Thymiane is a beautiful young girl who is not having a storybook life. Her governess, Elizabeth, is thrown out of her home when she is pregnant, only to be later found drown. That same day,... See full summary »
Vienna in the biggest depression, directly after WW1. In a slum, Lila Leid, the wife of lawyer Leid is murdered, Egon, secretary of one of Leid's clients is arrested. He was with her, and ... See full summary »
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Roscoe 'Fatty' Arbuckle
William B. Davidson
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Thymiane is a beautiful young girl who is not having a storybook life. Her governess, Elizabeth, is thrown out of her home when she is pregnant, only to be later found drown. That same day, her father already has a new governess named Meta. Meinert, downstairs druggist, takes advance of her and gets Thymiane pregnant. When she refuses to marry, her baby is taken from her and she is put into a strict girls reform school. When Count Osdorff is unable to get the family to take her back, he waits for her to escape. She escapes with a friend and the friend goes with the Count while she goes to see her baby. Thymiane finds that her baby is dead, and the Count has put both girls up at a brothel. When her father dies, Thymiane marries the Count and becomes a Countess, but her past and her hatred of Meta will come back to her. Written by
Tony Fontana <firstname.lastname@example.org>
Yow, what is not to like about Louise Brooks. Seriously. This is the first of her too-few movies I've seen straight through and as Siue says she is The Most Beautiful Person In History; with her angular, boyish fashions and wry sideways smile to compliment her beaming grin, she also leaps out of her context like she got there by time machine. And there's a hell of a movie built around her. The plastic is a meller about a fair maiden's victimization by a conniving pharmacist - in fact ALL the men in this film are either ogres or clods, and there's a bald headmaster who you will laugh at a lot once I whisper you the words "Stephen Harper". But Pabst, who knows his Brecht (he did the Threepenny movie), twists this stuff two ways. When he feels like it, he directs actors with a subtlety and precision I've never seen in a silent movie before: a lot of the narrative is told entirely with the actors' eyes. But at the same time, this film is not just witty, it's GOOFY, with broad comic scenes that skirt the ridiculous in a way that challenges you from left field - dare you laugh at a silent masterpiece when it presents a spoiled aristocrat failing to milk a cow, or a horny bastard (one of several) with a Kropotkinesque goatee mincing around the dance lesson like he's in a Dwain Esper movie? It's like, popular entertainment!!
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