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itemprop="url"><span itemprop="title">CTEQ Annotations on Film</span></a></div></div> <div id="cb-content" class="wrap clearfix"> <meta itemprop="datePublished" content="2024-11-23T18:06:51+11:00"> <meta itemprop="dateModified" content="2024-11-23T18:06:51+11:00"> <meta itemscope itemprop="mainEntityOfPage" itemtype="https://schema.org/WebPage" itemid="http://www.sensesofcinema.com/2024/cteq/kohlhiesels-tochter/"> <span class="cb-hide" itemscope itemprop="publisher" itemtype="https://schema.org/Organization"> <meta itemprop="name" content="Senses of Cinema"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> <span class="cb-hide" itemscope itemprop="logo" itemtype="https://schema.org/ImageObject"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> </span> </span> <span class="cb-hide" itemprop="author" itemscope itemtype="https://schema.org/Person"><meta itemprop="name" content="Michael Koller"></span> <meta itemprop="headline" content="Kohlhiesels Töchter"> <span class="cb-hide" itemscope itemtype="http://schema.org/ImageObject" itemprop="image" > <meta itemprop="url" content="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Kohlhiesels-Töchter-lead.jpg"> <meta itemprop="width" content="1000"> <meta itemprop="height" content="533"> </span> <div id="main" class="cb-main clearfix issue-single-meta-container"> <article id="post-49494" class="clearfix post-49494 post type-post status-publish format-standard has-post-thumbnail category-cteq"> <header id="cb-standard-featured"><div class="cb-mask"><img width="750" height="400" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Kohlhiesels-Töchter-lead-750x400.jpg" class="cb-fi-standard wp-post-image" alt="" loading="lazy" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Kohlhiesels-Töchter-lead-750x400.jpg 750w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Kohlhiesels-Töchter-lead-300x160.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Kohlhiesels-Töchter-lead-768x409.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Kohlhiesels-Töchter-lead.jpg 1000w" sizes="(max-width: 750px) 100vw, 750px" /><div class="cb-image-credit"><i class="fa fa-camera"></i><i>Kohlhiesels Töchter</i></div></div><div id="cb-fis-wrap" class="cb-entry-header hentry cb-fis cb-style-standard"><span class="cb-title-fi"><h1 class="entry-title cb-entry-title cb-single-title" itemprop="headline"><i>Kohlhiesels Töchter</i></h1><div class="cb-byline cb-font-header"><div class="cb-author cb-byline-element vcard author"><i class="fa fa-user"></i> <a href="http://www.sensesofcinema.com/author/michael-koller/" title="Posts by Michael Koller" class="author url fn" rel="author">Michael Koller</a></div> <div class="cb-date cb-byline-element"><i class="fa fa-clock-o"></i> <time class="updated" datetime="2024-11-23">November 2024</time></div> <div class="cb-category cb-byline-element"><i class="fa fa-folder-o"></i> <a href="http://www.sensesofcinema.com/category/cteq/" title="View all posts in CTEQ Annotations on Film">CTEQ Annotations on Film</a></div></div></div></header> <section class="cb-entry-content entry-content clearfix" itemprop="articleBody"> <p><b>This article is a reworking of an earlier <a href="https://www.sensesofcinema.com/2010/cteq/kohlhiesels-tochter-and-schuhpalast-pinkus/">article</a> in Issue 56 of </b><b><i>Senses of Cinema</i></b><b> that discusses both </b><b><i>Kohlhiesels Töchter</i></b><b> and </b><b><i>Schuhpalast Pinkus </i></b><b>(1916).</b></p> <p><span style="font-weight: 400;">Ernst Lubitsch’s meteoric German career spanned ten years, with him acting in about a dozen films before directing several dozen shorts and twelve features. The shorts Lubitsch featured in or directed were mainly comedies or parodies, while his features alternated between comedies and historical melodramas. Lubitsch’s career in Hollywood would last 24 years, during which he made ten silent and seventeen sound features as well as produced several additional films at Paramount Studios while he was Head of Production. Lubitsch was a prolific filmmaker and a workaholic.