Kohlhiesel's Daughters

Plot

In rural Bavaria, the stern innkeeper Kohlhiesel has two daughters - the gentle, beautiful younger daughter Gretel whom everyone adores, and the strong-willed, intimidating elder daughter Liesel whom no man dares to marry. When the handsome Xaver declares his intention to marry Gretel, Kohlhiesel refuses, insisting that Liesel must marry first according to tradition. The clever Seppel devises a plan: he will marry the formidable Liesel, tame her through kindness and patience, and then arrange for Xaver to marry Gretel. What follows is a comedic battle of wills as Seppel attempts to domesticate the wild Liesel, leading to unexpected romantic complications and a series of humorous misunderstandings that ultimately challenge traditional notions of marriage and gender roles in Bavarian society.

Historical Background

Kohlhiesel's Daughters was produced during the Weimar Republic's early years, a period of intense cultural creativity in Germany despite economic hardship and political instability. The film emerged alongside the German Expressionist movement but represented a counter-current of sophisticated comedy and social satire. Its release in 1920 came at a time when German cinema was gaining international recognition, with films like The Cabinet of Dr. Caligari (1920) showcasing artistic innovation. The film's focus on traditional Bavarian values and marriage customs reflected a broader German cultural examination of tradition versus modernity in the post-war era. This period saw German cinema competing with Hollywood for international markets, with directors like Lubitsch developing distinctive styles that would eventually influence American filmmaking.

Making Of

The production faced significant challenges due to the post-war economic crisis in Germany, with inflation affecting costs and resources. Lubitsch worked closely with cinematographer Theodor Sparkuhl to develop visual gags that would translate across cultural barriers, using camera angles and editing to enhance the comedy. Henny Porten's dual role required innovative makeup techniques and careful editing to distinguish between the two sisters. The film was shot on location in Bavaria during summer 1920, with local villagers serving as extras. Lubitsch, known for his perfectionism, reportedly shot multiple takes of key scenes to perfect the timing of physical comedy. The collaboration between Lubitsch and Emil Jannings was particularly fruitful, with Jannings contributing ideas for his character's comic moments.

Visual Style

Theodor Sparkuhl's cinematography employed natural lighting for the Bavarian exterior scenes, creating an authentic regional atmosphere while maintaining the visual clarity needed for comedy. The camera work featured innovative use of medium shots and close-ups to highlight comic reactions and facial expressions, a technique still relatively new in 1920. The film utilized tracking shots to follow characters through the inn setting, creating a sense of space and movement that enhanced the physical comedy. Sparkuhl and Lubitsch developed a visual language for comedy that included strategic framing to emphasize the size difference between characters and the use of depth of field to create layered comedic situations.

Innovations

The film featured innovative editing techniques for its time, particularly in the scenes involving Henny Porten's dual role, requiring careful shot matching and timing. The production utilized location shooting combined with studio work, demonstrating advanced techniques for maintaining visual consistency between different filming environments. The makeup and costume design for Porten's dual characters represented significant technical achievement in early cinema, allowing one actress to convincingly portray two distinctly different sisters. The film's pacing and rhythm in comic sequences showed sophisticated understanding of editing for comedic effect, techniques that would influence later comedy filmmaking.

Music

As a silent film, Kohlhiesel's Daughters would have been accompanied by live musical performance in theaters. The original German release likely featured a compilation of popular German folk songs and light classical pieces, with specific musical cues for emotional and comedic moments. Bavarian folk music would have been prominently featured during scenes set in the inn. The score would have been tailored to enhance the regional atmosphere and support the romantic and comic elements. Modern restorations have been accompanied by newly composed scores that attempt to recreate the original musical spirit while utilizing contemporary orchestration.

Memorable Scenes

• The opening scene introducing both sisters and their contrasting personalities
• Seppel's first encounter with the formidable Liesel at the inn
• The wedding scene where Liesel's true nature begins to emerge
• The comedic dinner sequence where Seppel attempts to civilize Liesel
• The final revelation scene where both sisters appear together

What Critics Said

Contemporary German critics praised the film for its sophisticated humor and excellent performances, particularly highlighting Henny Porten's ability to portray two distinct characters and Emil Jannings' comic timing. International critics noted the film's universal appeal despite its specifically German setting. Modern film historians view Kohlhiesel's Daughters as a crucial work in understanding Lubitsch's development as a director and the evolution of screen comedy. Critics have noted how the film prefigures many elements of the screwball comedy genre that would flourish in Hollywood in the 1930s. The film is often cited in scholarly works about Weimar cinema as an example of popular entertainment that also contained subtle social commentary.

What Audiences Thought

The film was enormously popular with German audiences upon its release, running for extended periods in Berlin and other major cities. Its success extended beyond Germany to other European countries, particularly Scandinavia and the Netherlands, where German films were popular in the early 1920s. Audiences responded especially well to the authentic Bavarian setting and the relatable family dynamics. The film's humor transcended language barriers, making it successful in export markets. Contemporary audience reports indicate that viewers particularly enjoyed the physical comedy and the romantic resolution. The film's popularity contributed to Henny Porten's status as Germany's most popular female star of the early 1920s.

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