Asta Nielsen als Mannequin (Titel not confirmed)

Dirección:   nicht genannt, Alemania - 1915
Interpretación: Asta Nielsen -
Osservaciones generales: Nicht identifiziertes Fragment aus einem Asta Nielsen Film um 1915. Wahrscheinlich sind dies Probeaufnahmen von Asta Nielsen, um verschiedene Garderoben zu testen, denn nicht nur ist kaum etwas von einer Regieführung für einen Film zu spüren, Asta Nielsen spricht auch in einigen Aufnahmen deutlich in die Kamera, die übrigens in den Innenaufnahmen unverrückt bleibt. Die Aussenaufnahmen zeigen die Nielsen vor dem Brandenburger Tor mit einem Schwenk zum Reichstagsgebäude. (lhg 2009)

Die Geliebte Roswolskys

Dirección:   Felix Basch, Alemania - 1921
Producción: Messter-Film GmbH, Berlin - Director: Felix Basch - Guión: Henrik Galeen - Hans Janowitz - Nach einer Vorlage von: Georg Fröschel novel - Arquitecto: Ludwig Kainer (consulting only) - Interpretación: Wilhelm Diegelmann - Asta Nielsen - Ferdinand von Alten - Paul Wegener - Marga von Kierska Fernande Raway -
Osservaciones generales: «The original material for Die Geliebte Roswolskys is one of the few surviving colour positives of a Nielsen film, and was given to the Bundesarchiv-Filmarchiv in 1989 by the Cinemateca Brasileira, São Paulo. It was only recently copied by Haghefilm, using the Desmet method. This project was the result of a collaborative effort between the Bundesarchiv-Filmarchiv and the Danish Film Institute. Photographically, the film is of top quality. Besides very beautiful tinting, it has interesting camerawork, with superimpositions, shots of details (a hairbrush, jewellery, etc.), and a striking use of mirror-shots. By contrast, the editing seems choppy, as if the film was abridged at a later date; Nielsen’s acting relies on continuity. In her films Nielsen frequently played the role of the celebrated artiste that she was in real life, including her decline into the abyss of old age; just as often she embodied poor girls who sought a living working in low music halls or as dance hostesses. These roles often hinted at the shadow of prostitution. Die Geliebte Roswolskys offers a new take on this topic. Nielsen appears as a chorus girl. The corruption of the show-business world becomes evident: whether the little dancer gets to become a soloist depends on influential men; the mere rumour that she is the mistress of a prominent man makes her a public personality, destined for fame and fortune. In a peripheral scene, late one evening the poor chorus girl is standing in a crowd waiting for the arrival of the star, and, like those around her, looks on in admiration as the radiant beauty gets out of a limousine on the arm of a gentleman. She herself will soon physically experience how the illusion of notoriety ends in deception, and finally theft. The film does not focus on the gulfs in society, but rather adheres to the form of a “portrayal of the morals� of the better-off elements of society who abandon themselves to luxury and pleasure. This impression might of course be the result of the abridgements.» – Heide Schlüpmann, Karola Gramann - Pordenone 2009 Katalog

Steuermann Holk

Dirección:   Ludwig Wolff, Alemania - 1920
Producción: Maxim-Filmgesellschaft Ebner & Co., Berlin - Director: Ludwig Wolff - Guión: Thomas Hall - Story : Kurt Küchler novel - Fotografía: Julius Balting - Arquitecto: Rochus Gliese - Interpretación: Lyda Salmonova - Paul Wegener Steuermann Holk - Asta Nielsen Isabella Bouflon - Charlotte Schultz - Hans Marr - Theodor Loos - Rosa Valetti -
Osservaciones generales: Von dem Film ist bislang nur ein rund zwei-minütiges Fragment erhalten, das Asta Nielsen bei Boxunterricht mit einem schwarzen Boxer zeigt. In einer anderen Szene Paul Wegener in einem Restaurant. Schliesslich unterbricht Wegener mit gezückter Pistole den Boxunterricht. - Das Fragment ohne Zwischentitel wurde 2009 in Pordenone gezeigt. (lhg 2009)