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Tagebuch einer Verlorenen (1929) [aka Diary of a Lost Girl] Louise Brooks (silent)

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http://www.imdb.com/title/tt0020475/



Tagebuch einer Verlorenen (1929)





Directed by 

Georg Wilhelm Pabst    

  

Writing credits

Margarete Böhme   novel 

Rudolf Leonhardt   writer 



Thymiane is a beautiful young girl who is not having a storybook life. Her governess, Elizabeth, is thrown out of her
home when she is pregnant... 





Cast 

 Louise Brooks ...  Thymian 

 André Roanne ...  Count Nicolas Osdorff 

 Josef Rovenský ...  Robert Henning 

 Fritz Rasp ...  Meinert 

 Vera Pawlowa ...  Aunt Frieda 

 Franziska Kinz ...  Meta 

 Arnold Korff ...  Elder Count Osdorff 

 Andrews Engelmann ...  The director of the establishment 

 Valeska Gert ...  The director's wife 

 Edith Meinhard ...  Erika 

 Sybille Schmitz ...  Elisabeth 

 Sig Arno ...  Guest (as Siegfried Arno) 

 Kurt Gerron ...  Dr. Vitalis 

 Hedwig Schlichter   

 Hans Casparius   

 Jaro Fürth   

 Emmy Wyda   

 Marfa Kassatskaya  (as M. Kasazkaya) 

 Sylvia Torf   

 Michael von Newlinsky   





Produced by 

Georg Wilhelm Pabst ....  producer  

  

Original Music by 

Otto Stenzeel    

  

Cinematography by 

Sepp Allgeier    

Fritz Arno Wagner    

  

Art Direction by 

Emil Hasler    

Ernö Metzner    

  

Production Management 

Heinz Landsmann ....  unit production manager  

Victor Skutezky ....  production manager  

  

Second Unit Director or Assistant Director 

Paul Falkenberg ....  assistant director  

Marc Sorkin ....  assistant director  

  

Release Dates:

Country Date 

Austria  27 September 1929 (Gartenbau-Kino, Vienna) (premiere) 

Germany  15 October 1929 (premiere) 

Japan  24 April 1930  

Finland  18 May 1998 (TV premiere) 



Also Known As (AKA)

Diário de Uma Perdida Brazil 

Diario di una donna perduta Italy 

Diary of a Lost Girl USA 

Dusze bez steru Poland 

Dziennik upadlej dziewczyny Poland (informal literal title) 

El diario de una joven perdida Venezuela 

Il diario di una ragazza perduta Italy 

Kadotetun päiväkirja Finland 

Le journal d'une fille perdue France 

Le journal d'une jeune fille perdue Canada (French title) 

Trois pages d'un journal Belgium (French title) 



Genre:Drama



Runtime:104 min | Germany:100 min (restored version) (24 fps) | USA:79 min | 115 min (Kino Print) 





Goofs for

Tagebuch einer Verlorenen (1929) 

advertisementRevealing mistakes: When the sheet is removed from the face of the "corpse", she reacts
slightly.





Continuity: The scene in the notary's office (for the reading of the will): Thymian moves over to the window and looks
out. Meinert joins her, and puts his hand on her shoulder. The camera view suddenly changes, and his hand is no longer
on her shoulder. It changes back to its original POV, and the position has changed again (though his hand is now drawing
away from her shoulder).







User Comments   (Comment on this title) 

7 out of 8 people found the following comment useful. 

The modern melodrama was born., 8 August 2005 



Author: dbd



The melodrama we would love with Stahl's and Sirk's works was born with Pabst .We are far from DW Griffith's
"orphans in the storm" !Although implausible,this film has realist accents and Pabst's directing takes our
breath away.And what a beautiful last line:"Nobody's lost when there's a little love!"



Melodrama is par excellence a woman's story.An unfairly treated woman.Its construction is parabolic:
happiness,downfall,redemption. But "Tagebuch" is much more complex;its first part already features
tragedy:Elisabeth's suicide is a sinister omen.



Admirable sequences:



The reformatory where two martinets (a shrew and a terrifying smiling bald man)treat their pupils like dogs.The scene
when the girls eat their soup is unforgettable.



The scene at the notary's office where Thymiane returns good for evil ,which climaxes the movie.Pabst uses no (or so
few) subtitles : his pictures have the strength of a Chaplin movie.The close-up on Meinert's hand after the girl has
refused to shake it,sublimates her redemption.



The final scene when Thymiane meets again her former mate and her final rebellion:"I know the benefits of that
house!"



Like very few silent movies,"Tagebuch" can grab today's audience at least as much as "Pandora's box"
(aka "Loulou" aka "der büchse der Pandora").Both movies have a very dense screenplay full of
twists and unexpected ends -Loulou's death in the former;Thymiane's rebellion in the latter).Both feature Louise Brooks
,who remains an attractive woman even by today's canons when so many silent screen actresses'charm -and actors' - seems
outdated nowadays (think of Brigitte Helm -Maria in Lang's masterpiece "Metropolis").Her charisma was so
strong that she did not have to speak to move us.That may account for her failure in the talkies.



Do not miss Pabst's anti-war "West front 1918" either.It compares favorably to Milestone's "All quiet on
the western front" and Gance's "J'accuse". 



