A crippled mailman is in love with a maid who lives in the same building he does in one of the city's poor neighborhoods. She, however, is in love with a wealthy, handsome young man. ... See full summary »
The owner of a Waxmuseum needs for three of his models stories to be told to the audience. For that reason he has hired a writer, who after one look athe owner's pretty daughter, starts ... See full summary »
For Balduin, going out to beer parties with his fellow students and fighting out disputes at the tip of the sword have lost their charms. He wants to find love; but how would he, a ... See full summary »
Elizza La Porta,
Edwin, a taxi driver, lives with Annie, a neurasthenic model. They plan to spend Sunday at the Nikolassee beach with Wolfgang, an officer, gentleman, antiquarian, gigolo, at the moment a ... See full summary »
During a dinner, given by a wealthy baron and his wive, attended by four of her suitors in a 19th century German manor, a shadow-player rescues the marriage by giving all the guests a ... See full summary »
A producer decides to reopen a theater, that had been closed five years previously when one of the actors was murdered during a performance, by staging a production of the same play with ... See full summary »
A crippled mailman is in love with a maid who lives in the same building he does in one of the city's poor neighborhoods. She, however, is in love with a wealthy, handsome young man. Desperate to win her love, he begins to intercept love letters they send to each other and replaces them with his own messages, which each thinks is from the other. His plan seems to be succeeding, but then something happens that bring tragic results to them all. Written by
Aside from Reinhardt, Leopold Jessner was considered the most-advanced director in the German theater. The hallmark of his stage productions was the use of stairs, and his critics coined the word, "Jessnertreppin", as a short-club to beat him with in their newspaper reviews. In his only film, "Hintertreppe", he uses stairs to dramatize both the social status of the characters and their emotional relationships. For the greater part of the film, only three people are seen, and the lighting, described by Carl Vincent as "seeming to come from within the characters," is used to convey the sense of isolation. Based on the comments on this site page, most of them missed whatever it was Carl Vincent was so taken with. So did I while watching the USA 16mm under the title of "Backstairs."
2 of 2 people found this review helpful.
Was this review helpful to you?