The Ancestress

Plot

In a noble Austrian family, the long-dead ancestress returns as a vengeful spirit, unable to rest until the entire family line has perished. The elderly patriarch, lacking a male heir, desperately wants his daughter to marry and continue the lineage. The young woman has fallen for Jaromir, a handsome nobleman who harbors a dark secret about his true identity and motives. As the ancestral ghost intensifies her haunting, the family realizes that Jaromir's mysterious arrival may be the catalyst the spirit has been waiting for to finally extinguish their bloodline forever.

Historical Background

The Ancestress was produced during a pivotal moment in Austrian history - the transition from the Austro-Hungarian Empire to the First Austrian Republic. Vienna, once the imperial capital, was dealing with severe food shortages, unemployment, and political unrest. The film's themes of aristocratic decline and ancestral curses resonated strongly with audiences experiencing the collapse of their social order. Austrian cinema in 1919 was struggling to establish its identity separate from the dominant German film industry, with companies like Vita-Film attempting to create a distinctly Austrian cinematic voice. The horror genre was particularly appealing as it allowed filmmakers to explore the anxieties of a society in turmoil through supernatural metaphors.

Making Of

The production faced numerous challenges due to the post-war economic crisis in Austria. Film stock was rationed, and the crew had to work with limited resources. Director Jakob Fleck, known for his efficient shooting methods, managed to complete the film in just three weeks. The ghost effects were created by exposing the same film strip twice, once with the actors and once with the actress playing the ancestress in a translucent costume. The cast reportedly experienced genuine fear during the haunting scenes, as the sets were actual historic locations with their own ghost stories. The film's composer created a special score that was performed live during premieres, incorporating dissonant chords that were considered avant-garde for the time.

Visual Style

The cinematography by Franz Planer utilized chiaroscuro lighting techniques to create dramatic contrasts between light and shadow, foreshadowing the German Expressionist style that would soon dominate. The camera work was relatively static, typical of the period, but incorporated innovative tracking shots during the ghost sequences. The film made effective use of the grand staircase and hallways of its palace locations, using deep focus to create a sense of space and isolation. Double exposure techniques were employed for the ghost appearances, creating ethereal, translucent figures that appeared to float through the physical space.

Innovations

The film pioneered several technical innovations in Austrian cinema, particularly in its use of multiple exposure for ghost effects. The production team developed a matte painting technique to enhance the gothic atmosphere of the palace interiors. The film also experimented with color tinting, using blue tones for night scenes and amber for daylight sequences. These techniques, while crude by modern standards, were advanced for Austrian cinema of 1919 and influenced subsequent Austrian horror productions.

Music

The original score was composed by Giuseppe Becce, one of the most prolific film composers of the silent era. The music featured leitmotifs for different characters and used dissonant harmonies during supernatural sequences to create tension. The score was performed live by small orchestras in major Viennese cinemas during the film's run. Unfortunately, the complete original score has been lost, though some fragments survive in the Austrian Film Archive. Modern screenings typically use period-appropriate classical music or newly composed scores inspired by the original style.

Memorable Scenes

• The first appearance of the ancestress as a translucent figure descending the grand staircase, her form shimmering through multiple exposure technique as the household servants recoil in terror
• The climatic confrontation in the family crypt where Jaromir's true identity is revealed amidst swirling mist and ancestral portraits

What Critics Said

Contemporary Austrian critics praised the film's atmospheric qualities and Liane Haid's performance, though some found the horror elements excessive for the time. The Wiener Zeitung noted the film's 'effective use of shadow and light to create an atmosphere of dread.' Modern film historians recognize it as an important precursor to German Expressionist horror, though it lacks the stylistic boldness of films like 'The Cabinet of Dr. Caligari' (1920). Critics today appreciate its role in establishing horror traditions in Austrian cinema and its reflection of post-war Austrian society.

What Audiences Thought

The film was moderately successful in Vienna, where audiences were drawn to its supernatural themes and familiar aristocratic settings. Reports from the time indicate that some viewers found the ghost scenes genuinely terrifying, with occasional fainting spells reported during screenings. The film's exploration of family curses and aristocratic decline resonated with audiences experiencing the rapid social changes of post-war Austria. However, its limited release outside Vienna meant it never achieved widespread popularity, and it was quickly overshadowed by the more spectacular German productions that followed.

You Might Also Like