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Geheimnisse einer Seele (1926)

 -  Drama  -  19 February 2008 (USA)
6.9
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Ratings: 6.9/10 from 349 users  
Reviews: 8 user | 13 critic

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:
Werner Krauss ...
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.

Plot Summary | Add Synopsis

Genres:

Drama

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Details

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Release Date:

19 February 2008 (USA)  »

Also Known As:

Secrets of a Soul  »

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1.33 : 1
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Did You Know?

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 »

Connections

Featured in Sergei Eisenstein: Autobiography (1996) See more »

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User Reviews

 
Moderately Gripping, But No Great Classic!
19 April 2008 | by See all my reviews

Although it has an enormous reputation as a classic example of German Expressionist Cinema, "Secrets of a Soul" turns out to have very few of these pictorial elements. That reputation was obviously built on the opinions of critics who had not actually seen the movie but had referenced the illustration reproduced on the poster. It is not a still from the movie at all, but a composite made up by the publicity department.

Admittedly, we do see the various dreams individually—and they are even briefly reprized—but even so, they constitute but an extremely small part of the movie which mostly centers on the well-off but distinctly middle-aged hero's sudden aversion to his young and extremely attractive wife.

I realize that this was obviously not the scriptwriter's intention, as it appears from the flashback that the three participants are roughly the same age. The casting, however, particularly of the 25-year-old Weyher, as well as youngish Jack Trevor, makes nonsense of this supposition. We are forced to accept the movie in the way it appears on the screen, not in the way it was postulated in the minds of the screenwriters.

I suppose you could argue that the dreams are presented in an expressionistic fashion (though I would disagree), but you can't get away from the fact that they display little visual imagination. And in any event, they occupy very little screen time.

As the middle-aged lead, Werner Krauss does extremely well in conveying the domestic disparity he suffers with his young wife. He has obviously been married for at least five or six years and his attitude is not so much loving, as reserved, suspicious, ill-tempered and even resentful. As said, this was probably not the way Neumann and Ross intended, but it's the way Krauss plays the role and, more importantly, the way Pabst has directed it. So what have here is not so much expressionism, as a moderately gripping domestic drama.


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