peder Svane / Knud's Father
Hulda Didrichsen ...
Frau Svane
Emilie Sannom ...
Varietésängerin Lilly d'Estrelle / Magda's Rival
Oscar Stribolt ...
Kellner / Waiter
Arne Weel ...
Guest in Garden
Johannes Fønss ...
Guest in Garden
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Storyline

At a tramcar in Copenhagen the piano teacher Magda Vang meets the young man Knud Svane, who falls in love with her. She is invited to spend the summer with him and his parents at the vicarage in Gjerslev. Outside the vicarage a circus troupe passes by, and Magda is saluted by the performer Rudolph Stern. In the night Rudolph climbs a ladder to Magda's bedroom. She tries to flee his advances, but after a hot kiss she surrenders, and runs away with him. Magda is hired as a dancer with Rudolph at the Empire Varieté. When Rudolph fondles a ballet dancer Magda gets furious, and starts a fight in front of the audience. Magda and Rudolph are fired. To earn some money Rudolph forces Magda to play the piano in a band at a garden restaurant. Knud turns up and recognizes her. Incognito he asks her for a private meeting. Magda thinks she is asked to sell her body and refuses, but Rudolph forces her to go. When Rudloph after a while interrupts and finds Magda with Knud, he gets furious and starts ... Written by Maths Jesperson {maths.jesperson1@comhem.se}

Plot Summary | Add Synopsis

Genres:

Short | Drama

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18 April 1912 (USA)  »

Also Known As:

The Woman Always Pays  »

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(2004 restored)

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Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

This film contains a scene in which Asta Nielsen dances suggestively with a man whom she is binding with rope. The scene was censored in the US. See more »

Connections

Featured in I Am Curious, Film (1995) See more »

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User Reviews

First films of the first European superstar
16 February 2007 | by (www.martsander.com) – See all my reviews

All four films made by Asta Nielsen in Denmark (in 1910, 1911 and 1919) , before she became an international superstar, have been released by the Danish Film Institute, which was created a hundred years ago and has taken care of Danish films ever since. Thus we usually get very good, clean and sharp copies of films almost 100 years old. The series is truly amazing, and the Asta Nielsen disk is one of the best. The four features (on one disk) are: Livets storme, Afrgrunden, Den sorte drøm, and Mod Lyset. I had only seen Asta Nielsen's later films, such as Hamlet, before, therefore I was astounded to see that she was a rather beautiful actress in her youth, with a figure of a Barbie doll which she isn't afraid to show. The films are remarkably good as well. In Afgrunden, we see Miss Nielsen as a shy piano teacher who abandons her fiancée in order to elope with a circus artist, who turns her into a harlot and a murderess; in Livets storme she is a dancer whose beauty brings along the ruin of her and of men; in Den sorte drom she is a circus star who does everything for the man she loves, and in Mod Lyset a reckless countess who has to destroy the lives of several men as well as her own before she learns the true values of life. The last tale is a bit moralizing for modern tastes, but the first three (from 1910-1911) are true gems. These films are naturalistic, strong portraits of life before the WW I. Miss Nielsen is a very good actress indeed, as well as a gorgeous clothes horse, wearing the trendiest models of the day around her nonexistent waist. The prints are very sharp, even though the first film shows some decomposition. They should have been released colour tinted and with somewhat more interesting musical accompaniment than the constantly meditating piano, but who cares? These films still were eye openers. When you thought the film wasn't a true art form back in 1910, think again: moving camera, panning camera, closeups, parallel editing, fluent narrative – it's all there, and years before these techniques became accepted in UK, US or Italy.


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