Rua das Lágrimas

The interesting expressionist atmosphere and, most of all, a memorable performance by Greta Garbo (does she give any other kind?) both make "The Joyless Street" worthwhile. G.W. Pabst's style also makes a good combination with the setting in post-World War I Vienna. The supporting cast is also good, and all of this makes up for the lack of a first-class story.

Garbo is well-cast as the daughter who is the only real hope of an impoverished family trying to survive in a cold, unforgiving postwar city that is ruled by a handful of predatory exploiters. Just her eyes alone communicate volumes, and her character transcends the rest of the material. Pabst wisely included plenty of close-ups of Garbo, and these leave a lasting impression of her character's weary perseverance and strength of character.

Several of the other characters also have interesting stories of their own. There seem to be a number of different versions of the feature, with widely varying lengths, and thus with the story differently edited, so that some versions will work better than others. But regardless of the story, the setting is effectively rendered, and Garbo's performance stands out.

Significant movies have usually been associated with eminent directors or cast. That was also the case of the earliest nitrate silent movies, including the European cinema of that time. However, the movie that appeared to be a true phenomenon, a screen production that talked about people in unbelievable power, a silent recognized by many as the border between German Expressionism and new realism was THE JOYLESS STREET by Georg Wilhelm Pabst. Along with F.W. Murnau who became popular thanks to his thrilling NOSFERATU and innovative LAST LAUGH, Pabst became a highly respected director thanks to the controversial THE JOYLESS STREET. He proved to be a director who could create something thought provoking and ambiguous, who could surely enjoy appreciation among modern ambitious viewers. At that time, however, the movie's power occurred barely legal, which resulted in chopping it up, mutilating it and censoring it. Consequently, THE JOYLESS STREET became the most censored film of the Weimar Republic.

Years have passed emerging in various versions in multiple countries (for instance, the widely known Kino print missed four reels). Gaps have occurred more serious, which, however, did not stop various attempts to restore the film supplying it, at least partly, with the 'lost' glamor (Munich Filmmuseum restorations: the 1989 Patalas works and the 1995 'Project Lumiere' efforts). One of the thoughts accompanied their successful attempts: 'a thought provoking movie' by a great master that Pabst was will also find its audience nowadays.

In the times of computers and action movies, someone may ask: 'What is it that makes THE JOYLESS STREET worth being called 'thought provoking'? Now, Pabst's movie is, on the one hand, a historical glimpse of social classes in the post War I Vienna (homeless "Lumpenproletariat", working class, destitute middle class, and nouveau riche upper middle class); on the other hand, a unique insight into the psyches of individuals within the social misery. Rather than a tear jerking drama, this is the perfect exploration of despair, difficult decisions, determination contrasted with the manipulative upper classes, who spread false rumors that destroy the poor but rouse the wealthy. This is, in other words, the depiction of the joyous life in wealth and speculations clashing with the joyless life in poverty and distress...that is what emerges from THE JOYLESS STREET (consider the source novel by Hugo Bettauer murdered in 1925).

Indeed, it is something that builds an unforgettable experience that does not allow anyone remain indifferent. However, in spite of its universal nature and a very provocative content, the movie was almost on the verge of negligence and still remains highly mutilated, condensed, subjective. Why is it so bound to be distorted? In most cases, the reason appears to be the aforementioned censorship. Paradoxically, however, this subjectivity appears to be caused by one name, a great star who makes its title remembered.

That is Greta Garbo, without doubt, one of the greatest charisma of cinema. The title in her filmography is bound to be treated solely as a Garbo film. Yet, THE JOYLESS STREET is not at all a sort of film like many of her MGM vehicles. This is, along with GOSTA BERLING SAGA directed by her Swedish mentor Mauritz Stiller, a beautiful exemplification of Garbo's exceptional talent still uninfluenced by Hollywood. It is here we encounter the young Greta Garbo (19 years old at the time) who is not in the lead, not a great queen of MGM, who is not a vamp, a seductress nor a symbol, but a poor young girl, one of many in a queue for meat within the sorrows of the joyless street. Thanks to many of her scenes, we find out that Garbo acquired this unique 'magic' of hers already in Europe, at the side of great directors and great European cast (THE JOYLES STREET also casts Asta Nielsen, Werner Kraus, and Hertha Von Walter). Much is born here, much that we find elsewhere: her overwhelming gestures, her unique contact with the camera, her face that alone speaks to us more clearly than inter-titles (beside the strange make-up that one can surely get used to in the long run). Although her role of Greta in THE JOYLESS STREET is a secondary role, she seems to take over our attention. But here, let me highlight some aspects of Garbo's role and performance in a more detailed manner.

