Plot: Austria has a new government and the new Chancellor (Eugen Neufeld) is a raging antisemite. He manages to pass a new law that will force all Jews to leave by the end of the year. The law is received with great enthusiasm, and the Jews actually do leave, although there are some people who are against it like the Jewish artist Leo (Johannes Riemann) and the girl he is in love with, Lotte (Anny Miletty), daughter of a politician who voted for the banishment. But once the Jews are gone, it doesn’t quite have the intended effect.
Of course, from today’s perspective Die Stadt ohne Juden seems both prescient and not exactly great activism anymore. In any case, it’s a chilling historical document and an interesting film.
Doris (Dora Kaiser) and her sister Carmen (Carmen Cartellieri) are very different people. Where Doris is all innocence and kindness, Carmen is much more selfish and calculating. But after their mother’s death, the two of them find work at the Variété together. Doris’ star keeps rising there and Carmen wants to capitalize on it any way she can.
I enjoyed large parts of the film, but in this case, the live music did the movie a disservice. That being said, there was still much to like about it.
USAmerican Mister West (Porfiri Podobed) is tasked with traveling to Russia to see the land of the Bolsheviks for himself. Trouble is, all West knows about Russia is a magazine article making them out to be the worst kind of savages and Mr West is pretty much scared out of his wits. So he takes his faithful companion Jeddy the Cowboy (Boris Barnet) and starts praying. Once he reaches Russia, West is actually robbed. The thieves find the magazine and decide to create the savage land portrayed there for West, sure that they can squeeze some money out of him that way.
The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks is a funny, albeit silly film. The music by PHACE wasn’t that much my cup of tea, but it works as accompaniment to the film.
The Doorman (Emil Jannings) has been working in the big hotel for a very long time and he takes a lot of pride in his job. But he is also getting old. After carrying a particularly heavy suitcase, he has to take a break – which the Hotel Manager (Hans Unterkircher) sees. He decides that the Doorman isn’t up to the task anymore and that he should do something less strenuous, so he makes him washroom clerk. But the Doorman can’t handle the demotion this means and starts to unravel.
The last F.W. Murnau/Emil Jannings cooperation I saw (Faust) already blew me away, but this film blew me even further (I should make a project or something of watching all their stuff). Both the story and Jannings’ acting had me completely in their grip and I could still cry when I think about it.