</span></p> <p><span style="font-weight: 400;">Lubitsch (1892-1947) was born the son of a Berlin draper, and it had been expected that he would continue in his father’s business (he did work as an assistant in his father’s shop). Lubitsch, however, had other plans; he wished to become a theatre actor and joined Max Reinhardt’s theatre company in Berlin in 1911, playing, amongst other parts, those of the Second Gravedigger in </span><i><span style="font-weight: 400;">Hamlet</span></i><span style="font-weight: 400;">, and the roles of Wagner and Famulus in </span><i><span style="font-weight: 400;">Faust</span></i><span style="font-weight: 400;">. His most important role, however, was as Yeggar, the tragic hunchback clown in Friedrich Freska’s stage pantomime </span><i><span style="font-weight: 400;">Sumurun</span></i><span style="font-weight: 400;">, a work which Lubitsch would later revisit as his acting swan song for his film version of the play. It was while under the tutelage of Reinhardt that Lubitsch developed an appreciation of performance and acquired his ability to stage large crowd scenes. This influence is best demonstrated by the staging of the director’s historical epics and the vibrant dancehall and nightclub scenes that mark many of his silent movies (such as that found in </span><i><span style="font-weight: 400;">So This is Paris</span></i><span style="font-weight: 400;">, 1926). The latter are often remarkable for their ability to create the illusion of sound. He also built a strong ensemble of performers around him, including Emil Jannings during his time with Reinhardt.</span></p> <p><span style="font-weight: 400;">Lubitsch, like many other theatrical performers in Germany and the United States, supplemented his meagre income by taking film work (as an actor and stagehand). The theatre had the prestige, but the movies paid the money. Lubitsch quit the theatre in 1913 to pursue an acting career in movies, taking the lead role in just his third film. This quickly led to Lubitsch’s first important role in </span><i><span style="font-weight: 400;">Die Firma Heiratet </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">The Firm Weds</span></i><span style="font-weight: 400;">, 1914), and then his most successful performance in its sequel, </span><i><span style="font-weight: 400;">Der Stolz der Firma</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Pride of the Firm</span></i><span style="font-weight: 400;">, 1914). Paradoxically, this success caused Lubitsch to be typecast. To broaden his appeal, he decided to write different roles for himself and sold these to the producer Paul Davidson, in whose films he had regularly featured. Lubitsch was now permitted to direct, and slowly his reputation as a director grew.</span></p> <p><span style="font-weight: 400;">By 1919, Lubitsch had no rivals, artistically or commercially. Fritz Lang and Friedrich Wilhelm Murnau had just begun their directorial careers and, technically, </span><i><span style="font-weight: 400;">Das Cabinet des Dr. Caligari </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">The Cabinet of Dr. Caligari</span></i><span style="font-weight: 400;">, Robert Wiene, 1920) was years behind Lubitsch’s films. That year Lubitsch produced three hugely successful features – </span><i><span style="font-weight: 400;">Die Austernprinzessin</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Oyster Princess</span></i><span style="font-weight: 400;">), </span><i><span style="font-weight: 400;">Madame Dubarry</span></i><span style="font-weight: 400;">, and </span><i><span style="font-weight: 400;">Die Puppe</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Doll</span></i><span style="font-weight: 400;">). As a reward he was given carte blanche by the Ufa production heads and decided to revisit the terrain of his early comedies with </span><i><span style="font-weight: 400;">Kohlhiesels Töchter</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Kohlhiesel’s Daughters</span></i><span style="font-weight: 400;">, 1920).</span></p> <p><i><span style="font-weight: 400;">Kohlhiesels Töchter</span></i><span style="font-weight: 400;"> sticks to the formula of Lubitsch’s earlier comedies. The film was made for a mass audience and will be unfamiliar to those only acquainted with Lubitsch’s sophisticated comedies of the 1930s and 1940s. Lubitsch’s early films were a product of their era, addressing the audience’s senses and emotions. The humour is broad, slapstick and populist, and as unsubtle as the contemporaneous films Buster Keaton made with Fatty Arbuckle. </span></p> <p><span style="font-weight: 400;">The film is a reworking of Shakespeare’s </span><i><span style="font-weight: 400;">The Taming of the Shrew</span></i><span style="font-weight: 400;"> set in the Bavarian Alps. The film utilises the play’s main conceits: Peter Xaver (Emil Jannings), a love-struck hulk cannot marry Gretel (Henny Porten) until her older ill-tempered sister (Liesel, also Porten) is married. This plot follows an old Teutonic (and Jewish) tradition and allows Lubitsch to have loads of fun playing with Bavarian caricatures. The characters are dim-witted (already apparent in the opening scene) and arrogant. Gretel wears dirndls (a traditional Bavarian costume, the female equivalent of lederhosen) throughout the film and there is a beer hall scene and sausage eating as well. As the film was shot on location, glistening alpine peaks complete the overriding sense of cliché.