From the outset, it needs to be stated that there are definite content warnings in 'Anders als die Andern' for homophobia, and suicide. More than that: the picture is wrapped up in so much extraordinary and dire real-life history - people, places, and events - that require utmost attention and remembrance, but that most assuredly also carry the same notices. For all that, it's also deeply unfortunate that not only is there accordingly perhaps only a single print remaining in existence, but that the footage that remains also seems to be incomplete, as indicated by heavy use of intertitles and/or still images to fill in for scenes that are otherwise unaccounted for. I would be deeply curious to learn of efforts to restore and preserve such a precious title. And it is precious indeed, for it would by all means appear that 'Different from the others' is the first motion picture to promote gay rights, and acceptance of the LGBTQ community. The movie is neck-deep in history - and it is profoundly historic in and of itself. With all this in mind, before even considering the content proper, it's an essential viewing experience.
The fate of the Institute for Sexual Research, that to an extent funded this endeavor, is all too well known (and still not widely enough), though the name of founder Magnus Hirschfeld is less famous. That's a great pity, for while still behind by the standards of 2021, he certainly seems to have been a man far, far ahead of his time - astoundingly progressive for any cross-section of the 20th century, let alone his own - and his collaboration with director Richard Oswald on the screenplay here is paramount. The story told within is all too real, ripped from the pages of reality, and carries the most urgent of messages. With 'Different from the others' less than whole as it exists, it's difficult to purely assess every possible aspect, but it surely seems to me that the characters are complex and diverse, with strong personalities, yet with each part left with room to be explored as the actors would. The narrative and scene writing alike are dynamic and absorbing, filled with great sincerity and emotional weight, and it's a shame there's simply not more of it for us to see. And for that matter, too, the cast is excellent - Conrad Veidt should be very familiar to anyone who has sampled early German cinema, and he portrays protagonist Paul Körner with gratifying nuanced range and physicality. And so it is as well with his co-stars, including Reinhold Schünzel, oozing smarm as antagonist Franz Bollek. Once more - ah, what we must be missing with a title that is partially lost.
Crucial as 'Different from the others' is in the history of cinema and LGBTQ rights alike, and critically important as its message is, the feature rides a delicate line. When a message is first and foremost in any piece of media - movie, song, or otherwise - it's commonly seen that the artistic craft of the work suffers owing to that singular focus. The emphatic use of intertitles to relate scenes that are lost to time, war, and censorship is furthered with large blocks of text as Hirschfeld, appearing as himself before the camera, imparts long speeches advocating for the gay community and the advancement of research. Significant as they are in all ways, these have the unfortunate effect of threatening to shake us from our engagement with the picture. However, even with but a fragment of 'Anders als die Andern' before us, there is still sufficient lovingly rendered cinematic marvel to provide balance, and keep the movie afloat. It's a noteworthy inelegance, but not enough to completely bog down the picture.
I repeat myself, but I wish so much that we could have a complete, unmarred presentation of this feature as it was written and filmed. Unfortunately, that's just not how the past 102 years played out. Nonetheless, I think this is a very well made film that manages to overcome the indelicacy of thrusting a core message to the forefront. Frankly, in so many ways, I dare say this is essential viewing: as a work of early cinema; as a groundbreaking movie championing LGBTQ rights; as a picture that the worst people in the world tried to obliterate (and no doubt still would, if their successors had their way); and, very plainly, on its own merits as a motion picture, a story being told. Again, content warnings are necessary, not least of all should viewers embark on reading up on all the incredible and sad history to which this is directly or indirectly tied. But I enthusiastically encourage all comers to find and watch 'Different from the others' if you can - this is a landmark that altogether must be seen.
The fate of the Institute for Sexual Research, that to an extent funded this endeavor, is all too well known (and still not widely enough), though the name of founder Magnus Hirschfeld is less famous. That's a great pity, for while still behind by the standards of 2021, he certainly seems to have been a man far, far ahead of his time - astoundingly progressive for any cross-section of the 20th century, let alone his own - and his collaboration with director Richard Oswald on the screenplay here is paramount. The story told within is all too real, ripped from the pages of reality, and carries the most urgent of messages. With 'Different from the others' less than whole as it exists, it's difficult to purely assess every possible aspect, but it surely seems to me that the characters are complex and diverse, with strong personalities, yet with each part left with room to be explored as the actors would. The narrative and scene writing alike are dynamic and absorbing, filled with great sincerity and emotional weight, and it's a shame there's simply not more of it for us to see. And for that matter, too, the cast is excellent - Conrad Veidt should be very familiar to anyone who has sampled early German cinema, and he portrays protagonist Paul Körner with gratifying nuanced range and physicality. And so it is as well with his co-stars, including Reinhold Schünzel, oozing smarm as antagonist Franz Bollek. Once more - ah, what we must be missing with a title that is partially lost.
Crucial as 'Different from the others' is in the history of cinema and LGBTQ rights alike, and critically important as its message is, the feature rides a delicate line. When a message is first and foremost in any piece of media - movie, song, or otherwise - it's commonly seen that the artistic craft of the work suffers owing to that singular focus. The emphatic use of intertitles to relate scenes that are lost to time, war, and censorship is furthered with large blocks of text as Hirschfeld, appearing as himself before the camera, imparts long speeches advocating for the gay community and the advancement of research. Significant as they are in all ways, these have the unfortunate effect of threatening to shake us from our engagement with the picture. However, even with but a fragment of 'Anders als die Andern' before us, there is still sufficient lovingly rendered cinematic marvel to provide balance, and keep the movie afloat. It's a noteworthy inelegance, but not enough to completely bog down the picture.
I repeat myself, but I wish so much that we could have a complete, unmarred presentation of this feature as it was written and filmed. Unfortunately, that's just not how the past 102 years played out. Nonetheless, I think this is a very well made film that manages to overcome the indelicacy of thrusting a core message to the forefront. Frankly, in so many ways, I dare say this is essential viewing: as a work of early cinema; as a groundbreaking movie championing LGBTQ rights; as a picture that the worst people in the world tried to obliterate (and no doubt still would, if their successors had their way); and, very plainly, on its own merits as a motion picture, a story being told. Again, content warnings are necessary, not least of all should viewers embark on reading up on all the incredible and sad history to which this is directly or indirectly tied. But I enthusiastically encourage all comers to find and watch 'Different from the others' if you can - this is a landmark that altogether must be seen.