This late German silent film, Asphalt, was incredibly fun! It's an amazing treasure and treat for the eyes (and ears: it boasts a marvelous jazz score on the DVD that is perfect for the film!). No spoken dialogue needed in Asphalt to communicate sensuality, and in fact dialogue would ruin the intensity of this incredible film. An added plus is seeing Berlin in 1929, with all its decadence before National Socialist Hitler moved in and spoiled things in 1933.
Starring the adorable, funny, and sensual Betty Amann, and the handsome Gustav Fröhlich from Metropolis, Asphalt tells the story of a puritan traffic cop (Gustav) who is tempted to sin with a jewel thief (Betty). His devoted parents trust him entirely and maybe that's part of his problem: he's been pampered and treated like a pet more than a son, obviously cushioned from much unpleasantry in life. In fact the father of the cop has his own pet, a little canary in a cage, and the mother of the cop has her son for her pet! In the art of silent film the director can emphasize small things like these and keep the audience's interest perked through symbolism. In sound films there rarely seems to be time devoted to this kind of creativity.
My favorite scene is the long one where the cop has arrested the jewel thief and she cries and cries and cries (with the music making moaning sounds that are hilarious) and she tries to win his sympathy. She tries every trick in her book to keep from being taken to the police station. She begs him to take her to her apartment so she can get her papers. Exasperated with her, he does so. Once there the poor cop doesn't stand a chance. The climax of that scene really stunned me. I could swear Betty Amann said the F word, though of course I could be wrong because the film is German. ;) There's a somewhat predictable ending but it's how the director, Joe May, spins it all together, with artful, passionate camera-work, that keeps you on the edge of your seat.
The two leads give incredible performances, especially Betty Amann. She had even more fire and intelligence in her portrayal of the jewel thief than any performance I've seen given by Clara Bow or Louise Brooks. Her career should have been better. The only other film I've seen her in is an early Hitchcock sound film Rich and Strange (1931). Gustav Fröhlich also shows a more tender side here than in Metropolis.
A marvelous late German silent that must be seen to be believed. If you haven't watched it yet you are REALLY missing out! Don't get turned off by the unromantic title. Get it today!
Starring the adorable, funny, and sensual Betty Amann, and the handsome Gustav Fröhlich from Metropolis, Asphalt tells the story of a puritan traffic cop (Gustav) who is tempted to sin with a jewel thief (Betty). His devoted parents trust him entirely and maybe that's part of his problem: he's been pampered and treated like a pet more than a son, obviously cushioned from much unpleasantry in life. In fact the father of the cop has his own pet, a little canary in a cage, and the mother of the cop has her son for her pet! In the art of silent film the director can emphasize small things like these and keep the audience's interest perked through symbolism. In sound films there rarely seems to be time devoted to this kind of creativity.
My favorite scene is the long one where the cop has arrested the jewel thief and she cries and cries and cries (with the music making moaning sounds that are hilarious) and she tries to win his sympathy. She tries every trick in her book to keep from being taken to the police station. She begs him to take her to her apartment so she can get her papers. Exasperated with her, he does so. Once there the poor cop doesn't stand a chance. The climax of that scene really stunned me. I could swear Betty Amann said the F word, though of course I could be wrong because the film is German. ;) There's a somewhat predictable ending but it's how the director, Joe May, spins it all together, with artful, passionate camera-work, that keeps you on the edge of your seat.
The two leads give incredible performances, especially Betty Amann. She had even more fire and intelligence in her portrayal of the jewel thief than any performance I've seen given by Clara Bow or Louise Brooks. Her career should have been better. The only other film I've seen her in is an early Hitchcock sound film Rich and Strange (1931). Gustav Fröhlich also shows a more tender side here than in Metropolis.
A marvelous late German silent that must be seen to be believed. If you haven't watched it yet you are REALLY missing out! Don't get turned off by the unromantic title. Get it today!