The Einstein of Sex (1999) User Reviews

wooden

[chrisdrew · 3/10 · 17 April 2004]

This film plays like community theatre on over-lit digital video. Don't you hate it when a worthy topic is wasted on a bad film? Overacting, a trite script, distracting voice-over, two dimensional characters and editing out of Film 101. It was a struggle to watch through to the end.

If you still want to rent this you can watch the documentary on the DVD where you will meet the director Rosa van Praunheim who will tell you how famous, wise, and intellectually and sexually experienced he is. And he's serious.

That said it is an important true story of the first sexologist who fought for the rights of what is now called the queer community.

Fine, overdue biopic about a true pioneer

[gonz30 · 10/10 · 31 October 1999]

This film pays long overdue homage to the so-called Einstein of Sex, Dr. Magnus Hirschfeld. Both contemporaries also share German-Jewish Heritage, and tremendous influence on the the 20th century. Dr. Hirschfeld's work, however has just become speakable let alone filmable in the last couple of decades. Rosa von Praunheim, a former underground filmmaker, has been breaking cinematic sexual taboos these past two decades. Von Praunheim's "made in Berlin" avant-gardism gives him much common ground with Hirschfeld. So much so that major European institutions lent their financing to von Praunheim's first mainstream film. In THE EINSTEIN OF SEX, von Praunheim mixes what is really known about Dr. Hirschfeld with actual newsreel footage of the 1910-1934 period, and adds trademark von Praunheim humor to fill in the unknown details. The true to life location shots (those of Berlin, and the Vorpommern Baltic coast in particular)are used to good effect. The result is a crowd pleaser, as the film's ranking in the top ten of audience votes in the recent Sao Paulo Film Festival (see mostra.org) will confirm. That's where I just saw it, so it was no surprise to see it listed on the Festival's top ten audience vote. Many von Praunheim "purists", however, may feel the director sold out to the conventional European film funds, German state sponsorship, and cable TV companies who co-produced the project. More conservative audiences may feel offended by the contents (though quite tame by von Praunheim standards). Nevertheless, the film is legitimized by the appearance of several of Germany's best-known actors in supporting and cameo roles (including Ben and Merrit Becker of the COMEDIAN HARMONISTS), and solid technical standards.

Hmmm....

[sandover · 15 September 2010]

The film had early on one of the wittiest lines I have recently encountered: M. Hirschfield, barely into adulthood, and discussing with his uncle and aunt what his academic aspirations are, has his aunt give arguably the best line in the film. "M. do you promise to live?" (That is long enough because his father was a disappointment in that department...) "Yes aunt, I do." "You have to promise, you know, because that is a lot of money that will go to your studies." Well, it was more wittingly put in the film, than I have rephrased it. If that is not Lady Bracknell (from O. Wilde's "The importance of being Earnest") converted into Judaism, I do not know what is! Some of the fun aside, I really think this is an epitome of Jewishness: you have to promise not to die, because, you know, you are giving your promise to the law, that is studying, that is in the Name of the Father. And life, my dear, is completely insignificant in matters of the law.

Too bad the film does not pay attention to its clues. This could have made terrific comedy, but the effect is literal: young Hirschfeld looks anxious, to the wrong direction, missing all the fun, and spoiling ours for the rest of his on screen time. He seems preoccupied in all the wrong ways, along with the script I'm afraid. And when the film shifts gears with his older self, the actor chosen is visibly of a quite different sensibility, so that we miss all the insightful change from his formative to his twilight years. And this, too, courts disaster, for a film concerning an important personality must put that to the test, and be put to the test trying it. None of this happens, and the effect is that of being cheated into cheap editing.

The camera work takes some decisions that run counter to what distance we may want to take from the film, or not, literally or not so. It is one of these instances that the film-maker seems confused in thinking out the film in visual terms, so he picks up the middle way of almost constantly occupying the middle field. This blurs the characters and their initiatives.

Or, to put it in another way, don't you feel cheated, when you put to yourself the question "how much of this was devised, and how much derives from books and archives and true research?" For me at least, when you seriously (and not wonderingly) ask yourself that, the film has failed dramatically.

For the "Einstein of Sex" part, this film has little relativity, even less organizing theory, or Einstein's famous humor. As for the sex, well, the film does not introduce us into such bold matters...

Awful kitschmovie without balls

[wallwach · 1/10 · 9 July 2000]

This is the worst movie I've seen this year so far. The story is about doctor Hirschfeld that struggled at the end of the 19th century for homo-sexuality and trans-sexuality. So far so good. The theme is allright, and the brave man deserves a good biography. Nevertheless, the way this biopic was made, was like the copywriter litterally copied some lines from the encyclopedia. The acting was done by a bunch of amateur playwright actors: you could see them thinking: there is an audience watching at me. And to top things, there was not a single scene that was either witty or exciting. Oh, well, just don't waste your time on this kitsch movie, especially if you are interested in the life in Hirschfeld.

