Husbands or Lovers

Plot

In this Weimar-era melodrama, young and vibrant Elisabeth (Elisabeth Bergner) finds herself trapped in a passionless marriage with the wealthy but crude businessman Michael (Emil Jannings), a man whose physical bulk and lack of sophistication repel her despite his material comforts. When she encounters the charming and sophisticated poet Paul (Conrad Veidt), she is immediately drawn to his artistic sensibilities and refined demeanor, representing everything her husband is not. As their affair develops, Elisabeth must navigate the treacherous waters between marital duty and personal fulfillment, ultimately facing a devastating choice that will determine her future. The film explores the tension between material security and emotional satisfaction, set against the backdrop of 1920s Berlin society. In a tragic conclusion, Elisabeth realizes that neither man can provide the complete happiness she seeks, leaving her to contemplate the limitations of her choices in a world that offers women few genuine options for autonomy and fulfillment.

Historical Background

The film was produced during the Weimar Republic (1919-1933), a period of intense cultural and artistic flowering in Germany despite severe economic and political instability. 1924 was a significant year as it marked the implementation of the Dawes Plan, which helped stabilize the German economy after the devastating hyperinflation of 1923. This period saw German cinema reach unprecedented artistic heights, with directors like F.W. Murnau, Fritz Lang, and G.W. Pabst creating some of cinema's most enduring masterpieces. The film's exploration of female autonomy and sexual freedom reflected broader social changes in Weimar Germany, where women had gained the right to vote in 1919 and were experiencing unprecedented social and economic independence. The New Objectivity movement, which this film exemplifies, was a reaction against the emotional excesses of Expressionism and sought to portray contemporary life with unflinching realism. The film's themes of marital dissatisfaction and the search for personal fulfillment resonated with audiences experiencing the rapid social changes of post-war Germany, where traditional values were being questioned and redefined.

Making Of

The production of 'Husbands or Lovers' took place during a tumultuous period in German history, with the country still reeling from World War I and experiencing severe economic instability. Director Paul Czinner, who had recently married his star Elisabeth Bergner, brought a personal understanding of marital dynamics to the project. The casting of Emil Jannings as the unattractive husband was particularly bold, as Jannings was one of Germany's biggest stars at the time. The film required Jannings to undergo significant makeup and costuming to appear physically unappealing, a transformation that showcased his dedication to his craft. Conrad Veidt's portrayal of the sophisticated poet was enhanced by his own artistic background and natural elegance. The production utilized the recently completed Tempelhof Studios, one of Germany's most advanced film facilities at the time. The film's realistic approach to its subject matter marked a departure from the dominant Expressionist style of German cinema, reflecting the broader cultural shift toward New Objectivity that was occurring in German arts and literature.

Visual Style

The cinematography, handled by Carl Hoffmann, represents a significant departure from the dramatic lighting and distorted angles characteristic of German Expressionism. Instead, Hoffmann employed a more naturalistic visual style that emphasized realistic lighting and composition, reflecting the New Objectivity movement's preference for authenticity. The camera work is characterized by its subtlety and restraint, with careful attention paid to the actors' facial expressions and body language, which was crucial for conveying emotion in silent film. The film makes effective use of close-ups to highlight the emotional states of the characters, particularly in scenes featuring Elisabeth Bergner's expressive performance. The interior scenes are shot with a sense of claustrophobia that effectively conveys the protagonist's feeling of being trapped in her marriage. The contrast between the husband's wealthy but oppressive environment and the poet's more bohemian surroundings is visually emphasized through set design and lighting choices. Hoffmann's cinematography demonstrates the technical sophistication of German film production in the 1920s, with smooth camera movements and carefully composed shots that enhance the narrative without drawing attention to themselves.