Garbo's job is very difficult; yet, she crafts it with extraordinary flair and profound insight into determination and dignity. It is clear that she truly identifies with the character she plays. There are some moments, particularly near the end, where her face expresses a chain of different feelings from angst, despair, fear to relief and joy. The role is something that addresses her personality more than seductive vamps or women in love with diamonds. Perhaps, that is why she does not need much experience yet portrays the character so genuinely and memorably. But, unfortunately, many do not understand that interesting fact. Nevertheless, Garbo's impact on the film's success is so strong that there is no doubt THE JOYLESS STREET has been solely considered a Garbo movie since 1925. That September (1925), Garbo arrived in the USA with her mentor director Mauritz Stiller and became the supreme artist. Yet,...

nowadays, when we view THE JOYLESS STREET, we should keep in mind that it is much more than Garbo's masterful acting. It is an exception in the history of cinema due to its highly psychological content, border of expressionist - realist atmosphere, its 'political incorrectness' and innovations galore; yet, also its strange fate of various versions, different attempts of preservation and the widespread subjectivity. Although it was on the verge of negligence, there are, fortunately, people who appreciate the great potential of this film. It is a pity that so few movie buffs have seen this film, but, perhaps, the movie's difficult fate proves its greatness. Highly recommended!

(some data are derived from Jan-Christopher Horak's article "Film history and film preservation" 1998)

1st watched 2/6/2007,61 minute edited version - 6 out of 10 (Dir-G.W. Pabst): Interesting silent drama that shows the major differences between upper-echelon and depression Austria after World War I and portrays it very well for the most part. The movie turns into a romantic piece in the last quarter which negates it's effectiveness but still shows us more than we normally see from this type of film. Greta Garbo plays in what is labeled as her first starring role in the version I watched, and does an admiral job as the daughter of a retired civil servant who's always trying to do the right thing to help her family's financial situation but it never seems to work out. Her performance is all about her facial and body gestures which, of course, is a must for a silent film and she is excellent with this. The hero in the film is an American do-gooder who helps the family survive by moving into their home and paying rent, but the authorities would prefer that he mingle with the uppity crowd and soon removes him from the setting. Everything works out in the end like a good Hollywood movie, which in my opinion takes away from the effectiveness of what could have been a more impressive piece of movie-making. ;watched app. 94 minutes version on 11/29/2015;added scenes and totally different non-romantic somewhat incomplete darker ending lend to a deeper film overall

In the post-WW1 in Vienna, a group of millionaires decide to manipulate the stock market with rumors to make it fall in the first moment and raise when people discover the truth. The ambitious Egon Stirner (Henry Stuart) loves Regina Rosenow (Agnes Esterhazy), who is the daughter of a wealthy man and she does not believe in his feelings. Egon has a love affair with Lia Leid, who is the wife of the wealthy Dr. Leid, and he asks if she may borrow some money to him to invest in the stock market. Meanwhile the secretary Marie (Asta Nielsen) has an unrequited love for Egon and decides to ask for a loan to Mrs. Greifer, who is the owner of a brothel in the poor Melchior Street, to give to Egon. The wealthy Don Alfonso Canez offers the amount to Marie and she goes to a room with him. When Lia is mysteriously murdered in a room in the same hotel, Marie falsely accuses Egon of killing her to Canez.

Meanwhile, the bureaucrat Hofrat Rumfort (Jaro Fürth) is not aware of the manipulation of the market and believes that is rich with the fall of the stocks and he spends a great amount. His daughter Greta (Greta Garbo) loses her job and they are forced to rent a room in their apartment to the Red Cross Lieutenant Davis (Einar Hanson) that pays a large amount to her. However she is forced use the money to pay the debts of her father. The only way to make money to feed the family is prostitution in Mrs. Greifer's brothel. What will be the fate of Greta?

"The Joyless Street" is a complex and melancholic story of a depressive period of history. The work of Georg Wilhelm Pabst is amazing since he is able to present a long feature (the edited version of 125 minutes running time) with many sub-plots and characters. This movie is also one of her first work of the gorgeous Greta Garbo that has a top-notch performance. My vote is eight.

Title (Brazil): "Rua das Lágrimas" ("Street of the Tears")

As an entry into Weimar life, well Vienna, Austria, but it must have spoken to and about both places equally after the war, this opens a window in a time of hyperinflation and scarcity. And this is what I was looking for, direct experience from within the world that gives rise to it, as something that was about life "now".

We see on one hand the controllers, from the butcher that people line up to buy his precious meat, to the war profiteer who's come to run a scheme on the stockmarket, to the madame of a private club who exploits innocent desperation. All of them lecherous cutouts - but no doubt cut from life. Meanwhile around them dance and mingle various crowds of those who still have.

And on the other side the hapless schmucks dangling on strings of this cruel world being manipulated from above, the poor family downstairs, the girl whose father loses everything when the market tumbles and she's forced to entertain in the club, the unemployed couple who must live in someone's barn. The fancy rooms are closed to them, the streets they know bleak and ugly.

It is all here in a sense, however much schematic. Being a silent, the visceral impression is of a nightmare and reverie, something you'd want to wake up from - and yet the presentation of reality, within silent limits of the era of course, we would call realist, not expressionist.

And this is seen in another way. One of the things that first stirred in the murk of Weimar was film noir, not the actual thing but its ghostly progenitors. Mabuse would posit a bleak world much like we see here, inspired from the same dazed hopelessness no doubt, but a devious mastermind was behind it, the product of dazed imagination. There are devious minds here, but all of them ordinary schemers.

There's clear sight in other words. It was still too early in Pabst's career however and for where I know him to have gone with characters and story much like these, this seems like a modest beginning, a ground floor for future ones to be built on top.