Nemye svideteli

This is part of the early phase of Bauer's work; there is little in it that is remarkable. The story, class distinctions and all (even the love circle), is interesting enough, but Bauer's uncharacteristically prosaic film-making detracts from much of the weight it might have had. There are a few exceptions: a shot through a door, or from an overhead angle. The sparing use of intertitles can be commended, as well.

I suppose, Bauer is asking viewers to take in the scenes, the props and spaces. Yet, this film could've benefited from better use of the architecture. There are some nice lighting effects, such as characters turning on and off diegetic lighting sources. The problem is that most of the film consists of long takes with a stationary camera. Bauer had tried and would try harder: Vera's bedroom in "Twilight of a Woman's Soul", the death opera in "Daydreams", the outside gardens in "The Dying Swan", or the pans and dollies in "After Death" to expose the rooms at a party.

Bauer's "A Life for a Life" focuses on a love circle, but mostly upon the mise-en-scène, just as with this, "Silent Witnesses". The set designs are better in that film, but more important is the film-making to support them; otherwise, it's merely a filmed play. The stagy long takes of long shots in "Silent Witnesses", compounded by a lack of continuity editing makes for film-making that is as mundane as the servants' work.