Alraune

I've just seen the world theatrical premier of the Munich Filmmuseum's restoration of this classic, presented by University of Chicago's Documentary Film Group in cooperation with Chicago's Goethe Institute and Lufthansa. Live piano accompaniment was provided by the excellent Aljoshe Zimmerman with an introduction by Stefan Drößler, director of the Filmmuseum. Zimmerman composed the score for the Filmmuseum and additionally accompanied "Nosferatu, eine Symphonie des Grauens" (also restored and presented as a double feature). The restoration was pieced together largely from surviving reels from Russia and Denmark, which focused on Alraune's mother and father, respectively. The restoration sports quite a few intertitles, in German, some of which were present in the original. Absolutely remarkable, and a must for anyone who appreciates excellent cinema.

Two monsters meet in this second adaptation of Hanns Heinz Ewers' novel: Paul Weneger, actor and director of "Der Golem" (1920), and Brigitte Helm, diva of Fritz Lang's masterpiece "Metropolis" (1927).

Classified as science fiction and horror, the film was more of a fantasy to me. A scientist decides to inseminate a prostitute with a mandrake root that grew thanks to the semen of a murderer who was hanged on a tree. In the first scene, we learn that it is a full moon night and that someone will dig directly under the hanged man's body to remove the root. It will be used for the experiment. The result will be a living creature: Alraune.

The film (or the copy I saw) makes a discreet ellipsis when the prostitute enters the scientist's experiment room, and in the next scene, we see young Alraune (mandrake, in German) in a boarding school ruled by nuns, from which she will escape with the scientist's worthless nephew. In the story that continues, there is no science fiction or terror, but the drama of a woman who ignores her origin. Her attempts to love and live freely are frustrated every time her "father" intrudes. He is convinced that Alraune has inherited anti-social traits from her prostitute mother and murderous father. However, what Alraune really wants is to enjoy life: she escapes with a magician to a circus, flirts with the animal trainer and meets a good viscount who falls for her and proposes marriage. But papa scientist does not give up, so she decides to take revenge.

Brigitte Helm, who, as in "Metropolis", alternates between innocent sweetness and malicious eroticism, contributes to the fascination of the story. Director Henrik Galeen uses expressionist images, although the realistic approach predominates. It is a pity that the restored version is not available and what circulates is a vile copy of a VHS edition in English, with music often out of place and with the name of the protagonist changed to Mandrake. However, curiosity is curiosity and there is no one who can beat our archaeological passion for cinema.

An unscrupulous doctor (Paul Wegener) creates a living 'mandrake', the soulless offspring of a prostitute inseminated with the semen taken from an executed criminal. The unnatural progeny, Alraune (German for mandrake), is played by temptress extraordinaire Brigitte Helm, best known for playing the saintly Maria and her evil Maschinenmensch avatar in Fritz Lang's 'Metropolis' (1927). Although the film is sometimes classified as horror/science fiction, it is more of a romantic melodrama, as the doctor slowly becomes infatuated with his creation, who is beginning to aspire to human feelings. Human artificial insemination had been around since the late 1700s, so other than the choice of sperm donor, there is nothing particularly novel about the premise, which is essentially a test of the frequently overly-simplified 'nature/nurture' dichotomy (in reality, it is nature 'plus' nurture, not nature 'or' nurture). The eponymous 1911 novel by Hanns Heinz Ewers had been films twice before this version and several times afterwards but the 1928 silent is considered to be truest to the original story. The film has not aged well - not a lot happens and the silent acting comes off as a bit theatrical. There are several versions on-line, with and without music. The image quality in the one I watched was not great but the score, a mix of recognisable 'classics', helped pass the time spent watching the relatively boring film.

