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image om Viktor und Viktoria (1933) We are thrilled to screen three films produced 1920s-30s Germany, offered by distributor Ko Lorber as Pneers of Queer Cema: Carl Theodor Dreyer’s Mikaël (1924); Leonte Sagan’s Mädchen Uniform (1931), and Rehold Schünzel’s Viktor und Viktoria (1933). There was a gay mec long before San Francis and NYC. In the 1920s, Weimar Berl was home to approximately 100 bars terg both to gay men and lbians. Over two dozen perdils were beg published cludg the earlit gay male magaze, Der Eigene (1896-1932) and the first lbian journal, Die Frnd (1924-1933). A nascent ‘homosexual’ rights movement had s roots activism agast the Pssian anti-sodomy statute, Paragraph 175, begng wh Karl Herich Ulrichs 1867. In 1869 the term homosexualy was ed a German pamphlet by Karl Maria-Kertbenty. In 1897, the ement sexologist Magn Hirschfeld -found the Scientific-Humanarian Commtee to fend the rights of homosexuals and fight for the repeal of Paragraph 175. Post-WWI, as the first German mocracy, the Weimar Republic took root, Berl explod. The third most populo cy the world at the time, prostutn (driven part by the tattered enomy and missned soldiers) flourished, as did accs to dgs, and a roarg night life. So did polics, a fervent arts scene (exprsnism, the ‘New Objectivy’, barets, exploratns theater by Brecht, Weill, and Erw Pistor, Bhs) and ground-breakg cema. Hirschfeld (a precursor to Aled Ksey) tablished his Instute for Sexual Rearch 1919. Berl was the place to be for artists seekg the cuttg edge, and for those disverg same sex sir. Christopher Isherwood (Goodbye to Berl, source material of Cabaret), wrote that at the ve of fellow Br W.H. Aun he me “for the boys.” Cephil will already be gnizant of the ground-breakg cema of Weimar: Robert Wiene (The Cabet of Dr. Caligari), Frz Lang (Dr. Mabe, Metropolis), F.W. Murn (Nosferatu, Fst) and G.W. Pabst (Pandora’s Box), to name a few. From the great silent era we have Dreyer’s Michael (Mikaël), adapted om Herman Bang’s 1902 novel of the same name. The novel had already been adapted to film by the acclaimed Swedish director Mrz Stiller (most known for disverg Garbo), as Vgarne (The Wgs). Film historian and cric Richard Dyer poss that Vgarne was the first explicly gay film (only about a third of the footage remas).  Ko Lorber’s webse stat that this “homoerotic classic is a mature and visually elegant perd romance s ahead of s time.” Film historian Tom Milne wrote “Michael is perhaps Dreyer's first masterpiece, assured, reticent, and radiant wh subtle ner nnectns.” The film is regard as one of the first exampl of Kammerspiele film, an timate, psychologilly based form, often rtricted to terr domtic spac, spired by the chamber plays of Ibsen, Strdberg, and theater producer and director Max Rehardt. Dreyer had the pick of the German producg pany UFA, his first cematographer was Karl Frnd (Metropolis, Berl: Symphony of a Cy, Dracula). When Frnd left for another film, he employed Rudolph Maté, who would later lens The Passn of Joan of Arc (1928) for Dreyer. His -wrer was none other than Thea von Harbou (Metropolis, M).  In one sense the film is the mon melodrama of a romantic triangle between the artist Cl Zoret, referred to as ‘the Master’, his me and protégé, Michael, and the impoverished Counts Zamikow, who steals Michael away. It is very much the ve of the romanticized view of classil perasty, a male elr who guis and stcts a beloved male youth, a wily held posn of the tim, ma explic by Osr Wil among others. “Time and aga Michael ab The Master’s tst him, and The Master keeps fivg him. Tortured by lonels and Michael’s selfishns, The Master creat a fal, magnificent patg before he di, utterg the words, ‘Now I n die peace, for I have seen a great love.’ … “This sophistited film unfolds sumptuoly rated terrs filled wh extravagant objets d’art. …  Michael is a chamber play, pictg a few people and their mutual relatnships. All signifint thgs rema unspoken. Dreyer has the mera tell the story glanc, facial exprsns and objects.” () For a long time Mädchen Uniform was relegated to films of anarchic adolcent rebelln, wh polil, anti-fascist agendas (which has), a female unterpart to the acclaimed French film Zero Condue (Zero for Conduct). Its lbian ntext was unrplayed by later crics, until B. Ruby Rich’s pneerg say Jump Cuts, “Maedchen Uniform: From reprsive tolerance to erotic liberatn” (1981). “There are moments when one historil perd seems to beckon to another, offerg the semblance of lsons to be learned or errors to be avoid. Certaly, that is te today for those of reviewg the fate of progrsive polil anizatns the Weimar perd precedg Adolph Hler's g to power the flatn-torn and thory hungry Germany of 1933. In particular, the history of women's-rights groups and homosexual emancipatn anizatns is one that needs to be better known and analyzed,” Rich begs. In a reprsive boardg school, manufacturg “mothers for the fatherland,” pupil Manuela stag a rebelln that sweeps up both her fellow stunts and her beloved teacher, Frle von Bernburg. Like Michael, Mädchen is based on a pre-existg source, a play by out lbian Christa Wsloe. Film director Sagan was a theater director and actor, a protégé of Rehardt, who directed the stage versn of the film. “I would suggt that Maedchen Uniform is not only anti-fascist, but also anti-patriarchal, s polics,” wr Rich. After a dnken celebratn of her triumph a troers role Schiller’s Don Carlos, Manuela openly proclaims her love for her teacher. What ensu is a rebelln of both the girls and the prevly timid von Bernberg agast the patriarchal l of the school. “Who were they?” queri Rich. “Ltle has been wrten, and ltle known, about the women behd this work. Their sexualy has been as thoroughly veiled as the lbian theme of the film self.” Followg a historil tour of Weimar culture, Rich wr, “Maedchen Uniform emerg om such a review of Weimar's lbian subculture not as an anomaly any longer, but as a survivor. The film assum a new importance when seen as somethg other than a cursy. Rather is a clue, an archaeologil relic potg back to an oblerated people.” Importantly, Rich’s say nnects a personal liberatn the film to a llective one. Viktor und Viktoria, the #1 German box-office h of 1933, was simultaneoly ma a French versn by the director, and has been the subject of equent remak, cludg Blake Edwards’ Victor/Victoria starrg Julie Andrews and Robert Prton. While Edwards mak the male impersonator Toddy (Prton) gay, all the characters the origal prent as straight. Viktor und Viktoria plays as both a morn sex farce and an old-fashned cross-drsg edy of genr nfn reachg back at least to Shakpeare. It’s a mil souffle, a light-hearted operetta spired by the lik of Ernst Lubsch and Billy Wilr.  Renate Muller (Suzanne) the Julie Andrews role, was a star fixture Weimar baret, pared to the parable Dietrich. Hermann Thimig (the Prton role) was a fixture as a beloved character actor Berl theater circl.  The film may have taken part of s spiratn om Berl’s club Eldorado. “The chief Berl attractns were the transvte venu. By far the most famo was the Eldorado, a nightclub whose ftive atmosphere attracted not only homosexuals but also artists, thors, celebri, and tourists wantg to admire a piece of ‘nt’ Berl or tch a glimpse of someone famo.” (Queer Inti and Polics Germany: A History, 1880-1945, Clayton J. Whisnant)  The ia of genr fluidy was not unheard of Weimar Berl. As Richard Dyer wr a New Yorker review of Robert Beachy’s Gay Berl,  “To Hirschfeld, genr was an unstable, fluctuatg enty; the male and the female were “abstractns, vented extrem.” He once lculated that there were 43,046,721 possible batns of sexual characteristics, then dited that the number was probably too small. He remas ahead of his time.” This small sample of Weimar cema problematiz our notns of queer history and pot to possibili that were lost amidst a fascist takeover. Perhaps most important is a realizatn that all three films assumed a market, a queer public hungry for stori of themselv. * preston gay cinemas *

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