In the endless row of remakes in the 50's of successes of the 20' and 30's this one may have been the oddest. What is basically a harsh, sensitive but never sentimental play, qualities that remained in the remarkable film version of 1931, has become a trivial drama. It starts with the credits; in it it is stated that the film is based on a play by Winsloe called "Rittter Nerestani"; this original title was already obsolete at the Berlin premiere and changed into "Gestern und Morgen", thereby stressing the object of the play: a plea for a more liberal society. But in the 50's German society of Adenauer's credo "No experiments" this plea was not possible.
Some odd changes have been made vis-à-vis the play and the film version of 1931. The character of Von Kenten, symbol of the fear for authority, has been replaced by a nondescript character who hates Elisabeth von Bernburg; why she hates her, is not made clear at all. Frau Oberin was changed from a symbol of Prussian authority into a bitter old lady who is only the way she is, because she had some bitter experiences in life. The scandal that arises when Manuela is drunk and speaks out, is brought about by petty jealousy of one of the girls (Alexandra). Noteworthy is also that, when Ilse is banned from partaking in Romeo and Juliet, she cheerfully helps another girl to learn the part, in stead of, as in the 1931 version, packing her suitcase to leave the institution; in other words: hardly any rebellion here. The reconciliation near the end is just silly. What this all amounts to is that the play in this adaptation is melodrama. However, unlike some critics, I do not think the lesbian theme is further toned-down, it is simply represented in another way to be acceptable to an 1950's mainstream audience.
There is nothing against an stirring melodrama, but also in this department the film fails. That is: Radvanyi's direction is adequate but without inspiration. At moments he tries to give scenes extra strength with shadows and light (there is a nice shot of Schneider in the dark on her bed), but it is not sufficient. He is not helped much by the two leading actresses. Romy Schneider has her moments (her first serious part after the Sissi-series), but in general fails to convey any emotion and she surely plays quite another Manuela than Hertha Thiele in the 1931 version. Lilli Palmer, who thought she could do anything, is a terrible mis-cast as Von Bernburg: she is not the woman in her mid-20's having trouble with her emotions. All scenes between Schneider and Palmer miss spark.