</span></p> <p><span style="font-weight: 400;">As was Lubitsch’s method, he assembled his usual crew for </span><i><span style="font-weight: 400;">Kohlhiesels Töchter</span></i><span style="font-weight: 400;">, including scriptwriter Hanns Kräly and cinematographer Theodor Sparkuhl. Kräly began working with Lubitsch as a scriptwriter in 1915 and would continue to write for Lubitsch in Hollywood up till the end of the silent era. Thereafter he continued working in Hollywood until 1943 but never again achieved the career success he had with Lubitsch. Sparkuhl too, began his association with Lubitsch in 1916 and it continued until </span><i><span style="font-weight: 400;">Die Flamme</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Flame</span></i><span style="font-weight: 400;">) in 1923, the director’s final German film. With the coming of sound, Sparkuhl worked in the United Kingdom and France (most notably on Renoir’s </span><i><span style="font-weight: 400;">La Chienne</span></i><span style="font-weight: 400;"> [1931]), before moving to the United States where he worked continuously until 1946. The male lead of the film was given to Jannings, Lubitsch’s long-time friend, an actor who had already appeared in several of the director’s films, most importantly as Louis XV in </span><i><span style="font-weight: 400;">Madame Dubarry</span></i><span style="font-weight: 400;">. Henny Porten played the film’s female lead. Porten appeared in the title role of Lubitsch’s subsequent </span><i><span style="font-weight: 400;">Anna Boleyn</span></i><span style="font-weight: 400;"> (1920) and went on to have a 50-year career in the movies.</span></p> <p><span style="font-weight: 400;">The performances in </span><i><span style="font-weight: 400;">Kohlhiesels Töchter</span></i><span style="font-weight: 400;"> are huge and coarse, not unlike those found in Tex Avery’s cartoons, and so apt for a slapstick comedy, especially one dealing with Bavarian yokels. Jennings, with frequently over-caked, theatrical makeup, appears as an expansive bully who chomps through cigars. He is also rude to a group of young women who want to dance and threatens to break his friend’s bones when he sees him as a potential rival for Gretel’s affection. When Xaver dances with Gretel at the beer hall the oversized performances and egos push everyone else off the dance floor, and spectators are left cowering at the edge of the frame. But Porten is the revelation of the film in the double role of the sisters. She even appears simultaneously on screen a couple of times, thanks to the wonders of trick photography. But the disparity of these performances means that it is almost a shock to discover that it is the same actress playing both roles. As Gretel, Porten is graceful, ornate and impulsive, albeit vain and dumb. As Liesel she “lets rip”, wears no (or little) make-up, wears her hair in a pointy bun, and swaggers around like an uncoordinated farmhand. She is uncouth and rude, throwing her arms around wildly and eating with her mouth open. She’s a lot of fun. Initially the role of Gretel was much larger than that of Liesel, but once Lubitsch saw the rushes he realised he needed to expand the latter role at the expense of Gretel. </span></p> <p><span style="font-weight: 400;">As with many of Lubitsch’s films, the opening sets the tone. The scene beautifully differentiates the two sisters when individually confronted by a Yiddish hawker selling trinkets. Young Gretel is fooled by his salesmanship and buys a cheap brooch. Liesel, on the other hand, won’t stand for any of his nonsense and throws him out. The scene nicely illustrates the strong visual and physical humour of early Lubitsch, as well as his ongoing fascination with language. In his Hollywood films, Lubitsch was able to subvert the Production Code through the clever use of language. In the early silent films, Lubitsch frequently used slang (in the intertitles), especially Yiddish, but here he also incorporates some Bavarian colloquialisms. The characters nevertheless display their foibles, dreams and weaknesses, as in his later films. With other directors the characters would be damned for their shortcomings, however, we know from the beginning that the conflict in the film will be resolved with minimal adverse consequences for