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The Devious Path (1928)

Abwege (original title)
Neglected by her husband, an ambitious lawyer, Irene seeks variety in Berlin's nightlife, drugs and flirtations included.

Writers:

Franz Schulz (idea), Adolf Lantz | 2 more credits »
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Cast

Complete credited cast:
Gustav Diessl ... Thomas Beck, Rechtsanwalt
Brigitte Helm ... Irene Beck, seine Frau
Hertha von Walther Hertha von Walther ... Liane, ihre Freundin (as Herta von Walther)
Jack Trevor ... Walter Frank, Maler
Fritz Odemar ... Möller, Regierungsrat
Nico Turoff Nico Turoff ... Sam Taylor, Boxer
Ilse Bachmann Ilse Bachmann ... Anita Haldern
Richard Sora Richard Sora ... André
Peter C. Leska Peter C. Leska ... Robert (as Peter Leschka)
Irm Cherry Irm Cherry ... Daisy
Irma Green Irma Green ... Gina
Tita Christescu Tita Christescu ... Die Zofe
Jimmy Lygelt Jimmy Lygelt ... 2. Boxer
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Storyline

Neglected by her husband, an ambitious lawyer, Irene seeks variety in Berlin's nightlife, drugs and flirtations included.

Plot Summary | Add Synopsis

Genres:

Drama | Romance

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Details

Country:

Germany

Language:

German

Release Date:

18 March 1929 (Finland) See more »

Also Known As:

The Devious Path See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (1998 restored)

Sound Mix:

Silent | Mono (only music score)

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

The film premiered in Hamburg on 20 August 1928. See more »

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User Reviews

 
Pabst pictures a marriage-in-crisis
26 March 2001 | by rfkeserSee all my reviews

Just before his two masterworks with Louise Brooks, Pabst directed this provocative study of an upper-class woman's sexual frustration. Neglected by her work-obsessed husband, Brigitte Helm falls in with a fast crowd of Berlin nightclub denizens (the "wrong turn" of the title), toying with an artist and a boxer as potential lovers. Pabst sketches this milieu in terms of consumption of cigarettes, liquor, and drugs, but it looks considerably more realistic than the garish cartoon decadence of CABARET and its imitators. A highlight of a lengthy nightclub sequence is some amusing play around the erotic impact of a backless evening gown. If Helm writhes with coiled intensity in almost every scene, she still creates a credible psychological portrait. While the plot devolves into a can-this-marriage-be-saved? formula, Pabst sustains interest through expert framing and shrewdly chosen gestures: thus, the act of dividing a pastry comes to represent the possibility of divorce. An intelligently adult resolution, offering no easy answers, adds to the film's stature.


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