Baruch Mayr, son of an orthodox rabbi from a poor shtetl in Galizia, decides to break with the family tradition and leave the shtetl to become an actor. Due to this behaviour his father ...
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A producer decides to reopen a theater, that had been closed five years previously when one of the actors was murdered during a performance, by staging a production of the same play with ... See full summary »
Prologue: The murderer "Boss" Huller - after having spent ten years in prison - breaks his silence to tell the warden his story. "Boss", a former trapeze artist, and his wife own a cheap ... See full summary »
Ewald André Dupont
Lya De Putti
A wealthy man invites the local wealthy bachelors over for a puppet show about men who covet another man's wife. The puppeteer is actually a witch and gives the men nightmares about what could happen if they date the lady of the house.
Baruch Mayr, son of an orthodox rabbi from a poor shtetl in Galizia, decides to break with the family tradition and leave the shtetl to become an actor. Due to this behaviour his father bans him from his family. Baruch, who joined a small burlesque troupe is discovered by an Austrian Erzherzogin (archdutchess) who introduces him to the director of the most important Theater in Vienna, the Burgtheater. Baruch receives a contract there and becomes more and more an assimilated jew. But his relation with the Erzherzogin isn't approved by the Austrian court, so they have to end it. When an old friend of his father, who is always traveling from one Jewish community to the next (and has told him first about the theatres in the world), Baruch becomes a little bit homesick and returns for a holiday to his old shtetl to see his folks and to pick up his childhood sweetheart. But his father wants him not to enter his house, so he returns to Vienna, with his bride. But his old friend does not stop...Written by
Stephan Eichenberg <firstname.lastname@example.org>
Four years before 'The Jazz Singer', the same conflict between a young man yearning for the stage and his stern rabbi father was played out in its natural shtetl environment in this German super-production set in the 1860s.
At first resembling one of Edgar Ulmer's late 30's Yiddish films, the action relocates to Viennese high society with Henny Porten wandering in and out of the action as the Empress Elisabeth. This middle section drags terribly as it keeps pausing to shows off the sumptuouness of its décor and photography (the work of Alfred Junge and Theodor Sparkuhl who later fled to Britain and Hollywood respectively as part of Hitler's gift to the English-speaking cinema), before finally remembering the Rabbi still simmering back at home and reuniting him with his prodigal son for a conclusion that comes very abruptly after a build-up of over two hours.
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