L'opéra de quat'sous

Feels a bit odd being the 1st post as I would have thought Artheads would have been here years ago describing this one's social significance, contextualising it, contemporary relevances, and dissecting comparisons with the simultaneous German version. As I only happen to like "old" movies I can only offer some humble humdrum opinions on a few points instead.

I've seen Die 3groschenoper a number of times now, but this was my 1st visit to the French version, my first impressions being favourable as it is an exact scene-for-scene re-run after all - for the story refer to everyone's comments for 3G. The French runs 7 minutes faster - is that just down to the language differences? I wonder how many of the background extras acted in both (and did they get paid for 2 movies!), but the speaking parts of course were handed to French actors and actresses - the whole reason why this talkie was made. I can almost get by in French - but German is a real tongue-twister for me, so to me a lot of the earthy harshness and Weimar cynicism is lost here for a typically French airy artiness, even down to the song lyrics. Without that overpowering cynicism it becomes for me simply a very good film, not a great one like the simultaneous original. Otoh it's easier to follow, meaning it enlightened me on some aspects of the German release I'd struggled over. Here, in the English translation of the French the people in the shadows ultimately "melt away" - I prefer the "lost to sight" translation of the German. Etherial compared to material.

If you enjoyed 3G then you're sure to enjoy this. Overall, for an Englishman a very enjoyable (French) curio, but for instance if I ever feel that I need a shot of Cynical Sleazy Singing I'll be heading back to Ernst Busch, Carole Neher, Lotte Lenya and Co.

I've just seen the restored 2006 German print, and while I found it entertaining, it's almost as long as the stage musical. The film medium can't support this, and after about the first half hour, it becomes claustrophobic and momentum-less, and a great disappointment. I had to fight the urge to pick up the clicker and press fast-forward. Part of the problem seems to me that the screenplay adapter or adapters didn't trust Brecht and Weill's theatrical instincts sufficiently: they left out half the songs (though the sound is remarkably good for 1931) and reordered the ones that were left. Most problematically, they rewrote the ending, with this nonsense of Polly and the gang taking over a bank. No march to the scaffold, no "Ballad of Sexual Dependency", no last-minute pardon from the King...

Many reviewers here seem to take the London location too seriously. That's just a relic of the John Gay original (The Beggar's Opera): it is most clearly meant to be a satire on Weimar Republic Germany. That's why the Nazis banned it. The real corruption is in the official institutions of power, not in the relatively benign underworld (which reappears in very similar shape and form in Fritz Lange's "M".) Those who don't know Brecht's translations of Gay's original names and texts should learn that MacHeath becomes 'Mackie Messer' (messer mean 'knife' in German, thus 'Mack the Knife'.)

The best thing about the film, is probably the documentary record it contains of just how the original audiences would have seen the story, and how the original performers would have rendered the songs. I particularly liked the Moritaet-Saenger and his incredible trilled "Rs" in the opening scene.

In the last few years before Nazi power overtook the German film industry, Kurt Weill's operetta reached the screen in this effective and well-cast version. Notable for including Lotte Lenya (Weill's wife) as Jenny, it is funny, memorable, imaginatively filmed, and despite the language barrier, does justice to the songs enshrined in popular culture such as ‘Mack the Knife'.

A giant of early European talkies, this musical has much to recommend to a viewer looking at it after seven decades. An adaptation with songs of John Gay's ‘The Beggar's Opera', it deals with the underworld of crooks, moneylenders, and cut-throats.

Chief of note in the varied cast are Rudolf Forster as Mackie, Carola Neher as Polly, Fritz Rasp as Peachum, and Ernst Busch as the Street Singer. This movie is one of bitterness and foreboding, and it is excellent.

In London, the rascal Mackie Messer (Rudolf Forster) is the king of the thieves and an irresistible pimp. When he meets Polly Peachum (Valeska Gert) on the street, he invites her for a drink and they marry with each other in the end of the night in a warehouse. When Polly's father Jonathan Jeremiah Peachum (Fritz Rasp) a.k.a. the king of the beggars learns about the marriage of his daughter, he presses the chief of police Jackie "Tiger" Brown (Reinhold Schünzel) to arrest his friend Mackie; otherwise he will send a great number of beggars to protest in the coronation of the queen.

"Die 3 Groschen-Oper" is a cynical musical with low-life characters in the underground of London written by Bertold Brecht and directed by Georg Wilhelm Pabst. This film was released in Berlin on 19 February 1931 and I saw a DVD with a matrix that was restored in 2006 for the 75th anniversary of this film. In 1986, the Brazilian composer Chico Buarque de Holanda and the director Ruy Guerra released an adaptation of this musical with the successful "Ópera do Malandro", the most expensive Brazilian production until 1986, but without the credit to Bertold Brecht. My vote is eight.

Title (Brazil): "A Ópera dos Três Vinténs" ("The Opera of Three Pennies")

Those who acquired a taste for 1920s Berlin in 'Cabaret' ought to see this film inasmuch as it is the real thing. Lotte Lenya (Weill's wife in real life and the actress who played the evil Rosa Kleb in 'From Russia With Love') and Carola Neher (fled Hitler for the Soviet Union then betrayed by communism -- she died in a communist prison camp in 1942) each offer an unforgettable singing performance. Carola Neher's song alone is worth the price of admission -- she outclasses even Dietrich.