Nielsen was a successful and popular actress in European cinema from 1910 to the mid-1920s. She was also possibly the first cinematic diva. Her career was launched with great panache in Denmark in 1910. She later moved to Germany, where Danish cinema was already popular. Though she is remembered mainly as a combination of femme fatale and tragic heroine she appeared in a wide range of genres, including comedies. Her films have appeared at both Le Giornate del Cinema Muto and Il Cinema Ritrovato. However it was the latter festival that provided an overview of her career in a retrospective in 2007, with a particular focus on the teens.
The programme was curated by two German scholars, Heide Schlüpmann and Karola Gramann. As well as programming a wide range of films bought together from a number of archives they provided the notes for the Catalogue and some very interesting introductions to the films. One point that they emphasised was the task of trying to achieve some sense of Nielsen’s persona and impact back in the teens and 1920s.
For example, we scarcely have any sense anymore of the drama of passion, the pathos of the sexual, the significance of the gender conflict. Yet these were very much part of everyday life around 1900 – something to which not only Sigmund Freud, but also the sexual reform movement and the woman’s movement, testify
Ritrovato Catalogue, 2007.
Nielsen could certainly generate both passion and pathos. But whilst in a number of films she portrayed the victim of male exploitation she was also frequently a strong and forceful female character. And this aspect of her persona was apparent both in dramas and in comedies.
Nielsen was already an established stage actress when she was recruited into the Danish cinema in 1910. Whilst she was discovered by August Blom most of her films were directed by Urban Gad, whom she married. They were both recruited to Germany in 1911 and most of her film career was spent in that Industry. She was already a popular star before World War I and she continued a successful film career after the war.
The ‘gaucho’dance in Abyss
Her earliest film screened at Il Cinema Ritrovato was Afgrunden (The Abyss, 1910): the film ran for 44 minutes at 18 fps and the Danish intertitles had an English translation. In the film she plays Magda who starts a romance with Knud (Robert Dinesen) after a chance meeting on a tram. Knud is a conventional professional; his mores illustrated by his father being a minister. But Magda is taken by Rudolph, a performer in a travelling circus. Thus she is caught between the domesticated male and the lover figure, a staple of film melodrama. What made the film stand out was the vitality and forcefulness of Magda’s character. There is an erotic sequence where Magda vamps Rudolph on stage: and later she wields a knife when she is caught between the competing desire of Knud and Rudolph. The Catalogue included a contemporary review, which gives some sense of the impact of this new film actress.
All these may have contributed to the sensational success of the film drama The Abyss, which is currently showing to full houses twice every evening at the Palasttheater in Dusseldorf…. [re the gaucho dance in the film] Asta Nielsen, in the role of Magda, dances out her ill-fated and ruinous passion for the artist Rudolph.
“Die Kinematograph”, Düsseldorf, December 1910.
As was conventional in this period the film was presented mainly in long shot with just a few mid-shots. Even so Nielsen generated obvious emotion in her stance and movements: posture and gesture was as important as facial expression.
Francesco Bertini, an Italian Diva who followed on Nielsen in 1914, recalled being shown The Abyss in preparation for one of her early dramas and even then, four years later, it was still regarded as shocking.
An example of her later work was found Mod Lyset (Towards the Light, Denmark 1918) written and directed by Holger-Madsen, [screened at Le Giornate del Cinema Muto in 1999). It ran for 68 minutes at 16 fps and had Danish intertitles with a translation into English. It was a single Danish production for Nielsen in this period.
The reformed Countess in Towards the Light
The film had a far more complex style than Afgrunden. There were innumerable close-ups of the characters intercut to the mid-shots and long shots. For a number of shots an iris effect was used. The film also used chiaroscuro, and there was an impressive night-time sequence with a boat crossing and then a fire. The film also used a mirror as a plot device: a trope that appeared in Afgrunden and was common in this period.
The basic story was depicted at the start in a series of dissolving shots of the main character Countess Ysabel (Nielsen). Unlike many of her earlier melodramas, rather than a ‘fall from grace’ this film depicted a character’s ascent from ‘frivolity’ to religious and social commitment.
The film also had a complex plot with a number of intersecting strands. There was Sandro (Anton de Verbier), ‘the ruler of her [Ysabel] heart: who was not all he seems. There was professor with a nephew Felix (Harry Komdrup); the latter was smitten with Ysabel. And there were a separate set of characters around Elias (Alf Blütocher), a preacher involved in community work, including an island settlement for the homeless. These different characters were carefully integrated in the story to provide the motivation for the final and deliberately uplifting resolution. Nielsen was, as ever, excellent and charismatic; but the part did not offer the panache one felt with her less reputable characterisations.
In 1920 she starred as the protagonist in film a version of Hamlet based on a stage version by Erwin Gepard. The Catalogue quoted Lotte Eisner who opined:
The soulful eyes, the slim figure, the strange, cultivated pallor make Asta Nielsen the perfect Shakespearean Danish prince – exactly as we ant to see the prince.
In 1923 she starred in a film version of Erdgeist (Earth Spirit) from the play by Franz Wedekind: more famously filmed in 1929 by G. W Pabst. The director Leopold Jessner gave the film a rather expressionist look. But the character of Lulu, igniting uncontrollable desires in men, suited Nielsen perfectly.
Then in 1925 she was a leading player in a film by G. W. Pabst, Die Freudlose Gasse (The Joyless Street). Here, in a different role, she played a victim of the harsh economic conditions of the time and of an exploitative member of the petit bourgeoisie. The film is relentlessly grim, but beautifully filmed and edited: moreover for the price of one ticket you can see Nielsen, Great Garbo and Marlene Dietrich all in the same film.
Nielsen did essay some films in the early sound period but her great roles were from the teens through to the mid-1920s. She was in many ways the defining actress for the European diva of the silent era. She could play both victim and femme fatale but also handle the lighter touch of comedy. The films of the teens have a different focus and different style from the 1920s. But Nielsen was able to work effectively in both areas.
As the experience of Bertini demonstrates, she was an important influence across European cinema. And without a voice she communicated with her body, her gestures and her face. The Catalogue notes:
Asta Neilsen discerned the potential of a style of acting that was not just unfettered by words but uninhibited in every respect. She took leave of the rigid linguistic forms by means of gestures and facial expressions, behaviour patterns which she clearly displayed. (Heide Schlüpman, Karola Gramann).
Note May 9th sees a screening of the Asta Nielsen Hamlet at the University of York Campus.