Asphalt (1929 film): Difference between revisions
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Yet, it is the rare moments when Else thinks about Albert that we begin to see her character evolve, with most of her expression transcending from her sad eyes throughout the film. Her first smile comes after she finds the passport photo of Albert in her apartment. Gazing at the photo she smiles comparing him to her criminal, older, and uglier boyfriend in a photo beside her. This is the first soft moment with this character and the smile is a big contrast. She stares and smiles at his picture again in the nightclub, when she becomes compelled to return his passport and give him a gift of cigars, a scene that results in a confession of love from both Else and Albert. |
Yet, it is the rare moments when Else thinks about Albert that we begin to see her character evolve, with most of her expression transcending from her sad eyes throughout the film. Her first smile comes after she finds the passport photo of Albert in her apartment. Gazing at the photo she smiles comparing him to her criminal, older, and uglier boyfriend in a photo beside her. This is the first soft moment with this character and the smile is a big contrast. She stares and smiles at his picture again in the nightclub, when she becomes compelled to return his passport and give him a gift of cigars, a scene that results in a confession of love from both Else and Albert. |
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It is when Albert is at Else's feet, begging her to be his wife, that she can no longer stand the differences between them. He looks up at her in her white elegant dress and she runs away. She breaks away and exposes all her stolen goods from her criminal past. Her confession becomes a conduit metaphor for the criminal underworld of the city as she pleads with him, "Don't go, don't let me go down." She is looking for mercy and redemption. She believes he can save her and this is motivation enough for her to confess. |
It is when Albert is at Else's feet, begging her to be his wife, that she can no longer stand the differences between them. He looks up at her in her white elegant dress and she runs away. She breaks away and exposes all her stolen goods from her criminal past. Her confession becomes a conduit metaphor for the criminal underworld of the city as she pleads with him, "Don't go, don't let me go down." She is looking for mercy and redemption. She believes he can save her and this is motivation enough for her to confess. As he considers his fate, her criminal boyfriend enters the scene and a brawl ensues. The boyfriend is killed accidentally, and after struggling with his decision, Albert leaves the scene. In confession to his parents, Albert's father deems that the law is the law, and he must turn himself in. When Else discovers he has done so, she knows what she must do. |
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In the closing scene, the director portrays Else in a dark suit voluntarily turning herself into the police. Her once flashy eyes are humbled and filled with tears of compassion and love. Her confession becomes an expression of her love and she rescues her lover from being accused of murder. |
In the closing scene, the director portrays Else in a dark suit voluntarily turning herself into the police. Her once flashy eyes are humbled and filled with tears of compassion and love. Her confession becomes an expression of her love and she rescues her lover from being accused of murder. |
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Revision as of 09:40, 7 July 2018
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| Asphalt | |
|---|---|
| File:ASPHALT orig colour.jpg | |
| Directed by | Joe May |
| Written by | Hans Székely Joe May Rolf E. Vanloo |
| Produced by | Erich Pommer |
| Starring | Gustav Fröhlich Else Heller Albert Steinruck Betty Amann |
| Cinematography | Günther Rittau |
| Distributed by | Universum Film AG |
Release date |
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Running time | 93 minutes |
| Country | Weimar Republic |
| Languages | Silent film German intertitles |
Asphalt is a 1929 German silent film. The film was one of the last silent films released in Germany as the world was entering the era of sound film.
Plot
Else, played by Betty Amann, becomes the tragic hero of Asphalt as her character transcends her unhappy criminal life to redeem herself in an unfolding confession of true love.
As fitting with the harsh urban landscape of Berlin, Else is a gorgeous trickster when the story begins. Her high fashion clothes and perfectly ornamented makeup make her deserving to be peering over diamond cases while batting her eyes in want at the jeweler. We immediately experience the power of her female persuasion in the cuts between the almost possessed jeweler and her. She is good at what she does - seducing men - not stealing diamonds per se. She lies as she gets caught, professing it was the first time, that she needed the money. Even when she meets Albert, played by Gustav Frohlich, she insists her luxurious apartment and belongings are not hers. She maintains her story and pristine female fatal composure until she flings herself into his arms and confesses to him, "I like you." A close-up captures the couple's passionate embrace.
Yet, it is the rare moments when Else thinks about Albert that we begin to see her character evolve, with most of her expression transcending from her sad eyes throughout the film. Her first smile comes after she finds the passport photo of Albert in her apartment. Gazing at the photo she smiles comparing him to her criminal, older, and uglier boyfriend in a photo beside her. This is the first soft moment with this character and the smile is a big contrast. She stares and smiles at his picture again in the nightclub, when she becomes compelled to return his passport and give him a gift of cigars, a scene that results in a confession of love from both Else and Albert.
It is when Albert is at Else's feet, begging her to be his wife, that she can no longer stand the differences between them. He looks up at her in her white elegant dress and she runs away. She breaks away and exposes all her stolen goods from her criminal past. Her confession becomes a conduit metaphor for the criminal underworld of the city as she pleads with him, "Don't go, don't let me go down." She is looking for mercy and redemption. She believes he can save her and this is motivation enough for her to confess. As he considers his fate, her criminal boyfriend enters the scene and a brawl ensues. The boyfriend is killed accidentally, and after struggling with his decision, Albert leaves the scene. In confession to his parents, Albert's father deems that the law is the law, and he must turn himself in. When Else discovers he has done so, she knows what she must do.
In the closing scene, the director portrays Else in a dark suit voluntarily turning herself into the police. Her once flashy eyes are humbled and filled with tears of compassion and love. Her confession becomes an expression of her love and she rescues her lover from being accused of murder.
She is able to smile once again as Albert follows her and professes he will wait for her. The gorgeous closing shot shows Albert watching Else through a barred doorway as she goes off to jail.
Cast
- Albert Steinrück as Hauptwachtmeister Holk
- Else Heller as Frau Holk
- Gustav Fröhlich as Wachtmeister Albert Holk
- Betty Amann as Else Kramer
- Hans Adalbert Schlettow as Konsul Langen
- Rosa Valetti as Frau an der Theke
- Kurt Vespermann as Curt Vesperman
Production
Asphalt was made by UFA, a German studio, and produced by Erich Pommer.
Director Joe May co-wrote the script. The sets were designed by Erich Kettelhut, with the uncredited assistance of Robert Herlth.
Premiere
Asphalt was premiered on 11 March 1929 at Berlin's prestigious Ufa-Palast am Zoo. Critics noted the cheap, pulp-fiction nature of the plot but also praised May’s skill and cinematography and editing.
References
External links
- Essay on Asphalt at the Masters of Cinema website
- Asphalt at Rotten Tomatoes
- Bibliography
- Asphalt at IMDb
- Template:Amg movie
- 1929 films
- 1920s drama films
- German films
- German silent feature films
- German drama films
- German Expressionist films
- Films of the Weimar Republic
- German black-and-white films
- Films set in Germany
- Films set in Berlin
- Films directed by Joe May
- Films produced by Erich Pommer
- Screenplays by Joe May
- Screenplays by Hans Székely