Liebelei (1933)

 Max Ophuls' "Liebelei"


Before Max Ophuls escaped Nazi controlled Germany in 1933, he released "Liebelei," a film based on a play of the same name. This film would actually fit perfectly retrospectively in Ophuls' filmography. It was the penultimate German film he would ever make. 

The film takes place in Imperial-era Vienna, centering on a romance between a young lieutenant and a musician's daughter. The young lieutenant's now-ending love affair with a Baron's wife causes speculations and disruption, as it's unrealized consequences hang in the balance of his new romance. Their love affair is finally revealed in the end, causing the Baron to challenge the young lieutenant to a duel. The young lieutenant is killed, forcing the musician's daughter to kill herself.

I believe the true theme of the film is best iterated by the musician, Old Weyring, who states that he kept his sister under his supervision all throughout their life. When she turned old and grey, she was unmarried. This led him to realize that, while he thought he was keeping her from danger, he was actually keeping her from happiness. This presents the theme of the film, as well as the themes Ophuls would continue to explore later in his filmography. Maintaining control over oneself, others, or societal control in general inherently counters the very impulsive nature of the human spirit. This control is presented through the rigorous militancy and order the lieutenant faces everyday in his regiment. Every must be in order, every action must be judged, and behaviors must be kept. However, the characters continue to act outside of this control. The rigorousness of our expectations and judgements of others will only lead to tragedy, as the human spirit cannot contain itself to the control placed on it. 

These subtle themes and statements are a bit bold for the circumstances surrounding the release period of the film. 1933 was the year Adolf Hitler took full control of Germany. The film's notions involving unnecessary control may have slipped under the radar of Nazi's ministry of propaganda. Because of this, we are able to view a Max Ophuls early film involving themes that touch upon authoritarianism, militancy, and control at a time when these things were wrapping itself tightly around the German population. 



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