Georg Kaiser's VON MORGENS BIS MITTERNACHTS (written in 1912, first performed in 1917) is one of the masterworks of German Expressionist drama, an artistic movement of the early 20th century which emphasized the psychological or "spiritual" (in the sense of the German word "seelisch") suffering of the subject. Kaiser's play thus assumes the form of a "Stationendrama" (station play), i.e. a series of episodes (modelled after the Stations of the Cross in the Christian tradition), each of which culminates in a kind of spiritual revelation, propelling the protagonist onward to the next "station". Death is typically the inevitable final destination on the journey.
Karlheinz Martin's film adaptation remains largely faithful to Kaiser's play (minus the rich dialog of course), and indeed adds some insightful touches, especially in the opening scene in the bank vaults. The set decoration is ultra-Expressionistic, even more so than that found in Robert Wiene's DAS CABINET DES DR. CALIGARI (produced more or less around the same time), perhaps reflecting actual stage sets used for contemporary productions of the play. The omnipresence of Death (and its connection to women) is emphasized through the multiple characters portrayed by one actress (Roma Bahn). Ernst Deutsch, as the Cashier, is particularly effective in conveying the grasping, despairing nature of the character -- a man whose life is controlled by money and a petty bourgeois mentality, and whose attempts to overcome this enslavement prove impossible.
Astute viewers who are familiar with CALIGARI will spot Hans Heinrich von Twardowski in the role of the Son of the Lady (he played the doomed friend Alan in Wiene's film).
VON MORGENS BIS MITTERNACHTS has an odd history. Never officially released in Germany at the time of its production, it found contemporary success in Japan, then was believed lost for decades until its rediscovery in the 1960s.
Karlheinz Martin's film adaptation remains largely faithful to Kaiser's play (minus the rich dialog of course), and indeed adds some insightful touches, especially in the opening scene in the bank vaults. The set decoration is ultra-Expressionistic, even more so than that found in Robert Wiene's DAS CABINET DES DR. CALIGARI (produced more or less around the same time), perhaps reflecting actual stage sets used for contemporary productions of the play. The omnipresence of Death (and its connection to women) is emphasized through the multiple characters portrayed by one actress (Roma Bahn). Ernst Deutsch, as the Cashier, is particularly effective in conveying the grasping, despairing nature of the character -- a man whose life is controlled by money and a petty bourgeois mentality, and whose attempts to overcome this enslavement prove impossible.
Astute viewers who are familiar with CALIGARI will spot Hans Heinrich von Twardowski in the role of the Son of the Lady (he played the doomed friend Alan in Wiene's film).
VON MORGENS BIS MITTERNACHTS has an odd history. Never officially released in Germany at the time of its production, it found contemporary success in Japan, then was believed lost for decades until its rediscovery in the 1960s.