Mujeres de uniforme

Provocative, sensual film that is also daringly (and determinedly) anti-authoritarian and anti-establishment (no surprise that the Nazi regime tried to burn all copies). Because of the way it is made, and the things it is about, it has not aged at all, and never will. Another novelty: an all-female cast (there is not even a male extra), long before Hollywood's "The Women" (1939), with the young girls especially giving naturalistic performances at the dawn of sound cinema. I was sad when this film was over - I wanted more. ***1/2 out of 4.

This was more than a gay classic, this film was a social commentary on the time period it was set in. We all now well know the views held on homosexuality by Hitler's socialist party which was coming into power during the time this movie was made. The entire film foreshadowed many of the things that would happen to people who were not seen as desirable in the eyes of the German government. One part especially, where the students and teachers were forbidden to have contact with Manuela, spoke of the public shunning of Jews and other so-called undesirables who were forbidden contact with other people. Of the three movies that Leontine Sagan directed this was the only one made in Germany. Given the fact that Sagan was of Jewish ancestry and the main theme of this movie was of love between women, it's not hard to see why her career in Germany was short lived.

One of the more harrowing themes in cinema centers around school administrators doling out physical and psychological punishment to their students. The first talkie to vividly display such abuse is the German movie, November 1931's "Madchen in Uniform." Based on Christa Winsloe's 1930 play 'Yesterday and Today,' the movie follows a fourteen-year-old daughter, Manuela, (Hertha Thiele), of a military officer whose mother had died, making it necessary for the teenager to board at an all-girls private school. The tension-packed film is also one of the first in cinema to have an exclusive all-female cast.

The play-and the movie-was a personal story of playwright Winsloe, who found herself undergoing the harsh educational private school system in Germany. The character Manuela, a sensitive girl thrusted into a new environment, experiences the rough transformation of her friendly individuality forced to live in an uniformly unfriendly, cold environment. Winsloe personally witnessed the destructive results of such harsh treatment impacting with disastrous long-lasting effects on young women. The actress Hertha Thiele recalls years later that "The whole of Mädchen in Uniform was set in the Empress Augusta boarding school, where Winsloe was educated. Actually there really was a Manuela, who remained lame all of her life after she threw herself down the stairs. She came to the premiere of the film. I saw her from a distance, and at the time Winsloe told me 'The experience is one which I had to write from my heart.'"

Winsloe portrayed one of her teachers, Fraulein von Bernburg (Dorothy Wieck) in the movie, as the only adult in the school having compassion towards the students. The teacher's warmth around the students, treating them as humans instead of objects to be trained like seals, was totally against the school's rigid philosophy, set down by the institution's strict headmistress (Emilia Unda). When she hears of von Bernburg's benevolence towards Manuela, she's instructed never to speak to the student again. Manuela is devastated by the edict, and plans to commit suicide by jumping off the top of a multi-story atrium similar to what Winsloe had witnessed.

"Madchen in Uniform" has enjoyed a cult-like following decades after its release. Because of its topical subject matter of women's affections towards each other, the movie was almost banned in the United States in 1932 before Eleanor Roosevelt, then wife to the governor of New York State, Franklin Roosevelt just before he was elected President, persuaded the state's censor board to allow the movie to be shown. The film, produced shortly before the Nazi Party took control of Germany's government, was banned by the Nazis, who ordered every copy burned. By that time there were so many prints distributed in a number of countries that it has survived intact today.

Winsloe's play, translated as "Girls in Uniform," was her only published stage work. She relocated in the United States early in World War Two before moving to France, where, in 1944, she was accused of being a Nazi spy by four Frenchmen. She was shot along with her companion on June 10, 1944.

The original play "Gestern und Morgen" had its premiere in 1930 and was an immediate success. This prompted Carl Froelich to adapt the play for film. Both leading actress of the play Hertha Thiele (her first film) and the original director of the play Leontine Sagan (also her first film) were invited to join. The direction was split into direction of the cast and mise-en-scene by Leontine Sagan and overall direction by Carl Froelich; this means that Froelich was responsible for the overall quality of the film (in German: Künstleriche Oberleitung).

The play as well as the later novel emphasizes the sexual/lesbian love theme, but the film adaptation was toned down; the original sad end was replaced by a happy end. Though the film goes as far as it can in its theme of (awakening) lesbian feelings and sexual feelings of young girls in general, shifting emphasis automatically meant concentrating on the theme of the cold and inhumane authoritarian (Prussian) way of life and upbringing, a way of thinking still present in the Weimar republic and in 1931 already considered a danger to the young republic. Then audiences were more interested in this aspect than in the sexual one. Despite this it still remains a remarkable film of the Weimar period in depicting the more loosening attitude towards sexuality in general as well as the dismissal of the old authoritarian life style, though, and this is the weak point of the premise, it never succeeds- in relating the two. A political stand this film certainly takes not, but, as the original title "Yesterday and Tomorrow" says, this film makes a plea for a more liberal and humane society. Of course the film was banned after the Nazi take-over (though for some obscure reason Goebbels liked the film "as film").

The old way of thinking is shown in some remarkable images. The opening of the film, after some shots of Potsdam, shows first the marching of soldiers than cuts to a walk of the girls; the girls do not walk, but march as the soldiers do. The Prussian authority is represented by the Frau Oberin whose presence in the film is that like an average hard boiled Prussian king (and not unlike Frederick the Great, the king who was depicted in nationalist films in the 20' and 30's a number of times)); her hairdo is not simply a way to wear one's hair, it fits like a crown on her head. When she presides a meeting with the other teachers, she presides as a queen, sitting slightly above the level of the teachers. Fear for authority is conveyed through the Von Kenten character whose physical attitude constantly is that of a writhed of fear, human being.

Note the military trumpet in the final scene (one of the examples of the excellent use of sound) as Frau Oberin walks resigned through the corridor: there may have been a small relapse in the system within the institution, the trumpet tells us that outside things are still unchanged.

The direction of Sagan/Froelich and the cinematography are outstanding, but it could never have become the classic it is if both Hertha Thiele and Dorothea Wieck had not been in the lead. Photogenic Thiele plays Manuela as a sensitive, but still proud girl; Wieck gives the Von Bernburg character all the subtleties and uncertainties it needs. But let's not forget the completely forgotten actress Ellen von Schwannecke as a wonderful Ilse. Thiele and Wieck would repeat their co-operation in an amazing film by Frank Wysbar (one of the producers of "Mädchen"): Anna und Elisabeth (1933), also a film with a lesbian theme.

A very odd aspect is also noteworthy. The 4 main people involved can be divided in 2 sub groups: Hertha Thiele and Leontine Sagan went into exile in 1933 and were not to have a career after 1945 in West-Germany, while Dorothea Wieck and Carl Froelich (he became member of the NSDAP) continued their careers in Nazi Germany and after 1945. Convinced of it that involvement in this film also meant according its basic ideas (remember that it was not an established production company that made the film, but a collective), this split-up of minds can almost be seen as symbol for the schism in Germany.

For a complete understanding of this film and the play I recommend to read the novel as well.

Beautifully filmed. By turns touching, funny, and painfully sad.

It is definitely a classic. A wonderful story for the gay/lesbian audience, and anti-authoritarian to anyone else who's interested. Wonderful artistic depiction of the characters.

Besides, Dorothea Wieck really is hot.