By Roger Ebert

Occasionally there's simply not anything extra soaking up than gazing a film that actually appears at lifestyles at the darkish facet, revealing these darkish components of human nature that we discover so facinating. In Roger Ebert's choices of 27 video clips from the darkish facet, he bargains a diverse choice from a glance on the seamy part of existence in L.A. in Chinatown to a backwoods homicide long gone unsuitable in Blood basic. Throw in classics from Alfred Hitchcock, infamous and Strangers on a teach, and French excursions de strength, Bob le Flambeur and Touchez Pas au Grisbi and you've obtained the primer on movie noir.

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That opened the film is associated with the surreal nature of the city streets. The clouds, symbolizing mental instability, are present both in the battlefield scenes and in the street fighting; the implied guns of war in the battlefield scenes are explicit in the street scenes of the revolution. The common practice of tinting film stock for emotional effect is employed here: neuroses and death are carried home like the plague, infecting the city with the color of blood-red. These initial images of revolution are repeated in Roloff’s dreamscape after he has visited the psychiatrist.

While the neurasthenic’s fatigue can be treated by simple rest, the hysteric’s fits, tremors, and paralysis cannot be easily treated (370–71). ”6 The medical understanding of war neuroses thus considers the war hysteric as a weak-willed individual prone to shirking and malingering rather than a casualty of war. In contrast to the neurasthenic, who has the will but not the stamina, the hysteric possesses a faulty genetic make-up, resulting in the rejection of the will to fight (Bonhoeffer, 58). The war hysteric’s lack of “nerve” was an issue seen in the very method of treatment deemed acceptable by the psychiatric community.

Opium und Kokain, Prostitution und sexuelle Abnormitäten . . das waren die Themen, die Oswald aufgriff. ” (Kaul, “Richard Oswald — Henny Porten,” 456; also quoted in Goergen, “Ein ganzer Kerl,” 288–89). Works Cited Anon. ” Bühne und Film 3 (1919). ———. “Die Films der Woche” (Review of Die Prostitution). Berliner Tageblatt, 4 May 1919. ———. ” Der Film 50 (1919). 28 JILL SUZANNE SMITH Belach, Helga, and Wolfgang Jacobsen, eds. Richard Oswald: Regisseur und Produzent. Munich: edition text + kritik, 1990.

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