A Ópera dos Pobres

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.

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

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.

Those who acquired a taste for 1920s Berlin in 'Cabaret' ought to see this film inasmuch as it is the real thing. Lotte Lenya (Weill's wife in real life and the actress who played the evil Rosa Kleb in 'From Russia With Love') and Carola Neher (fled Hitler for the Soviet Union then betrayed by communism -- she died in a communist prison camp in 1942) each offer an unforgettable singing performance. Carola Neher's song alone is worth the price of admission -- she outclasses even Dietrich.

I've just seen the restored 2006 German print, and while I found it entertaining, it's almost as long as the stage musical. The film medium can't support this, and after about the first half hour, it becomes claustrophobic and momentum-less, and a great disappointment. I had to fight the urge to pick up the clicker and press fast-forward. Part of the problem seems to me that the screenplay adapter or adapters didn't trust Brecht and Weill's theatrical instincts sufficiently: they left out half the songs (though the sound is remarkably good for 1931) and reordered the ones that were left. Most problematically, they rewrote the ending, with this nonsense of Polly and the gang taking over a bank. No march to the scaffold, no "Ballad of Sexual Dependency", no last-minute pardon from the King...

Many reviewers here seem to take the London location too seriously. That's just a relic of the John Gay original (The Beggar's Opera): it is most clearly meant to be a satire on Weimar Republic Germany. That's why the Nazis banned it. The real corruption is in the official institutions of power, not in the relatively benign underworld (which reappears in very similar shape and form in Fritz Lange's "M".) Those who don't know Brecht's translations of Gay's original names and texts should learn that MacHeath becomes 'Mackie Messer' (messer mean 'knife' in German, thus 'Mack the Knife'.)

The best thing about the film, is probably the documentary record it contains of just how the original audiences would have seen the story, and how the original performers would have rendered the songs. I particularly liked the Moritaet-Saenger and his incredible trilled "Rs" in the opening scene.