Il diario di una donna perduta

I saw Pandora's Box several years ago. At the time, Diary of a Lost Girl was unavailable for viewing. I discovered it had been re- released on DVD, completely restored. It is far superior to Pandora's Box, in my opinion. Louise Brooks plays Thyamin, a young innocent who is raped by her lothario father's chemist assistant. Her pregnancy results in her banishment from the house, and she is placed in a reform school. Her escape from the institution leads her to a brothel, where she spends her life until her father's death...when her life changes. Unlike Pandora's Box, which is about an unredeemable nymphomaniac, Diary of A Lost Girl is a story about loss, redemption, forgiveness, sacrifice, and hope. It has a much richer plotline, sublime cinematography, and Louise Brooks shone like a star. This film itself is a rediscovered treasure. Highly, highly recommended.

Silent films may not be for everybody, some may find some of them static, histrionic and creaky. Likewise with films from the 20s, with those being adapted from stage plays having a lot of traps that tended to be fallen into. As for me, while there are some that are not great or even good and do not hold up there are plenty that are good and even great. Such as the best of FW Murnau, Fritz Lang, DW Griffith and Abel Gance, all of whom did some very influential work.

GW Pabst is another director to fit under this distinction. He was a major influence in films and was known for his direction of actresses that he had found and developed their acting skills. One of those actresses was Louise Brooks, a gifted and very uniquely photogenic actresses and Pabst was one of the few directors to recognise the major strengths she had and used them to full advantage. Something that sadly did not happen when she transitioned into sound, where people did not seem to know what to do with her. He was also known for doing films that dealt with the difficulties and dangers of women. He proved that again in specifically his films with Brooks, especially 'Pandora's Box' and this film 'Diary of a Lost Girl'.

'Diary of a Lost Girl' may have been butchered by censorship, including a lot of content being excised and the ending apparently not what Pabst had originally intended (correct if wrong). It still remains an incredibly powerful picture that makes one amazed at how such a sordid subject was portrayed on film to this extent, seldom done in film beforehand and not in a way that probably will have shocked many.

It is not quite perfect, though it nearly is. In my view the ending felt a little too preachy.

However, three things are especially brilliant in 'Diary of a Lost Girl'. The cinematography is just exquisite with some incredibly stylish and atmospheric camera angles, which makes it far from visually static. It's handsomely designed too and has some suitably moody lighting. The Expressionistic look enhances the uncompromising atmosphere so well. Pabst's direction is lean and creates a sense of tense uneasiness without ever being ill at ease, handling a harrowing and for back then brave subject and pulling no punches. Brooks is mesmerising in a truly powerful performance that is among her best.

The supporting cast are not quite as great, but are more than solid. The standout to me being Valeska Gert as the beastly matron, calling the character beastly actually is being too kind and Gert is quite frightening. While the ending doesn't completely come off, it at least didn't feel tacked on (unlike too many films that suffered from censor tinkering) and maintained the rest of the film's harrowing tone. Complete with a final line that stays in the mind. The story pulls no punches and still shocks, not feeling tame today.

Overall, wonderful film. 9/10

Who would have guessed that these two collaborated in a film superior to Pandora's Box. Pabst and Brooks were a rare combination indeed, and must serve as another decisive exception to the auteur theory. Having just viewed both, I think a case can be made that the Lost Girl film is actually superior to the admittedly better known film. How Krackhaeur could have ignored the value of these two films in his "Caligari to Hitler" book is indeed baffling. The scenes in the "foster" home are fascinating and may indeed say something about the authoritarian mindset of 20s Germany. (The Cabinet of Dr. Caligari is another good example)

You must have Pabst in your life at some point. Time it well, seek out a few silents beforehand. It was an exciting era for movies anyway, you're going to have a lot of fun. Context will be valuable. That is because Pabst does not set out to impress on the scope of Lang or Murnau, who impress easily, and you may be fooled that he's pretty ordinary. Not so. I rate him as the top German filmmaker of the time, the man had a truly subtle , humane touch that cut deep.

It may seem as pretty ordinary, this one. It's melodrama about a hapless young girl who is neglected and abused: unwanted pregnancy, forced marriage, reformatory, prostitution. It is a journey of maturity that takes her through many worlds, most of them depressing. DW Griffith would have done this in somber , sanctimonious tones. Chaplin could do it frivolously, with a bit of kindly fate in the machine of sorrow. Pabst did it another way, and it's his way that most likely has influenced our contemporary understanding of cinematic melodrama as something quite pure and sophisticated.

That sophistication is seeking ways to deliver both the redemptive story and many ways, different paths to reason and emotion, some of them shrouded in dream, and seems to have carried on from here to Sirk to elsewhere and Lynch.

I want to devote this comment to all these items of, let's say, peripheral narrative vision. You can read up a description of the story in the other comments.