8 out of 9 people found the following comment useful :-

Excellent Drama – Earthy, Yet Ultimately Uplifting – With A Fine Performance By Louise Brooks, 14 March
2005

Author: SL from Ohio



This excellent drama accomplishes the difficult task of being quite earthy, and often grim, in the ways that it depicts
its characters and their lives, yet at the same time being an ultimately uplifting story about the possibilities of
human understanding. It also features a fine performance by Louise Brooks. Her performance in "Diary of a Lost
Girl" is on a par with that in "Pandora's Box", her other celebrated collaboration with G.W. Pabst.



The story has Brooks as a pharmacist's daughter whose young life is drastically changed by events that she can only
dimly understand. From then on, she must endure a variety of trials while gradually learning some important lessons,
often with only the barest help from those around her. The role contrasts nicely with her role in "Pandora's
Box". Both in that film and in "Diary of a Lost Girl", she has the same level of energy and appeal, but
in the former movie, right from the beginning she was very much the catalyst for the other characters' actions, while
here she begins as an innocent youth who is completely at the mercy of all of the others, and then grows as the movie
proceeds.



The settings are well-chosen so as both to contrast with her character, and to develop it. Her experiences show many
aspects of the seamier side of both human nature and human living, and yet this is by no means a mere gratuitous display
of sordidness, but rather a growing experience for Brooks's character. It culminates in an uplifting finale that is all
the more effective for having arisen from material that is by no means idealistic.



The expressionistic style in the photography, lighting, and sets enhances the atmosphere and also the effectiveness of
the story and the characters. The slightly stylized nature of both works quite well, and all of this contributes
significantly to the high quality of the movie. 



11 out of 16 people found the following comment useful :-

The Diary, 8 November 2005

Author



*** This comment may contain spoilers ***



There are two things about this that make it essential viewing. The first is obvious. Louise Brooks fills the camera
like no one else in my experience. And like no one else probably could now that movies have filled out all the sensory
space they can. And we have come to expect information in those channels.



For instance, can you imagine a movie today just showing people dancing? No story information, no bizarre or comic
behavior to amuse us, just people dancing. This has three or four such scenes.



I'll leave it for others to speculate on how such an on screen presence happened to be possible, except to say that much
must come from the nuance of the eye, all the things associated with the camera and its context. I pay attention
particularly to placement and movement, here not obviously novel but intimate nonetheless.



What a woman! Between she and Clara Bow — these two women alone — we changed.



But the other reason I put this on my "must watch" list is because of the sheer virtuosity of the
film-making.



Realize that the hardest thing for a filmmaker is to start. How do you begin? You have to create a world, a feel, a
system of mechanics and fate. You have to create a situation with context and characters. You have to have a story with
events and pull. All this you need to build in a couple minutes and do it in such a way that the viewer is not only
fully familiar and comfortable but swept along, she begs for more.



Pay attention to the first few moments of this. If you haven't seen it dear reader, remember that this is a *silent*
movie, that there is no rolling text to tell you what is happening, and there haven't been several months of previews
that tell you the whole darn story.



In just a few minutes you learn:



It is christening day for Thymiane (whose name we learn) and as a gift from a live-in aunt she gets the diary from which
we know what we see later will be drawn.



We learn that she is the daughter of a successful chemist who lives in an opulent house above the pharmacy. That below
lives an assistant chemist who is obsessed by sex. We discover that she has a bossy set of relatives who turn a blind
eye to her father's dalliances.



And that one of those dalliances impregnates her governess who then kills herself. Meanwhile, the downstairs chemist has
designs on the young girl and makes the first entry in her diary.



The story is off.



I dare say that there is no other movie in existence that conveys this much information so compactly and so directly.
The way it is done today is by reference to other movies. You enter today's movies with all sorts of tacit knowledge
about other movies that is recalled and activated by codes. 



Here, it is all done the old fashioned way, cinematically.





2 out of 2 people found the following comment useful :-

An excellent film with one of Louise Brooks best performances, 18 October 2006



Author: j from United States



*** This comment may contain spoilers ***



The comments submitted are from Josh76's Dad, Dan47 I found this film to be deeply moving. Louise Brooks portrays the
innocent Thymiane with such pathos that I wanted to reach out to the screen and rescue her. Unlike most films from this
period there is no rescue in "the nick of time". Events follow an inexorable nightmare pattern as Thymiane,
the victim, is condemned to imprisonment after being raped and impregnated by her father's employer. Abandoned
financially and emotionally by her selfish father she can only fall into prostitution after she escapes the home for
wayward girls. I couldn't help being reminded of "The Magdalene Sisters", another film where girls are blamed
for the lustful acts of their attackers and seducers. Louise Brooks expresses more with her eyes then most actors do
with paragraphs of dialogue. Even during the giddiest parties in the brothel she expresses desperation, despair and
regret with rare subtlety. Despite its' age and the lack of sound the film stands up well. The presentation is not
overly sentimentalized, though the enduring "goodness" of the Thymiane and her eventual "redemption"
might stretch the imagination. In an age where "human trafficking" is running rampant we could use an actress
of such beauty, charisma, and sympathy to portray the continuing plight of girls and women driven into the sordid life
of prostitution. 



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