one hundred years Ago, when the cinema was young, it was a lot of arguing over the art of the new medium. The critic Béla Balázs tried the image of the muses in Olympus, to the cinema to be “worthy” to be the tenth under the divine patron of the creative, and he referred to an actress, this Would be the full shape ended was – “if you start to doubt, it is the only Asta Nielsen, gives a Faith and Conviction”.
In a longer Passage about the Film “The crash” (1922), the Balázs the Charisma of Asta Nielsen, almost a measure of length: “And now, reception of Asta Nielsen’s face to come over a hundred feet Tall! A bebendes Hope, of fatal shock, the eyes, the cry for help that it is resounding in the ears, then dash the tears…and we see a soul die – premier plan, on the face of Asta Nielsen’s.“ This description of a scene from a movie that was not just made for eternity, comes close to a formulation, with Asta Nielsen even her work as an actress once said: “the simple, blood-flow, and deeply ingrained design of a harrowing human destiny”.
parade case of a “new woman”
For a good three decades, the Danish actress is the epitome of this art of the people, representation in front of the camera was. With her to the cinema, to break out of the restrictions of the short attractions, with which it is to be tried first especially started. With her first husband, the writer and Director Urban Gad, started in the movies to tell, so that already in 1917, was able to write a Danish author in the first book about Asta Nielsen, you can do the “basic Repertoire for the dramatic Film”. Since her movie career was just seven years old, and as a Dane, with production site in Berlin, she had been through the First world war only marginally met. She had to leave Germany, her neutral homeland, offered her an ideal opportunity to retreat, and when in 1919 the life of a new began, was able to connect Asta Nielsen seamlessly to their early glory.
The first Director, you got to do it your Comeback, was equal to a (future) Great: With Ernst Lubitsch turned “noise” (1919). Barbara Beuys tells of the encounter in your biography so that you would have to conclude a conflict about artistic creativity: Asta Nielsen had came numerous proposals for changes in the script, she realized, as the Depository of the power of Strindberg, of the the template. Lubitsch but everything was so, as it might be in his mind – and sat down. In the result stayed Asta Nielsen on their artistic autonomy. In 1921, she starred in “Hamlet”, the main role, with his own production company had filmed. Asta Nielsen added to her Repertoire, but this is not just another figure, but a second gender.
you failed your year
Not only at this point, the 1881-born actress for Barbara Beuys is a Prime case of a “new woman”. Asta Nielsen was a sex symbol (in the former language: you understood the “expression of Naughtiness”), but it was not a sexual object. Your star personality was shaped by the facets of autonomy. In this sense, Barbara Beuys tells the movie career and private life: a woman, early mother, father to her daughter, but never called; a woman who was gifted after all, what makes this biography to recognize, rather to friendship than to love; a woman who was looking between independence and pragmatism are always in their own way, even as you are sitting opposite Hitler and Goebbels.
it was not to be taken in, was impressed by the encounter, obviously, but still. You would have had in 1933, reasons to arrange themselves with the new Regime. Her film career was Stalled. “You failed your years”, wrote her friend, Joachim Ringelnatz, and Siegfried Kracauer tried once more the Topos of the demanding artist: “you are required to read the manuscripts.”