Excellent production re: untold part of human history

[greenrose · 10/10 · 4 September 2001]

This film, which has the look & feel of a docu-drama with authentic sets, scenery & standout costumes [when needed ;)], strives & succeeds in addressing two areas of socio-political history: human sexuality in general and a full rendering of gay & lesbian characters in popular culture and historic contexts. Rosa von Praunheim presents his characters with seriousness, gentleness & humor in THE EINSTEIN OF SEX, so that we get the idea that "darkness" in life can be confronted in as many hues and shades as comedy, romance & adventure genres. And that darkness is not necessarily a bad thing.

Modern society lacks a serious study of human sexuality, so Dr. Magnus Hirschfeld's story should be a cue for a movement in that direction. Some of the humor in the film is around this very fact - that we giggle at the sight of beautifully crafted male genital adornments from aboriginal cultures, yet we still find it difficult to approach the complexity of our sexual selves with the courage & empathy that Hirschfeld's character does. We will never know the lost segments of his writings & life events, but the fleshed out remnants in this film are an indication that we will not know ourselves truly until we know ourselves wholly and in diversity. THE EINSTEIN OF SEX is also an important work in terms of gay & lesbian visibility on film. Though set in a different time & setting than PRIEST, it will have a similar strong impact on viewers. For anyone who might want to learn more about the distressing effects of oppression on human beings, this is the kind of film I'd recommend and encourage more of from Hollywood-washed artists.

Not the Einstein of filmmaking

[Horst_In_Translation · 4/10 · 14 September 2016]

"Der Einstein des Sex" or "The Einstein of Sex" is a German 95-minute movie from 1999, so not too long anymore and this one will have its 20th anniversary. The director is Rosa von Praunheim and one of the two writers is Valentin Passoni, who worked with RvP on many occasions. The other writer is Chris Kraus, a fairly successful German writer, who also made the script for "4 Minuten" for example. This film here is the story of Magnus Hirschfeld and I am certain that he would not really be too well entertained by watching this one. Of course, there are many people less deserving of a film like the German sexual equality pioneer from the late 19th and early 20th century, but you also have to deliver quality and I don't believe this is the film that Hirschfeld deserved. I did not feel as if we learned half of the things we should learn about the man during this film. Instead it was filled with homosexual stereotypes from start to finish be it in terms of how they looked, acted and talked. And yes we already know there was discrimination back then and the way this part was depicted in here also offered really anything new or particularly creative. And everybody with minimal interest in Nazi Germany knows how Nazis thought about same-sex relationships, so scenes of Nazis beating up gays added nothing memorable either, just went for cheap shock and thrill moments. The lead actor is Kai Schumann and despite the heavy makeup, he rarely never makes a lasting impression and I am not surprised that he has not been a lead in other memorable German films. Maybe the problem here is the writing. Rosa von Praunheim usually was at least co-writer in his own movies and here (according to IMDb), he had no role in the creative process of the script. It is a bit of a pity as you rarely never find mainstream movies by von Praunheim, who is a very successful indie filmmaker in his own right. But if he has a shot at stardom, like this film here, it's really sad to see it turn out so generic and forgettable. Also the inclusion of known actors like Otto Sander, his children Ben and Meret Becker and Wolfgang Völz added almost nothing of value here. Thumbs down. I don't recommend the watch.

Different and interesting.

[raymond-15 · 8/10 · 27 February 2001]

This is a film that should be seen. It may shock, certainly, but it will enlighten and educate. It is also a part of German history. Dr. Magnus Hirschfeld, a Jewish homosexual, set up an Institute in 1921 to research problems concerned with sexuality. This was an unexplored field. People from all over Europe consulted him about their own sexual problems, including the young Austrian Baron Hermann von Teschenberg who became his lover. In 1933 the Nazis destroyed the Institute of Sexual Science. Research papers and museum pieces were lost for ever. Male nudity in this film is acceptable because it is relevant to the subject. The museum is filled with phallic objects carved from ivory, penis protectors from Papua New Guinea, an intriguing masturbation contraption (which perhaps is the fore-runner of the modern vibrator), tattooed testicles belonging to the Chinese emperor's brother and other so-called "sinful objects". All this is portrayed in a clinical and straight forward manner. The good doctor is called upon to do surgery and one can get a bit squeamish when he goes to work on the transvestite Dorchen or the removal of a penis from a pleading hermaphrodite. It seemed to me it was executed with a very quick snip done under the most unhygienic conditions. Some of the other characters worthy of mention are the young Karl Giese (Hirschfeld's lover) who fights a losing battle to protect the Institute from the Nazi madness, and Adolph Brand an important gay right-wing writer who writes extravagant poetry about the physical beauty of German youth. Direrctor Rosa von Praunheim has done a magnificent job in bringing the life and work of Dr. Hirschfeld to the screen. It is a frank and honest approach and it is not without its little touches of humour. This film is worthy of attention. It's one of the most entertaining I've seen for a long time. How nice it is to see something very different. I rank it high on my list of favourites.

