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1944
Opfergang
Directed by Veit Harlan
Synopsis
Äls, a young woman from Sweden living in Hamburg in the summer months attracts a newly married explorer, Albrecht Froben who has just returned to his native city. But although Äls seems to be 'life itself', she suffers from a tropical disease which is slowly killing her. Froben is torn between Äls and his wife Octavia, who he seen as a kind of 'heavenly' counterpart to the earthy and beguiling Äls.
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- Cast
- Crew
- Details
- Genres
- Releases
Cast
Carl Raddatz Irene von Meyendorff Kristina Söderbaum Franz Schafheitlin Ernst Stahl-Nachbaur Paul Bildt Otto Treßler Annemarie Steinsieck Edgar Pauly Charlotte Schultz Ludwig Schmitz F. W. Schröder-Schrom Valy Arnheim Charly Berger Frida Richard
DirectorDirector
Veit Harlan
WritersWriters
Alfred Braun Hans Radtke Veit Harlan
Original WriterOriginal Writer
Rudolf G. Binding
EditorEditor
Friedrich Karl von Puttkamer
CinematographyCinematography
Bruno Mondi
ComposerComposer
Hans-Otto Borgmann
Studio
UFA
Country
Germany
Language
German
Alternative Titles
Vildfågel, Vildfågeln, En kvindes offer, Muuttolintu, Offrande au bien-aimé, O dromos pros tin thysian, La prigioniera del destino, Trekkfuglen, Droga poswiecenia, Amar é Perdoar, 牺牲, 더 그레이트 새크리파이스
Genres
Romance Drama
Releases by Date
- Date
- Country
Theatrical
08 Dec 1944
Germany6
Releases by Country
- Date
- Country
Germany
08 Dec 1944
- Theatrical6
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Review by Kyle Armstrong ½ 10
Film School Dropouts | 2019 | Week Ten
Warning: this review is mostly about the idea of watching this movie/this week's challenge, but I promise, by the end, I do review it.
Out of all the weeks of FSDO, this was the week I was dreading. While the history of Nazi Germany, anti-semitism, and the Holocaust are not my personal history, I still have a lot of empathy for the plights of communities who have experienced disenfranchisement, racism, and genocide.
I specifically opted out of watching Birth of a Nation when I was in film school because it felt exceptionally privileged to be able to sit in a room filled with mostly white, mostly rich 18 year olds and praise…
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Review by Adrian 🥐☕ ★★★★½ 3
This was one of thirteen movies shot in Nazi Germany using Agfacolor, a color system with a sepia-type color palette. I must admit, it has a very unique look. Watching the movie was rather chilling and surreal. Mostly because of how much I was conflicted with the fact that I really liked it despite its director and obvious Nazi-esque themes such as an overwhelming Wagner-like score and vocabulary such as "übermenschlich". It's also disturbing how the film takes place in a wealthy world full of golden furniture, glamorous clothing, and endless time for free time activities. We all know what this wealth (which only a few had) was built on. But the movie itself is also very well made. My…
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Review by Monsieur Flynn ★★★★ 1
There's no denying there's dark history behind this hidden gem. Its director, Veit Harlan, and his wife, the star Kristina Söderbaum, are more infamous for their work on Third Reich propaganda and anti-semite movies like Jud Süß, but Opfergang is a movie that deserves to also be seen in light of its own quality.
More cynical people than me will describe this with words and phrases like melodrama, Nazi kitsch, propaganda and probably also other smart ones with Nietzsche in mind.
It most certainly is melodrama, and it's not very difficult to draw the propaganda-link from its '44 release with its themes. It becomes slightly more difficult with its '42 shooting in mind, but due to at least Goebells and…
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Review by PacificNil ★★★★★ 5
Inhaltsbeschreibung der Novelle von Rudolf G. Binding:
Nach 10 Jahren kehrt Albrecht nach Hamburg zurück und begegnet seiner Cousine zum ersten Mal seit seiner Jugend wieder, der 27jährigen Octavia, „eines der vollkommensten Frauenwesen, die damals mit Anstand über den Jungfernsteg gehen konnten.“ Sofort gelingt es Albrecht, „auf diesem Ankerplatz, der vor der tiefen Bucht ihres Herzens lag“, anzulegen. Als er tags darauf um ihre Hand anhält, zögert Octavia anfangs, da sie weiß, dass Albrecht „Meeresstille und gedämpftes Licht“ sucht, „Wind und Wellen, Sonnenglut und Sonnenlust“ aber seine Elemente sind. Als er ihr aber seine Liebe erklärt, „verzischt der kühle Tau“, der sie umgibt.
Nach 5 Jahren Ehe hat sich Octavia kaum verändert, ihre Schönheit ist noch immer „die eines lebenden…
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Review by Richmond Hill ★★★½
Notable late-days Third Reich-era film. Although, what's notable? The date, the country, or just the film?
Inevitably with anything made at this point the immense socio-political context has to be traversed before any artistic consideration. But even when you get through to that you end-up reading things into it: suppositions for what may or may not be there with the bucolic air cross-referenced as if concealing something (which it did by dint of being made and following the party line).