Being a product of the Silent era, this German variation on the Frankenstein theme actually preceded the definitive James Whale pictures; a rare (the copy I acquired was culled from an old Italian TV broadcast that I somehow missed out on) and still very little-known film – despite the involvement of Henrik Galeen (THE GOLEM [1914 and 1920], NOSFERATU [1922] and THE STUDENT OF PRAGUE [1926]), Brigitte Helm (METROPOLIS [1927]) and Paul Wegener (THE STUDENT OF PRAGUE [1913], THE GOLEM [1914, 1917 and 1920] and THE MAGICIAN [1926]) – this is probably due to the fact that, in spite of some clear Expressionist trimmings, the plot is mainly treated as sophisticated melodrama! Especially disappointing for genre buffs is the fact that the creation scene is completely by-passed – shown only in a split-second flashback towards the end when Alraune (Helm, a veritable femme fatale spawned from the mandrake root by ambitious alchemist Wegener) discovers her unnatural origin when she happens upon the scientist's diary! Galeen, however, demonstrates a sure eye for pictorial detail throughout (particularly when dealing with the carnival and casino settings) and the basically 'incestuous' relationship between creature and creator is treated with amazing sensitivity and depth for its time. The ending, then, is equally non-horrific as Alraune, resigned now to her soulless existence, goes away with her creator's long-infatuated nephew while Wegener pays the price for his tampering with nature by being left all alone.

The Austrian filmmaker Henrik Galeen is one of the beacons of the rightly celebrated expressionism of German film in the 10s and 20s, while his name is wrongly known to very few and mostly goes under the weight of the work of directors such as Fritz Lang or Robert Wiene. His work Alraune shows how exceptional Galeen was at what he did.

Galeen uses the novel by Hanns Heinz Ewers, which anticipated the concept of artificial insemination by decades and addressed it. The director brought the book, and thus the subject, to a wider audience than Ewers' book could.

A Frankenstein-esque professor (the equally gifted filmmaker Paul Wegener, who later became an opportunist through his association with the fascists of National Socialism) plans to create a woman based on the Alraune myth, i.e. The human-shaped plant that symbolizes misfortune and happiness can bring, especially in relation to childbearing. The professor thinks about the breeding of certain types of people in an anti-humanistic manner and decides, to explain his words, to use "degraded subjects of society" for this experiment. The portrayal of the involuntary nature of the participants, the inhuman view of people and human experiments, the lack of ethics on the part of a scholar or doctor are all anticipations of what would soon doom Germany and then Europe and large parts of the world. The result is Alraune (Brigitte Helm), the first human being to use artificial insemination. She grew up in a convent school, apparently an experiment in the perverted educational-theoretical sense of the neo-humanists, looking for the relationship between genetics, i.e. The predestination of human existence, and socialization, i.e. The influences of the environment on the human individual. Alraune escapes from this experiment and ends up at the circus after her anti-social attitude has already been shown several times. Helm plays Alraune really impressive. She vacillates between the experimental malignancy of the being and the incomprehension of one's own being, which triggers sadness in the main character.

The professor can finally find Alraune, but Alraune finds out what kind of machinations she came into being and decides, almost according to her nature, but still understandable for everyone, to take revenge on the professor. This requires an understanding of injustice, through which the wonderful dialectic of the film stands out very clearly. Mandrake may be created from the "corrupt", but the basis of her nature lies in the facets of the human. The professor, on the other hand, came about "naturally" but is himself a being who inflicts suffering on other people - and this without the history of the injustice inflicted that Alraune experienced.

The magical, surreal aspects of the plot now come more and more to the fore through the main character. She seduces the professor and ruins him, especially financially; the human aspect no longer seemed to have played a major role in this blueprint of fascist medicine.

Ultimately, after completing her revenge, Alraune decides against the predestination of the experiment and proves the will of man as the good of his self-determination. The fact that love is the decisive factor here is part of the history of modern educational sciences, which rightly determined that, for example, parental love or friendly affection play an important role in the good development of a human being.

In this way, Henrik Galeen packs a fundamentally humanistic statement into an hour-and-a-half film and inspires with the basic characteristics of expressionist filmmaking. Impressive images, surreal confusion, a spider's web of theses and refutations make this film a classic in film history.