Misunderstood Work of a Great German Filmmaker

[opaguy · 26 August 2006]

This is a great example of how cultures of film-making develop differently in different cultures, different countries - I'm sure this is not counted as Rosa's masterpiece, it is certainly good enough - even in USA - to be an excellent movie of the week or such - shooting on video is still not a very legit popular medium and certainly the American fascination with super-art-directed and glamorously designed film extravaganzas can be persuasive, the idea that it is the ONLY way to accept/shoot film is as ludicrous as the American arrogance that would decry this film as unprofessional. Not only is the subject matter something that American filmmakers - even avant garde - are cowards before, you know it would have been seriously compromised in some way especially, as one of my Berlin friends would say, in terms of sentimentality. Actually, my experience of this film is that it is too American and that the usual unexpected elements one would expect in foreign cinema are somewhat lacking. In any case, the European actors in this film are beautiful enough to merit serious enough consideration. A couple of years ago I met one of Mr. Praunheim's crew making a documentary on him and I learned enough about his artistry and intentions to be convinced that a film such as this merits more careful thought than as if you were watching some hastily conceived movie slotfiller that is so tragically common in American film/TV.

Original look at the life of a pioneer

[epsurv · 9/10 · 7 May 2009]

Rosa Von Praunheim does a funny representation of the life of one of the first true pioneers of the research in sexuality, Magnus Hirschfield. Who developed theories explaining human sexuality 60 years before Kinsey. Von Pranheim gives us a drama with a touch of sense of humor, like for example when Magnus takes the chief of police to all the gay places in town and makes him dance with his transvestite collaborator! Other sweet moments are when Magnus masturbates using an antique plugged onto his penis; or when he invites the visitors of the institution to feel the warmth of a giant penis carved out of an elephant's horn. Praunheim doesn't save on commentary and opinion either, he ridicules the role of the so called male homosexuals that follow the Greek tradition and reject sissies and fairies, by showing the excessively strong handshake and their failed bravery (they go to war and get killed) through which they seek to overcompensate for their sexual orientation. It's also notable how he puts his transvestite maid, Dorchen, in a role where she makes herself get respected by the Nazi youth, towards the end. The director isn't short on explicit images, he's not afraid of showing nude men, close-ups of genitalia or a scene of spanking; this is also a way of protesting against the conventionalism and censorship that cinema imposes on itself in order to appeal to the masses. Despite being a low budget telefilm with sub-par photography and camera work, I think this movie is a jewel of freedom, irony, and shows the style of a director that, within the kitsch, is also as advocate as Magnus Hirschfield himself was for the rights of the LGBT community.

Stiff, pedantic, and very poorly executed

[jm10701 · 23 March 2014]

Earlier reviewers loved this movie, and if you like what their reviews said about it you'll hate mine.

This movie reminded me of the short educational films they used to show us in primary school in the 1950s, in which the topic was dramatized barely well enough that children could understand it, but not well enough that any adult would want to watch it.

The one I remember most clearly said, in effect, that you'll get tuberculosis if you kiss your grandmother on the lips. I remember that one probably because my grandmother (the only person who loved me) dropped dead (of a stroke, not TB) two weeks after my eighth birthday, and the pain and loss were so great that I'd gladly have joined her.

This movie has the same simplistic, pedantic, preachy tone as those films, and even lower production values. The acting was better in the granny-may-have-TB film. Rosa von Praunheim seems to care about the message only, not about any other aspect of movie-making (like entertainment).

Halfway through the movie, the actor playing Hirschfeld abruptly changes, from hunky Kai Schumann (listed far down in the credits, and not even mentioned on Amazon and other sales or rental sites, even though he dominates the first half of the movie and it's him on the cover) to doughy Friedel von Wangenheim, with this voice-over during the scene change: "My craving for sweets had certain effects on my appearance." That may be either an attempt at humor or a plea to ignore the startling actor switch.

I suspect that Schumann (who has gone on to a fairly successful acting career) cut and ran mid-filming when something better came along. Why else doesn't he share top billing with von Wangenheim? Each played Hirschfeld for half of the movie, and Schumann makes a far stronger impression.

Anyway, if for some reason you want to know about Magnus Hirschfeld and can't be bothered to read, then you may appreciate this move. I had known about it for years before I finally got so desperate for something new to watch that I broke down and rented it. The stupid title and the extraordinarily unappealing black-and-orange cover put me off, and I can't say I'm sorry. I'd be just fine if I'd never seen it.

long awaited film about "the most dangerous jew in the world"

[marymorrissey · 26 June 2008]

which was another title rosa entertained the possibility of using. when he announced it was forthcoming at a screening in LA I distinctly recall the collective gasp of the public, in anticipation: the subject seemed like the perfect one for rosa... but ... the film turned out nicht so gut, a big disappointment. actually I didn't see the whole thing but only walked out really cause I was visiting a strange city when it happened to stumble upon a chance to see one of its first screenings in the US, in Miami, where winsome elian gonzales was just about to be snatched from his home and riots were about to ensue.my feeling was he rushed into production on this one. it needed more rewrites to be the crowning glory of rosa his fan's tentatively but erroneously anticipated... and I wondered why he turned it over to the writers he chose rather than write it himself.