Yet this brittle materialist fantasy is not much unlike anything being made by America or England at this point, save for the occasional reading from National Socialist favourite Nietzsche, or the yearnings for the great outdoors and healthy athleticism of,…
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Review by Dr. Ethan Lyon ★★★½
1st Veit Harlan
The cinema of the Third Reich is one suppressed. This is an understandable action by cinema historians and governments, considering the monstrous evil it endorses. However, I retain a certain fascination with the period for that very reason- how did one regime smuggle the noxious philosophies that defined it into its cinema? How did it reinforce its indoctrination? Opfergang is an excellent example of that.
While on the surface it may seem to be nothing more than a creaky melodrama, if you do a little digging, you find it was made by the man who gave us Jew Suss, an appalling piece of antisemitism, and comes from a book written by an admirer of Hitler. The themes…
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Review by Cinemattick ★★★★★
Wenn man ausblenden kann, dass es sich um einen Film handelt, der während der NS-Zeit entstanden ist und man die teilweise sehr melodramatischen Momente schlucken kann, bekommt man einen grandioses Liebesdrama in wunderschönen Agfacolor Verfahren gefilmt, mit epischen Chor-Gesängen und einer Zuweilen philosophischen Dreiecks-Liebesgeschichte, welche den Tod behandelt.
Dabei wirkt alles so surreal durch die Farbgebung und die tragende Musik. Die Traum Sequenz am Ende fügt sich deshalb nahtlos in das Gesehenen ein und stellt ein Highlight dar!
Wie kann sowas schönes in einer so schrecklichen Zeit entstanden sein?? -
Review by PacificNil ★★★★★
Der ultimative Faschingsfilm.
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Review by MaxSiehtFilme ★★★★★ 2
Meine fünfte Sichtung und der Zeitpunkt, an dem ich meine Wertung auf 5 Sterne erhöhe.
Was für ein absoluter Wahnsinnsfilm. So völlig fernab jeglicher Lebensrealität zum Zeitpunkt seines Erscheinens, so abgründig, so morbide und so irrsinnig schön. Mögen auch einige Szenenübergänge etwas ungelenk wirken und die Erzählstruktur zu wünschen übrig lassen, Harlans Film entwickelt mit jedem Mal aufs Neue eine düstere Anziehungskraft, der ich mich einfach nicht entziehen kann. Bei einigen Szenen (wie der mit dem Regenbogen, der als "Brücke auf die andere Seite" bezeichnet wird) bekomme ich jedes Mal vor lauter Schaudern Gänsehaut, wie auch in Hitchcocks Vertigo, als Kim Novak die Jahresringe eines gefällten Baums kommentiert.
Besonders ist mir dieses Mal die Musik aufgefallen, die fast nur dann…
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Review by EinFilmarchiv 1
Man kann diesen Film visuell kaum von einem der Heimatfilme und Schmonzetten der 50er Jahre unterscheiden. Kein Wunder, schließlich hat Kameramann Bruno Mondi beispielsweise auch die Sissi-Filme fotografiert. (Allerdings ist OPFERGANG viel exquisiter ausgestattet, sorgfältiger inszeniert, in seiner Farbgestaltung atemberaubend und noch dazu tonal sagenhaft präzise austariert.) Schaut man in die üblichen filmgeschichtlichen Quellen, wird Veit Harlans Film meistens als Melodram eingeordnet – ein reichlich überzogenes, aber ideologisch unbedenkliches. Kann das sein? Kann es sein, dass der Regisseur von JUD SÜSS hier nur mit einer arg morbiden Ménage à trois im Hamburger Großbürgertum so kurz vor Kriegsende von der Götterdämmerung in Nazideutschland ablenken will? Wir sagen eindeutig nein, und unterhalten uns darüber, wie perfide und subtil und dennoch effektiv Harlans…
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Review by soledadmiranda ★★½
Sure, I DREAM IN AGFACOLOR but unfortunately, I didn't buy the love triangle story that this was trying to sell me for a second. The movie features a very touching and highly experimental sequence about death though and it shocked me quite a bit so I would recommend this solely based on that.
EDIT: the most liked review for this is so incredibly dumb omg "I want to first talk about Agfacolor. [...] it looks incredibly cheap. It even looks cheap compared to early examples of color stock." BITCH WHAT! I hate letterboxd
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Review by Tobi196 ★★★★
So much about this film is strange, very strange.
Goebbels dubbed it "Todeserotik" (Death Eroticism). Some sources claim he hated it, others that he was obsessed with it. He did withhold its release for more than a year. He remarked that as this film depicts infidelity in a positive light, it depicted one of the greatest fears of the soldiers at the front (their sweetheart betraying them) and would move many to desert the army.
The film did in fact start production before Stalingrad so at least some of the implications of Nazi doom and gloom are misguided. It was not made with the mentality that the war would be lost.
This does not mean that we should not concern…