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Seduction (1929)
"Erotikon" (original title)

7.4
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Ratings: 7.4/10 from 279 users  
Reviews: 4 user | 3 critic

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Title: Seduction (1929)

Seduction (1929) on IMDb 7.4/10

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Cast

Cast overview, first billed only:
Karel Schleichert ...
Railway Gatekeeper
Ita Rina ...
Andrea
Olaf Fjord ...
George Sydney
Theodor Pistek ...
Hilbert
Charlotte Susa ...
Gilda
Luigi Serventi ...
Jean
Ladislav H. Struna ...
Teamster
Milka Balek-Brodská ...
Midwife
Bohumil Kovár ...
Railwayman
Bedrich Saxl ...
Proprietor of the Couture (as Beda Saxl)
Vladimír Slavínský ...
Tailor
Bronislava Livia ...
Customer at Beauty Parlor
Václav Zichovský ...
Proprietor of the Pianos Store
Jirí Hron
Willy Rösner
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Storyline

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Genres:

Drama

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Release Date:

27 February 1929 (Czechoslovakia)  »

Also Known As:

Conflito dos Sexos  »

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Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

The silent film was intended to be shown with a music accompaniment, probably to be played by an orchestra or a record player, and the composer is credited on the opening titles. See more »

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Edited into Film Is a Girl & a Gun (2009) See more »

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User Reviews

 
Seduction
23 December 2009 | by (Australia) – See all my reviews

'Erotikon (1929)' was released just as the arrival of "talkies" was stifling (at least temporarily) the artistry out of cinema, and it's one of the most lusciously-photographed films of its era. Czech director Gustav Machatý blends melodrama with unexpectedly graceful visual flourishes that communicate emotions as well as actions. In moments of stress, and particularly when photographing the vigorous movement of trains (symbolising a fast-paced society that values fleeting sexual encounters over long-term commitments), he uses a frenetic hand-held camera to marvellous effect. Just watch how Machatý contrasts the slow, sensual bliss of the heroine's first sexual encounter with the grotesque prolonged agony of child-birth. In both sequences, the camera is moving, capturing the numbing euphoria of the moment, but the overall emotional mood of each scene is quite disparate.

Following this beautifully-emotive opening act, 'Erotikon' begins to more closely resemble a romantic melodrama in the vein of, say, Milestone's 'The Garden of Eden (1928).' There's not only a romantic triangle, but a veritable polygon of competing affections: Andrea (Ita Rina) shuns a noble gentleman in favour of the man who (presumably) took her virginity, who himself is juggling a married mistress. Machatý, like F.W. Murnau, places particular emphasis on the human face, beautifully capturing the subtle inflections of suspicion, anger and desire that so unmistakably speak louder than words. Andrea finds herself in the upper- class social scene, which carries the faint stench of sleaze; it's an environment that encourages disloyalty by its own shallowness and superficiality. The corruptive sexual indiscretion of Machatý's upper- class reminded me of Jean Renoir, particularly 'The Rules of the Game (1939)' and 'Elena and Her Men (1956).'


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