L'opéra de quat'sous

G.W. Pabst's version of 'The 3penny Opera' is simply sublime with a formidable casting and a magnificent cast with: Ernst Busch as a street singer, Carola Neher, who died in a soviet prison, as Polly and Lotte Lenya as Jenny. The mass scenes (without the help of computer games) are nothing less than masterful. But, above all are the texts of Bertolt Brecht and the magical songs by Kurt Weill; just delicious stuff.

This eternal masterpiece doesn't paint a rosy picture of human affairs, with a city (pars pro toto – the world) in the hands of people with shark teeth, venal civil servants and a corrupt police force. Bertolt Brecht formulates in simple words the rules of the game, the basics of human society: first grub, then morals. If the primary conditions for human survival (food, safety) are not available, then there is absolutely no ground for any kind of morality. For Bertolt Brecht, in a 'free for all' society the poor, the vast majority of the population, can only survive by (organized) begging and stealing, by dirty works ('Missetat'). After fighting one another, the crime bosses find a far better solution for the consolidation of their power. They make a super deal, pool their resources and create a financial syndicate of criminals, in other words, a bank, with the former corrupt police chief as CEO. What an awesome prophetic idea! With brilliant theatrical histrionics and a perfect 'London' atmosphere, G.W. Pabst shot an ageless movie masterpiece based on an everlasting opera. A must see.

Great musicals always have great people working at every different level in a united way. The script, the songs, the actors, the camera-movements all must stand on their own while contributing to the musical proper. We have classic cases of this where all those involved went their separate ways and were never able to recreate that magic. Instead of this somewhat accidental result, we have here a carefully calculated masterpiece. It was recognised that this was an important social work, and there were a number of things that needed to happen in its execution. They needed Brecht's (a dramatist becoming increasingly fascinated with cinema) cooperation, they got it. They needed a capable expressionistic director, they got it. They needed creative writers to narrow the work down to a typical film length, they got them. They needed strong powerful actors to circumvent any possible lingering sentimentality, they got them as well. This was an age where film was becoming run by the studios, but in creative ways striving to create great art, and we have stunning works like this to prove it.

5 out of 5 - Essential

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")

Sometimes, if I ever feel especially depressed at something going off in the world I like to trot this one out to make me take an even more jaundiced view of things. This surely would be no. 1 in the Top 100 Most Cynical Movies Ever, even after all these years (the simultaneous French version is not so earthy, a more flowery artiness coming out instead). For me, it's the best movie I've seen of Pabst's, most of his post-WW2 stuff has eluded me so far.

The Guild Of Thieves' leader gets married to the Guild of Beggars' leader's daughter, causing friction between the two highly organised and respected professions, but inertia in the police who are in the Thieves' power. Prostitution, aberration, bigamy, thievery, extortion, bribery, corruption (and complete cynically cheerful indifference to it all), you name it it's here - after all it is all that Man can do! Laconic-looking Ernst Busch's searing inter-ditties leave you with the distinct impression that someone was rather tired with the world! The savage sounding German words spew out, whilst reading the English subtitles is sometimes heavy going in digesting all of the conceptual opinions in time to digest the next. Would that Bobby Darin had got his tonsils round a few more of the extraordinary gossamer Brecht/Weill songs from this! Lotte Lenya sparkled doing her Pirate Jenny number, being just a part of my favourite bit in the idling whorehouse.

All of the people involved in 3G are "lost to sight", except to the handful of Artheads who occasionally hold cultural revivals of Weill, Brecht or Pabst. There was a memorable series of events in London in 2000 to mark the 50th anniversary of Weill's death, but 99.99% of the general public passed it by.

Soon we will all be lost to sight too, along with all of our fractious opinions and silly vices.

The movie isn't a filmed version of the stage play and doesn't pretend to be. It moves along at a sometimes creaky, sometimes disjointed pace. And when does it take place? There was no coronation of anybody in Victorian England, and I don't believe they had telephones. But those are quibbles. The thrill of it is the art direction - the expressionistic sets, set decoration and costumes are wonders. All those steep staircases! Those "London" streets! Terrific.

I wonder if some of the disjointed sequences and odd pacing of the movie result from the fact that it's a reconstruction, the original having gone the way of all entartete art in Nazi Germany.