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Posle smerti (1915)

 -  Drama  -  7 March 1995 (Germany)
6.4
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Ratings: 6.4/10 from 448 users  
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Andrei lives a secluded life with his aunt, studying and thinking about his now-deceased mother. His friend Tsenin is concerned, and tries to get Andrei to accompany him to social events. ... See full summary »

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Cast

Complete credited cast:
Vitold Polonsky ...
Andrei Bagrov
Olga Rakhmanova ...
Kapitolina Markovna, his aunt
Vera Karalli ...
Zoya Kadmina
Mariya Khalatova ...
Her mother (as M. Chalatova)
Tamara Gedevanova ...
Her sister (as T. Gedevanova)
Marfa Kassatskaya ...
Princess Tarskaya (as M. Kasazkaya)
Georg Asagaroff ...
Andrei's friend (as Georgi Azagarov)
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Storyline

Andrei lives a secluded life with his aunt, studying and thinking about his now-deceased mother. His friend Tsenin is concerned, and tries to get Andrei to accompany him to social events. After watching the actress Zoya Kadmina perform, Andrei is fascinated with her, and is then astounded to receive a note from her. He has only one brief meeting with her, and then three months later he is shocked to learn of her death. He now becomes obsessed with her memory, and he decides that he must find out all that he can about her. Written by Snow Leopard

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Genres:

Drama

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Release Date:

7 March 1995 (Germany)  »

Also Known As:

After Death  »

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1.33 : 1
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User Reviews

 
The dead image
9 September 2011 | by (Greece) – See all my reviews

In Daydreams, it was about the living image of memory shattering the mind; once clearly defined boundaries between the images of social life and the private workings of memory were thus thrown together beyond repair. That same year Bauer reworked the theme by inversing the perspective of illusion; now it is about the dead image coming to haunt.

Again, the woman is an actress. Here it is she that courts the man, before eventually withdrawing. Soon after she commits suicide for unrequited love, and the man is devastated with guilt.

Generally speaking, if you are to see one of the two films - although I advise both - I would recommend the other. Except for two magnificent touches.

One is the woman eventually excusing herself from the illicit meeting with the man by claiming she thought he was somebody else. So, it is not simply the ensuing nightmare that frightens but the more sinister implication that so much suffering may have sprung from coincidence, from the mind's habit of chasing chimeras.

The other, is that the man is trusted with the diary of the dead girl. We do not know whether or not he was the intended partner; but, having become privy in the inner workings of her mind, he assumes his place in her narrative. So, now this narrative - the diary - of a girl yearning for love is nested inside the other, about the man's self-recrimination for not reciprocating.

Oh, there is mention of the man's morbid fixation to his dead mother - again the image of her, prominently hung above the fireplace - which is a contemporary Freudian slip that must have looked chic at the time but is useless. And the appearances of the dead woman desperately call out for cinematic presentation; but the impressionist technique of the French was still several years into the future.

Other than that, it's a fascinating tappestry to tease out. Bauer knew what he was doing with these films.


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