Michael

Plot

Claude Zoret is an elderly, celebrated painter who has taken in Michael, a young man who becomes both his favorite model and his devoted companion. Their deep, intimate relationship flourishes for years as Michael inspires Zoret's greatest artistic works. However, when Michael meets and falls for the beautiful Russian Countess Lucia Zamikoff, he becomes increasingly distant and begins exploiting Zoret's generosity to support his lavish lifestyle with her. As the painter's health deteriorates and his art suffers from Michael's abandonment, the tragic consequences of their broken bond unfold, culminating in Zoret's final masterpiece painted from memory of his beloved Michael.

Historical Background

The film was produced during the Weimar Republic (1919-1933), a period of unprecedented cultural and artistic freedom in Germany. This era saw Berlin become one of the world's most progressive cities, particularly regarding LGBTQ+ rights and representation. In 1919, the film 'Different from the Others' had become one of the first sympathetic portrayals of homosexuality in cinema, and 'Michael' continued this tradition of queer representation. The 1920s also saw the rise of psychological realism in German cinema, moving away from the expressionism of the early decade toward more intimate character studies. The film's themes of artistic creation, aging, and betrayal resonated with a society still processing the aftermath of World War I and experiencing rapid social change. The publication of the original source novel in 1904 had itself been controversial, making its adaptation two decades later a statement about changing social mores.

Making Of

Carl Theodor Dreyer approached the material with remarkable sensitivity for its time, treating the homosexual relationship between Zoret and Michael with dignity and depth rather than sensationalism. The casting of Walter Slezak as Michael was particularly inspired, as his youthful energy and charisma made the character's betrayal all the more poignant. The film's production coincided with the height of the Weimar Republic's cultural golden age, when Berlin was a haven for artistic experimentation and sexual liberation. Dreyer worked closely with cinematographer Karl Freund to create a visual language that emphasized the emotional isolation of the characters, using shadows and composition to reflect their psychological states. The elaborate studio sets were designed to contrast the bohemian world of the artist with the aristocratic opulence of the countess, visually representing Michael's divided loyalties.

Visual Style

The cinematography by Karl Freund employs sophisticated lighting techniques to create emotional depth and psychological insight. Freund uses chiaroscuro effects to emphasize the isolation of characters, particularly in scenes depicting Zoret's loneliness after Michael's departure. The camera work is notably restrained compared to the expressionistic style common in German cinema of the period, instead favoring more naturalistic compositions that serve the story's emotional realism. The film makes effective use of close-ups to capture subtle emotional shifts, particularly in the faces of the three main characters. The visual contrast between the painter's studio and the countess's luxurious surroundings reinforces the film's thematic concerns about art versus commerce and genuine affection versus social climbing.

Innovations

Michael demonstrated advanced technical achievements in its use of lighting and composition for psychological effect. The film's use of shadow to represent emotional states was particularly innovative for its time. The production design created convincing artistic environments, with the painter's studio filled with authentic-looking artworks and materials. The film's editing technique, while conventional by modern standards, was sophisticated for 1924, effectively pacing the emotional development of the story. The makeup and aging effects on Benjamin Christensen as Zoret were remarkably convincing for the period. The film's preservation and restoration have also involved significant technical achievements in recovering and enhancing the surviving film elements.

Music

As a silent film, Michael would have been accompanied by live musical performance during its original theatrical run. The specific scores used have not been documented, but they likely consisted of classical pieces adapted to suit the film's emotional arc. Modern restorations have been accompanied by newly composed scores, most notably a 2012 version by composer Stephen Horne that emphasizes the film's romantic and tragic elements. The original intertitles, written by Dreyer himself, were minimal but poetic, allowing the visual storytelling to carry the narrative weight. The film's sound design, in the context of silent cinema, relied on musical cues to underscore emotional moments and dramatic transitions.

Memorable Scenes

• The opening sequence showing Zoret and Michael working together in the studio, establishing their intimate creative bond
• The first meeting between Michael and Countess Zamikoff at the art exhibition, where their mutual attraction becomes evident
• The heartbreaking scene where Zoret discovers Michael has been stealing from him to support the countess
• The final sequence where the dying Zoret paints his last portrait of Michael from memory
• The devastating moment when Michael returns to find Zoret dead and realizes the magnitude of his betrayal

What Critics Said

Upon its release, Michael received generally positive reviews from critics, who praised its artistic ambition and sensitive handling of controversial material. The German press particularly noted Dreyer's sophisticated visual style and the powerful performances, especially Walter Slezak's charismatic portrayal of Michael. Some critics, however, felt the film was too restrained in its approach to such daring subject matter. In subsequent decades, as the film was rediscovered and restored, its reputation grew significantly. Modern critics now regard it as a masterpiece of silent cinema and a pioneering work in queer representation. The film is frequently cited in film studies courses as an example of how art can transcend the limitations of its time to address universal human emotions. Contemporary reviewers have particularly praised Dreyer's ability to convey complex emotions through visual storytelling without the benefit of dialogue.

What Audiences Thought

Contemporary audience reception to Michael was mixed but generally positive, particularly among the artistic and intellectual circles of Berlin. The film attracted viewers interested in its sophisticated treatment of adult themes and its artistic pedigree. Some audience members were reportedly uncomfortable with the explicit depiction of homosexual love, though the film's artistic merit helped deflect harsh criticism. The film performed moderately well in major German cities but had limited international distribution due to its controversial subject matter. In modern times, as the film has become more accessible through restorations and screenings at film festivals and cinematheques, it has found appreciative audiences who recognize its historical importance and artistic achievement. Today's viewers often express surprise at how progressive and emotionally resonant the film remains nearly a century after its creation.

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