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Geheimnisse einer Seele (1926)

 |  Drama  |  19 February 2008 (USA)
7.0
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A scientist is tormented by an irrational fear of knives and the irresistible compulsion to murder his wife.

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Cast

Cast overview:
...
Martin Fellman
Ruth Weyher ...
Seine frau
Ilka Grüning ...
Die mutter
Jack Trevor ...
Erich
Pavel Pavlov ...
Dr. Orth (as Pawel Pawloff)
Hertha von Walther ...
Fellmans Assistentin
Renate Brausewetter ...
Dienstmaedchen
Colin Ross ...
Kriminalkommissar
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Storyline

A scientist is tormented by an irrational fear of knives and the irresistible compulsion to murder his wife.

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Drama

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19 February 2008 (USA)  »

Also Known As:

Secrets of a Soul  »

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Trivia

Unable to convince Sigmund Freud to serve as a consultant, producer Hans Neumann still tried to achieve the approval of the psychoanalytic community. Karl Abraham, part of Freud's inner circle and the President of the International Association of Psychoanalysis, was hired as the chief consultant for the project and promised 10% of the film's profit. Abraham tried, quite unsuccessfully, to convince Freud to endorse the project. The film caused a major rift in their friendship, which was never fully mended. Abraham died of cancer on Christmas Day 1925, before the film's release. See more »

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Edited into Die Geschichte des erotischen Films (2004) See more »

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User Reviews

 
The knife
6 September 2012 | by (Greece) – See all my reviews

I come to this as someone who thinks the presentation of dreams - much more than dreams themselves - imitates the ways we use to structure the self that presents the world to us. Charting the cinematic effort of that is exciting to me.

And well, this is an interesting film to say the least, and from an interesting time. The backstory is that Freud himself approved of it and moreover sent two from his trusted Viennese circle to aid and supervise the UFA production on what would be a rational explication of psychoanalysis. You should know that his were radical , modern ideas in their time and for twenty years had been a sensation. And the Weimar public at large was struggling with deep-seated nightmares of their own, evidenced in Caligari and elsewhere, so it was very receptive to the new science for sleep, and probably every bit as confused about it as the somnambulist in Caligari.

But oh boy, haven't our narrative devices come far since Freud.

In the film, we have suddenly strange , unsettling urges followed by a puzzling nightmare, and then a psychoanalyst sits us down to kindly explain and assuage irrational fear.

Nevermind the obtuse focus on sex and symbolic interpretation of dreams, that was Freud. The emphasis on phallic imagery, the incidental aversion to knives linked to imaginary castration in the patient. Jung would make the transition to a character-based dreamworld, and we are growing out of that too. We are insanely more complicated beings these days than a logic like Freud's can explain, our dreams much more layered, and you can see that in contemporary filmmakers who are dabbling with dream.

We are unsure these days where day begins, that much (night) was certain then. Our dreams also come from movies and TV, from tweets and instagram, and we're beginning to understand what the Buddhist had been saying all along; the mind's function is to project snippets of narrative around a fictional self, and the most loaded dream is no different in mechanism to the most trivial thought. You are always at the center of an illusionary world you have set in motion, but you won't know that without a center in emptiness.

The trigger for it is something to consider though. A murder (by knife) has taken place the day before in the same street, a wife killed by the husband. The same urge somehow surfaces in our guy.

The actual nightmare has dated, along with the logic behind it and German expressionism. It is this eerie confluence of semiconscious machinery that still carries power. It is this aspect of dreaming Pabst would cultivate in later works.


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