Four Around the Woman

Plot

Harry Yquem, a wealthy businessman, purchases expensive jewelry for his beloved wife in a shady marketplace known for trading counterfeit and stolen goods. During his visit, he unexpectedly encounters a man from his wife's past with whom she had a romantic affair. This chance discovery sets in motion a complex web of jealousy, suspicion, and emotional turmoil as Harry confronts the reality of his wife's previous relationship. The situation escalates as the four central characters become entangled in a psychological drama of betrayal, revenge, and moral ambiguity. The film explores the devastating impact of past secrets on present relationships and the destructive nature of jealousy in a sophisticated urban setting.

Historical Background

The film was produced in 1921, during the early years of the Weimar Republic, a period of intense political, economic, and cultural upheaval in Germany following World War I. This era saw German cinema flourish as one of the most innovative and influential national cinemas in the world, with directors like Fritz Lang, F.W. Murnau, and G.W. Pabst creating groundbreaking works. The film industry benefited from the weak German mark, which made German films inexpensive to produce and export, leading to what historians call the 'Golden Age' of German cinema. The early 1920s also saw the rise of German Expressionism in film, though 'Four Around the Woman' represents a more realist approach. The film's themes of moral ambiguity and psychological complexity reflected the uncertain and anxious mood of German society during this period of hyperinflation, political instability, and social transformation.

Making Of

The production of 'Four Around the Woman' took place during a pivotal moment in German cinema history, when the industry was recovering from World War I and establishing itself as a major cultural force. Fritz Lang, still a relatively young director, was developing his distinctive visual style and thematic preoccupations. The film was made at the Decla-Bioscop studios in Berlin, where Lang had access to increasingly sophisticated production facilities. The casting process involved selecting actors who could convey complex emotions through silent performance, a particular challenge for the film's psychological themes. The production team faced the typical constraints of early 1920s filmmaking, including the need for natural lighting in many scenes and the technical limitations of camera equipment of the era. Despite these challenges, Lang was already demonstrating his meticulous attention to visual composition and his ability to create tense, atmospheric scenes that would become his trademark.

Visual Style

The cinematography, handled by Carl Hoffmann, demonstrates the emerging visual sophistication of German cinema in the early 1920s. While not as overtly expressionist as some contemporary German films, the photography shows careful attention to lighting and composition that creates psychological tension. Hoffmann employs chiaroscuro effects and dramatic shadows to enhance the film's mood of suspicion and moral ambiguity. The camera work includes relatively mobile shots for the period, with some tracking movements that add dynamism to key scenes. The use of actual Berlin locations alongside studio sets creates a realistic urban environment that grounds the psychological drama. The surviving footage shows Hoffmann's skill in using visual elements to convey character emotions and narrative tension without relying on intertitles.

Innovations

While 'Four Around the Woman' does not showcase the revolutionary technical innovations of some of Lang's later works, it demonstrates solid technical craftsmanship typical of quality German productions of the early 1920s. The film makes effective use of location shooting in Berlin, which was becoming increasingly common but still required considerable logistical planning. The lighting techniques show sophistication in creating mood and psychological atmosphere, moving beyond the simple illumination of earlier films. The editing demonstrates growing understanding of rhythm and pacing in building dramatic tension. The production design effectively blends realistic urban settings with stylized interior spaces, creating a visual world that supports the film's psychological themes. While not groundbreaking technically, the film represents the solid professional standards and growing artistic ambition of the German film industry during this period.

Music

As a silent film, 'Four Around the Woman' would have been accompanied by live musical performance during its original theatrical run. The specific musical scores used in 1921 are not documented, which was typical for German films of this period. Theaters would have either used compiled scores from existing classical pieces or employed house composers to create original music. The mood of the film, with its themes of jealousy and psychological tension, would have called for dramatic, romantic, and suspenseful musical accompaniment. Modern screenings of the surviving fragments typically feature newly composed scores or carefully selected classical music that reflects the film's emotional tone and the period in which it was made.

Memorable Scenes

• The chance encounter in the marketplace where Harry spots his wife's former lover, a pivotal moment that triggers the film's central conflict and demonstrates Lang's ability to create tension through visual storytelling and character reactions.

What Critics Said

Contemporary critical reception of 'Four Around the Woman' is difficult to assess due to the scarcity of surviving reviews from 1921 German publications. However, film historians and critics who have studied the surviving fragments generally consider it a competent early work that shows promise of Lang's later genius. Modern critics often note the film's sophisticated treatment of psychological themes and its departure from the more expressionist style common in German cinema of the period. Some reviewers have pointed out that while the film may not reach the artistic heights of Lang's later works like 'Metropolis' or 'M,' it demonstrates his early command of cinematic language and his interest in complex character dynamics. The film is often discussed in academic contexts as an important example of Lang's development as a director and as a representative work of early 1920s German cinema.

What Audiences Thought

Audience reception in 1921 is not well documented, as detailed box office records and audience surveys from this period are scarce. However, the film was likely received as a sophisticated adult drama by German audiences accustomed to the high quality of domestic productions during this golden age of German cinema. The themes of marital discord and jealousy would have resonated with contemporary audiences dealing with the social upheavals of the post-war period. Modern audiences who have had the opportunity to see the surviving fragments often appreciate the film's psychological depth and Lang's emerging directorial style, though the incomplete nature of the film makes full appreciation difficult. The film remains primarily of interest to film scholars, Lang enthusiasts, and those interested in the history of German silent cinema.

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