Innovations

While not groundbreaking in terms of technical innovation, 'Husbands or Lovers' demonstrated the high level of technical sophistication achieved by German cinema by the mid-1920s. The film utilized the advanced facilities at Tempelhof Studios, which offered state-of-the-art lighting equipment and camera technology for the period. The makeup effects used to transform the handsome Emil Jannings into an overweight, unattractive character were particularly impressive for their time, requiring hours of application and demonstrating the advanced state of cosmetic techniques in German film production. The film's editing, which effectively balances the three main characters' perspectives, showcases the sophisticated understanding of narrative pacing that had developed in German cinema by this period. The production design successfully created contrasting visual environments for the different characters, using set decoration and props to reinforce the film's themes about class and personal values. The film's preservation of image quality throughout, particularly in the more intimate scenes, demonstrates the high standards of film processing and laboratory work in Germany during this era.

Music

As a silent film, 'Husbands or Lovers' would have been accompanied by live musical performance during its original theatrical run. The typical German cinema of the 1920s employed either a full orchestra in larger theaters or a piano or organ in smaller venues. The score would have been compiled from existing classical pieces and popular songs of the era, carefully selected to match the mood of each scene. Romantic scenes would likely have featured works by composers like Chopin or Liszt, while moments of tension might have used more dramatic pieces from the Romantic repertoire. The film's emotional intensity would have required a versatile musical accompaniment capable of shifting between tender, dramatic, and melancholic moods. In modern screenings, the film is often accompanied by newly composed scores that attempt to capture the spirit of 1920s German cinema while incorporating contemporary musical sensibilities. Some restorations have featured original compositions by musicians specializing in silent film accompaniment, using period-appropriate instruments and styles to recreate the authentic viewing experience of 1924 audiences.

Memorable Scenes

• The first meeting between Elisabeth and the poet at the literary salon, where their eyes meet across the crowded room and an immediate connection is established
• The confrontation scene where Emil Jannings' character discovers his wife's infidelity, his massive physical presence contrasting with his emotional vulnerability
• The final decision sequence where Elisabeth must choose between her two lovers, captured through a series of increasingly tight close-ups that reveal her internal turmoil
• The poetry reading scene where Conrad Veidt's character recites his work, his passionate delivery serving as both artistic expression and seduction

What Critics Said

Contemporary critics praised the film for its sophisticated treatment of adult themes and the exceptional performances of its lead actors. The German press particularly noted Elisabeth Bergner's nuanced portrayal of a woman torn between duty and desire, with many critics calling it her finest performance to date. Emil Jannings' transformation into the unattractive husband was widely acclaimed as a demonstration of his remarkable range as an actor. The film's realistic style was welcomed by critics who had grown weary of Expressionism's excesses, with many reviewers noting that the story's emotional power was enhanced by its grounded approach. International critics, where the film was distributed, recognized it as an example of German cinema's maturity and sophistication. Modern film historians view the movie as an important example of the New Objectivity movement in cinema and a significant work in the careers of all three principal actors. The film is particularly noted today for its progressive attitude toward female sexuality and its refusal to moralize its protagonist's choices.

What Audiences Thought

The film enjoyed moderate success with German audiences, particularly among urban viewers who appreciated its sophisticated treatment of adult themes. The movie's exploration of marital dissatisfaction resonated with many women in Weimar Germany, who were experiencing unprecedented social and economic independence. The star power of Emil Jannings and Conrad Veidt undoubtedly contributed to the film's commercial appeal, with both actors being major box office draws in Germany at the time. Some conservative audience members found the film's frank treatment of adultery and female sexuality controversial, leading to occasional protests and demands for censorship in more traditional communities. The film's realistic approach to its subject matter was generally appreciated by audiences who had grown tired of the artificiality of many Expressionist films. In international markets, where it was released under various titles, the film found limited but appreciative audiences among art-house cinema patrons. Today, the film is primarily viewed by film scholars and classic cinema enthusiasts, who appreciate it as an important example of Weimar-era cinema's artistic achievements and social consciousness.

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