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Asphalt (1929)

 |  Drama  |  3 May 1930 (USA)
7.6
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Ratings: 7.6/10 from 849 users  
Reviews: 15 user | 13 critic

Joe May's sensual drama of life in the Berlin underworld is in many ways the perfect summation of German filmmaking in the silent era: a dazzling visual style, a psychological approach to ... See full summary »

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Title: Asphalt (1929)

Asphalt (1929) on IMDb 7.6/10

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Cast

Complete credited cast:
Albert Steinrück ...
Else Heller ...
...
...
...
Konsul Langen
Hans Albers ...
Ein Dieb
Arthur Duarte
...
Ein Dieb
Trude Lieske
Karl Platen
...
Frau an der Theke
Hermann Vallentin
Kurt Vespermann ...
(as Curt Vesperman)
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Storyline

Joe May's sensual drama of life in the Berlin underworld is in many ways the perfect summation of German filmmaking in the silent era: a dazzling visual style, a psychological approach to its characters, and the ability to take a simple and essentially melodramatic story and turn it into something more complex and inherently cinematic. Written by Anonymous

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Drama

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Release Date:

3 May 1930 (USA)  »

Also Known As:

Asfalto  »

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Aspect Ratio:

1.33 : 1
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User Reviews

 
marvelous visual & thematic template
5 August 2004 | by (Montreal) – See all my reviews

Joe May's "Asphalt" is not as well remembered as the other masterpieces of German silent expressionist cinema, possibly due to the lack of immortals in the cast and its decidedly commercial scenario. But it certainly deserves a mention alongside the great works of Lang, Pabst, Murnau, et al. The cop-seduced-by-the-sexy-crook plot is the prototype for many a great (and not-so-great) film noir to come, and the seduction scene certainly packs a punch. Like most films of the time, it eventually descends into melodrama, but Gunther Rittau's remarkably mobile and probing camera is so skillful in revealing the characters' thoughts and lending pathos to their plight that he and the director transcend the clichés in the manner of Stahl and Ophuls, with some Langian irony peeking through at times. The opening profile of the city is a justly famed visual tour-de-force, but the stark, expressionist compositions that highlight the climax are just as striking and iconic. May never made the big time in Hollywood, but spun a few good programmers for the B picture mill.


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