the protagonists. Lubitsch’s films are ultimately optimistic and he never passes judgement on these fallible humans. For Lubitsch love is never exclusive and it usually favours those who least deserve it. </span><i><span style="font-weight: 400;">Kohlhiesels Töchter</span></i><span style="font-weight: 400;"> was Lubitsch’s greatest German success and was remade at least three times in 1930 (with Porten producing), 1943 and 1962. It remained one of Lubitsch’s favourite German comedies. He quickly followed up its success with another comedy based on Shakespeare and filmed on location in Bavaria, </span><i><span style="font-weight: 400;">Romeo und Julia im Schnee</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Romeo and Juliet in the Snow</span></i><span style="font-weight: 400;">, 1920).</span></p> <h2><b>About the music</b></h2> <p><span style="font-weight: 400;">The Melbourne Cinémathèque will be presenting the new 4K restoration by the Friedrich Wilhelm Murnau Foundation that premiered at the Berlinale on February 18 of this year, with a new score by Diego Ramos Rodriguez. The new film music by Diego Ramos Rodríguez for salon orchestra uses motifs from a historical film score from </span><i><span style="font-weight: 400;">Kohlhiesels Töchter</span></i><span style="font-weight: 400;">, a potpourri by Giuseppe Becce of folk music and operetta hits from 1920. Diego Ramos composed his music on the metric basis of waltzes, Ländlers and polkas, which he continues and satirizes in the instrumentation, the timbres of folk music are transposed onto classical concert instruments. His music accompanies the film with musical wit and ambiguous quotations; it conveys historical film music practice with modern composition techniques and invites you to rediscover Lubitsch’s silent film classic.</span></p> <p><b><i>Kohlhiesels Töchter</i></b><span style="font-weight: 400;"> (1920 Germany 64 mins)</span></p> <p><b>Prod Co:</b><span style="font-weight: 400;"> Messter Film </span><b>Dir: </b><span style="font-weight: 400;">Ernst Lubitsch </span><b>Scr:</b><span style="font-weight: 400;"> Hanns Kräly, Ernst Lubitsch, from a story by Friedrich Raff and Julius Urgiss </span><b>Phot:</b><span style="font-weight: 400;"> Theodor Sparkuhl </span><b>Art Dir:</b><span style="font-weight: 400;"> Jack Winter, Hans Baluschek (uncredited) </span><b>Cos Des:</b><span style="font-weight: 400;"> Jan Baluschek</span></p> <p><b>Cast:</b><span style="font-weight: 400;"> Emil Jannings, Henny Porten, Gustav von Wangenheim, Jakob Tiedtke, Willi Prager</span></p> </section>  <footer class="article-footer"> <div class="cb-social-sharing cb-post-footer-block cb-beside cb-social-box clearfix"><div class="cb-title-subtle">Share On:</div><div id="fb-root"></div> <script>(function(d, s, id) {var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.0"; fjs.parentNode.insertBefore(js, fjs); }(document, "script", "facebook-jssdk"));</script><div class="cb-facebook"><div class="fb-like" data-href="http://www.sensesofcinema.com/2024/cteq/kohlhiesels-tochter/" data-layout="box_count" data-action="like" data-show-faces="false" data-share="false"></div></div><div class="cb-pinterest"><script type="text/javascript" src="//assets.pinterest.com/js/pinit.js" async></script> <a href="//pinterest.com/pin/create/button/?url=http%3A%2F%2Fwww.sensesofcinema.com%2F2024%2Fcteq%2Fkohlhiesels-tochter%2F&media=http%3A%2F%2Fwww.sensesofcinema.com%2Fwp-content%2Fuploads%2F2024%2F11%2FKohlhiesels-To%CC%88chter-lead.jpg&description=%3Ci%3EKohlhiesels+T%C3%B6chter%3C%2Fi%3E" data-pin-do="buttonPin" data-pin-config="above" target="_blank"><img src="//assets.pinterest.com/images/pidgets/pin_it_button.png" /></a></div><div class="cb-google cb-tall"> <div class="g-plusone" data-size="tall"></div> <script type="text/javascript"> (function() { var po = document.createElement("script"); po.type = "text/javascript"; po.async = true; po.src = "https://apis.google.com/js/plusone.js"; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(po, s); })(); </script></div><div class="cb-twitter"><a href="https://twitter.com/share" class="twitter-share-button" data-dnt="true" data-count="vertical">Tweet</a><script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+'://platform.twitter.com/widgets.js';fjs.parentNode.insertBefore(js,fjs);}}(document, 'script', 'twitter-wjs');</script></div><su:badge layout="5"></su:badge> <script type="text/javascript"> (function() { var li = document.createElement("script"); li.type = "text/javascript"; li.async = true; li.src = ("https:" == document.location.protocol ? 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