There's Louise Brooks for one, exquisite beauty even among movie queens of the silent era. But Pabst was sensitive; unlike Sternberg in Blue Angel, he doesn't frame her for sex, trusting the male gaze to work the usual way anyway. Brooks both here and in Pandora's Box is a spirited , swanlike creature.

There are four worlds that she travels through, possibly more. Each one revealed by the treatment of sex. The first is the parental nest, sex is covert yet (the tryst with the maid) and she is a sheltered child, naive and innocent of finer implications around her. The film begins portentously with a suicide and a man promising truth of the story. In a roundabout way he does, by exploiting sexual vulnerability.

The second world is at the reformatory: it is a simplistic world with stock villains (matron - guard) where expressions of sexuality are forbidden. Here others administer decisions and she only has to obey the story. It is very much a stepdown into childhood, but in a way that is painfully clear to her (in the parent's nest, she had illusions of freedom). A revolt is staged and she escapes.

What she doesn't know, is that she escapes to a high-class brothel. We find out as she does, when an envelope full of money arrives the morning after a night of drinking, merrymaking and sex. But - as sex enters the picture - so this is a world now where people are ambiguous figures, not always villains. Here a creep looking for sex is repudiated, only for the kind protector to assume his place: this man has noble aspirations to save the girls, but he'd much rather have a good time. He's a bit of a hypocrite, but it would be a puritanical stretch to think him bad. Here she learns to endure and persist.

Now for the best part. The narrative is on the top level in the form of excerpts from a diary. But, you will note steadily the introduction of more and more subtle, visual dislocations from the ordinary.

That male gaze mysteriously lulls her to sleep both times she has sex. Both times it's against her will, both times signify a turn in the gear of the world. The second time is accompanied by the bedroom door inexplicably opening ajar by its own self, and then the lover and a sedated Louise in his arms waltz into frame. It's a heady , seductive shot.

It's obvious what Pabst is getting at - she succumbs to the role expected of her - but in doing so, succeeds in demanding from us a different set of reasoning tools for the rest of the film. There are several more shots of her asleep in the hands of men, as though dreaming her whole ordeal. Dance is a main thread, and wrapped around the recurring notion of deciding the depth of your performance.

That different set of tools is, at the same time as the world around her changes, and demands each time a different response, getting to note semiconscious spillovers inside of her.

This aspect of the work is amazing. Look how, in both the reformatory and brothel, she is part of a chorus of girls, usually framed with two or more girls hovering beside her, and it's that chorus instead of just herself that is experiencing the story, as though part of that fragile self has splintered by the trauma, and each splintered self has taken mirrored shape around her to shoulder part of the pain. (compare to the brothel scenes from Inland Empire)

The fourth world is having learned to cope, and that allows her to return to the early stages of the story, starting with another scene of dance and frolicking by the beach, and eventually save one of those splintered selves from the same fate.

Something to meditate upon.

The teenager Thymian Henning (Louise Brooks) lives with her father Karl Friedrich Henning and her aunt in a comfortable house. When the pregnant housekeeper Elisabeth (Sybille Schmitz) is fired, she commits suicide and is found drowned. Her father brings the new housekeeper Meta (Franziska Kinz) and sooner he flirts with her. Thymian is seduced by the pharmacist Meinert (Fritz Rasp) that rents her father's pharmacy downstairs. Thyamin gets pregnant and her father gives the baby Erika for a nanny and puts his daughter in a reformatory. Meanwhile, the idle Count Nicolas Osdorff (André Roanne) is left by his uncle to fend for himself. Karl Henning gets married with Meta and Thymian decides to escape from the boarding school helped by Count Osdorff.

During the night, Thymian runs away from the reformatory with a friend that gives an address to Thymian and the Count. Sooner she finds that the place is a brothel and without any alternative to survive, she works in the place. Years later, her father dies and Thymian inherits everything. But she needs a new identity and she gets married with the Count and becomes a Countess. However, when she sees her little sister leaving the house with her little brother and Meta, she gives her fortune to the child. When Count Osdorff discovers that she had given up the fortune, he commits suicide. Now the Elder Count Osdorff (Arnold Korff) feels responsible for the death of his cousin and promises to assist Thymian to have a better life. But she is still haunted by her past.

"Tagebuch einer Verlorenen", a.k.a. "Diary of a Lost Girl", is a masterpiece from Georg Wilhelm Pabst with a complex story of a teenager that has her life destroyed by the intolerance of her family after an irreparable mistake in the view of a 1929 society.

The plot has many twists and subtle scenes, like the debut of Thymian in the brothel with the client kissing her and turning off the lampshade. Louise Brooks is among the most beautiful faces of the cinema history and her acting is stunning as usual. The Count's last sentence "- with a little more love, no one on this Earth would ever be lost!" closes this film with golden key. My vote is nine.

Title (Brazil): "Diário de uma Garota Perdida" ("Diary of a Lost Girl")