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212                                           Jack Fritscher







               VIENNA FILM RESTORATION FESTIVAL



                    DUCHESS:              shadows, pic’s story is uncom-
                   BERLIN 1928            plicated, simple, and made on a
                                          low budget on the backlot at UFA
              (DRAMA – AUSTRIAN – B&W)    by assistant scriptgirl, Amelia
                                          Haber man, whose feature debut
                 A Hapsburg Films (Vienna) re-
             lease, in association with Restorische  lifted her damsel-in-distress ma-
             Films, with the support of Austrian  terial by direction and camera
             Revivifilm. (International sales: Lu   into a luminous complexity here
             Lu Rodenfels DVD Ltd, Stamford,   restored by her grandson, Fritz
             CT.) Produced by Isaac Gottlieb. Co-
             producer, Amelia Haberman from  Haber man and his wife Maria
             her original screenplay, Zuflucht in  Nagle, for Austrian Revivifilm.
             Berlin. (Sound. 1932) Restoration   (All original prints of the 1932
             produced by Fritz Haberman and   drama, reviewed at the Vienna
             Maria Nagle, 2000.
                 Directed, written by Amelia  Film Restoration Festival, were
             Haberman. Camera (B&W), Bea  thought destroyed during Nazi
             Brooks; editor, Agnes Tschohl; music,   occupation of Vienna and UFA.)
             Marta Jean Solomon; art director,   Scripter Haberman evidently had
             Annya Deitwig; costume designer,
             Helga Kuehner. Original title: Zu-  a prescience about female history
             flucht in Berlin. German and English  because she early on paid atten-
             soundtrack. Running time: 80 MIN.  tion to Romanov identity rumors
                 With Nadja Hoenig, Hannes
             Mueller, Ilsa Pilvonka.      rampant in Europe in the 1920s.
                 Now seeming an earnest pe-  Haberman-Nagle’s translation of
             riod film traversing material   Amelia Haberman’s simple script
             recently settled (more or less)   make this restoration accessible
             by DNA testing of royal Ro-  as historical femme fest-fare and
             manov remains finally buried   playable on satellite stations
             decently by post-Soviet Russia,   devoted to late-night romantic
             “Duchess: Berlin 1928,” takes   programming.
             a forward-for-its-time romantic   Is she or isn’t she the Grand
             look at a woman’s identity crisis.   Duchess Anastasia, youngest
             While moody with expressionist   daughter of the murdered Russian

                     ©Jack Fritscher, Ph.D., All Rights Reserved
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