"Helena" (1924) By Manfred Noa
Ferdinand Von Galitzien
Homer’s work “The Iliad”. It was kept practically in oblivion until an
almost complete copy was found in Lausanne, Switzerland (that European
country so amusing for Teutonic aristocrats). This copy was completed
with several materials available from other forgotten copies in the
archives of Rome, Madrid and Moscow.
Due to all this material and research, a reconstruction, very close to
the original, has been possible. It was made by the “FilmMuseum
München”. It is another major effort of silent film restoration
because in this case they kept the tints used in the original film.
All this provided a unique opportunity for the world of silent movie
fans to appreciate this German super production after it suffered
through 80 years of neglect.
Obscurity was also the fate of the film’s director, Herr Manfred Noa;
this Teutonic aristocrat did not know much about Herr Noa; although,
from time to time, this Herr Graff might have crossed paths with him
in some decadent silent soiree… Herr Manfred Noa (1893-1930) was
originally an architect but then embarked on a short but fruitful
career as a director in Berlin.
He started as a set designer in many Germanic productions until he was
“discovered” by the great German director Herr Richard Oswald (who
directed among others, the unclassifiable and fascinating “Unheimliche
Geschichten” (1919) and “Alraune” (1930)). Oswald acted as Herr Noa’s
mentor and Noa finally had an opportunity to direct his first film
“Bobby Als Amor” in 1916.
His meticulous adaptation of Homer’s masterpiece brought his
production company, Bavarian Films, to bankruptcy and the film was
unable to recoup the enormous production costs. It was released at
almost the same time as Fritz Lang’s “Die Nibelungen” (1924), a great
epic that deserves its place of honor in cinema history. However, it
is unjust that “Helene”, which shares some of the qualities of the
Lang film, had such small support from a public who enjoyed these
monumental films.
Herr Manfred Noa, was Jewish and had to suffer the anti-Semitism that
was so common in Germany at that time. Noa’s earlier film “Nathan,
Der Weise” (1922), a plea for tolerance between different religions,
had to be withdrawn from the cinema because of threats that were made
barely a day after its premiere in Munich. Of course the situation
was doomed to get worse as the Nazis gained in influence.
Noa died prematurely in 1930 and both his life and his work
stayed in oblivion until the recent discovery and excellent
restoration of “Helena”.
“Helena” is the only German film version of the Troy legend;
certainly doing an adaptation of such a work was a very arduous and
unenviable task but it was put in the capable hands of playwright Herr
Hans Kyser. The movie was divided into two parts, “Der Raub Der
Helena” ( The Abduction Of Helen ) and “Der Untergang Trojas” ( The
Ruin Of Troy ). It’s a titanic, surprising and majestic effort,
technically impeccable and with extremely careful production design.
The theatricality, magnificent locations, great set design and
countless extras naturally bring to mind “Cabiria”, that super
production that influenced so many, especially Herr Griffith.
“Helena” is a big, kolossal film worthy of the adjectives usually
heaped upon such an epic. It also has an eye for realistic historical
detail and striking costume design (done by Herr Walter Wessener). The
film’s special effects are outstanding especially in the premonitions
and dream sequences which are atmospheric and ingeniously done.
Obviously in this adaptation of Homer’s work, special care has to be
taken for the big battles and crowds and the hordes of extras,
especially when the city of Troy is under siege. The coordination of
these elements can be difficult, even for the disciplined German
mind.
Not all of the spectacular sequences are as good as they could
be; surely the chariot race does not compare to the one in Fred
Niblo’s “Ben-Hur” (1925). It is actually “static” and without the
beauty and emotion of Herr Niblo’s excellent film. However, “Helena”
makes up for it to some extent in the naval battle where the chaos
produced by the ships, smoke and fire manage to recreate perfectly
that emotional conflict between Greeks and Trojans.
The film’s principal actors, although not very well known, performed
their characters in a proper manner, without falling into excessive
mannerisms that one sometimes sees in these pioneer productions. It is
important to mention Herr Carl de Vogt, one of the biggest German
stars of those times who had already performed in four of Herr Fritz
Lang’s films. He plays Hektor in “Helena”.
The film’s numerous merits demonstrate the unfairness of “Helena”
and its director Herr Manfred Noa being so little known. We have to be
grateful for these modern restoration jobs of old nitrates.
And now, if you'll allow me, I must temporarily take my leave because
this German Count has just received an agreeable present from the
Schloss’ servants: a big wooden horse.
Herr Graf Ferdinand Von Galitzien
http://ferdinandvongalitzien.blogspot.com/