A young, upperclass woman named Thymian is excised from her family when a combination of incidents including her father's affair with the housekeeper, the death of the governess, and her rape by her father's business partner resulting in impregnation causes the family as a whole to send her away (for various reasons, some of which are unknown) to a reformatory. The draconian actions of the reformatory cause her to run away with a young Count, but unfortunately he is penniless and they have nowhere to go, so she gets stuck in a brothel of sorts where she lives until circumstances bring her back to her family and eventually lead her to a new life and new identity, from which she learns compassion for the other "lost girls" of the world.
Technically, that's what it's about.
At least, that's what happens. The problem with this film is that Thymian is the only character with any motivation, and it's a slight and unfocused one at that. For the first half of the film, indeed, one at least can be forgiving to the film because the characters inherent (and physical) beauty at least provides some sort of motion to the storyline. Unfortunately, since the characters have no motivation, and since the director seems entirely unwilling to let anything tragic have its due in the world, the movie skips past what could possibly be a beautiful and tragic ending and continues for another hour or so on tangents without importance or design.
At first this discursiveness seems rather stunning and unexpected, but a quick look back over a few points of the first half of the film start revealing that indeed, it seems Pabst really didn't have a clear understanding of overaching tones, themes, motifs. He has a storyline and names for characters, but no personalities or plot. For instance, the name of this movie: DIARY of a Lost Girl. The beginning is quite clear and obvious the importance of the diary to the character of Thymian, but not only does it not sustain its direct duty to bring her some form of closure, revelation, or salvation, it also simply disappears after a certain point and is never heard of again.
Furthermore, the movie strives to close up all threads with an opportunistic idea that everything can work out, but it closes up threads that needn't be included or are even merely incidental in the story arch. I repeat: the characters lack motivation. Since the characters lack motivation, what are they supposed to do to win, or lose, or react to events? They have nowhere to go or expand, and thus the ending keeps getting further and further away.
Most distressing about watching this film is it's complete lack of understanding about tone. It goes to extremes that seem at first to show the incredible level of conformity, decadence, ignorance, or whatever, but eventually go to far and fail to make an organized statement. Little nods to lesbianism are included for no real reason whatsoever. And what about Thymian's tendency to pass out before being taken advantage of? If it's meant to show her lack of control over the situation, it's a very maudlin and over-indulgent attempt.
In fact, why does Thymian want to hide the identity of the father of her baby when she was quite clearly raped? Some rape victims tend to victimize themselves by claiming that they deserved it, but there's no hint, nod, or involvement of that dysfunction. Why does the mistress of the reformatory derive such pleasure at the exercise of the girls? There's no clear evidence to support that she's sadistic, lesbian, or any has any form of motivation besides the fact that showing her wild grinning face seems a good way to get a reaction from the audience. Why is the housekeeper turned stepmother so stern, and furthermore, why can't she seem to make any face other than her one stern one? Sometimes this film goes to lengths, also, to go further into depth about things that don't deserve such treatment. Most of the ending seems to be an attempt by the filmmakers to take control of the theme (which they don't have) by reintroducing arbitrary characters and involving them in entirely new plot lines that don't have any coherent or enthused meaning on the overall storyarch. Basically, as soon as the Count's son inexplicably kills himself, the movie becomes saturated with false pretensions towards positivity, endurance, and "love" without taking the time to admit that the entire movie has already ended.
From there, the whole thing begins to fall entirely out of control and gets worse and worse until roughly about the beach scene and beyond, which if by that point you're still paying attention and caring about where the characters are going, you're just going to be lead to one of the most antithetical climaxes in film history. Yes, the Count actually said that line, and yes, that's all you're left with.
--PolarisDiB
Technically, that's what it's about.
At least, that's what happens. The problem with this film is that Thymian is the only character with any motivation, and it's a slight and unfocused one at that. For the first half of the film, indeed, one at least can be forgiving to the film because the characters inherent (and physical) beauty at least provides some sort of motion to the storyline. Unfortunately, since the characters have no motivation, and since the director seems entirely unwilling to let anything tragic have its due in the world, the movie skips past what could possibly be a beautiful and tragic ending and continues for another hour or so on tangents without importance or design.
At first this discursiveness seems rather stunning and unexpected, but a quick look back over a few points of the first half of the film start revealing that indeed, it seems Pabst really didn't have a clear understanding of overaching tones, themes, motifs. He has a storyline and names for characters, but no personalities or plot. For instance, the name of this movie: DIARY of a Lost Girl. The beginning is quite clear and obvious the importance of the diary to the character of Thymian, but not only does it not sustain its direct duty to bring her some form of closure, revelation, or salvation, it also simply disappears after a certain point and is never heard of again.
Furthermore, the movie strives to close up all threads with an opportunistic idea that everything can work out, but it closes up threads that needn't be included or are even merely incidental in the story arch. I repeat: the characters lack motivation. Since the characters lack motivation, what are they supposed to do to win, or lose, or react to events? They have nowhere to go or expand, and thus the ending keeps getting further and further away.
Most distressing about watching this film is it's complete lack of understanding about tone. It goes to extremes that seem at first to show the incredible level of conformity, decadence, ignorance, or whatever, but eventually go to far and fail to make an organized statement. Little nods to lesbianism are included for no real reason whatsoever. And what about Thymian's tendency to pass out before being taken advantage of? If it's meant to show her lack of control over the situation, it's a very maudlin and over-indulgent attempt.
In fact, why does Thymian want to hide the identity of the father of her baby when she was quite clearly raped? Some rape victims tend to victimize themselves by claiming that they deserved it, but there's no hint, nod, or involvement of that dysfunction. Why does the mistress of the reformatory derive such pleasure at the exercise of the girls? There's no clear evidence to support that she's sadistic, lesbian, or any has any form of motivation besides the fact that showing her wild grinning face seems a good way to get a reaction from the audience. Why is the housekeeper turned stepmother so stern, and furthermore, why can't she seem to make any face other than her one stern one? Sometimes this film goes to lengths, also, to go further into depth about things that don't deserve such treatment. Most of the ending seems to be an attempt by the filmmakers to take control of the theme (which they don't have) by reintroducing arbitrary characters and involving them in entirely new plot lines that don't have any coherent or enthused meaning on the overall storyarch. Basically, as soon as the Count's son inexplicably kills himself, the movie becomes saturated with false pretensions towards positivity, endurance, and "love" without taking the time to admit that the entire movie has already ended.
From there, the whole thing begins to fall entirely out of control and gets worse and worse until roughly about the beach scene and beyond, which if by that point you're still paying attention and caring about where the characters are going, you're just going to be lead to one of the most antithetical climaxes in film history. Yes, the Count actually said that line, and yes, that's all you're left with.
--PolarisDiB