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50 of 51 people found the following review helpful
4.0 out of 5 stars Four stars for this underrated masterpiece (three for the DVD)
The Film

I always thought Steppenwolf to be an unfilmable book. Steeped in Jungian psychology and written in an entirely subjective tone, it is immensely complex and thought provoking and one of Hesse's darker books. Although a generation of flower children identified with it, Hesse claimed that a person had to be approaching 50 to fully understand it, as it...
Published on August 11, 2006 by Brian Whistler

versus
9 of 13 people found the following review helpful
3.0 out of 5 stars The surreal 70s...to the max
Fred Haines' 1974 film version of this Hermann Hesse novel appears to have been heavily influenced by the psychedelica very much in vogue in the swingin' sixties and the early seventies. Replete with color negative footage, Czech-style animation, wacky over the top music, all kinds of disjunctive jump cuts, a blatant anti-war sequence, sensual sex that winds up meaning...
Published on February 15, 2007 by LGwriter


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50 of 51 people found the following review helpful
4.0 out of 5 stars Four stars for this underrated masterpiece (three for the DVD), August 11, 2006
By 
Brian Whistler (Forestville, CA United States) - See all my reviews
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This review is from: Steppenwolf (DVD)
The Film

I always thought Steppenwolf to be an unfilmable book. Steeped in Jungian psychology and written in an entirely subjective tone, it is immensely complex and thought provoking and one of Hesse's darker books. Although a generation of flower children identified with it, Hesse claimed that a person had to be approaching 50 to fully understand it, as it really is a novel about midlife crisis. It is about finding salvation in self forgiveness and inner tranquility in a world ever spiraling towards madness. As such, it is as relevant today as its setting in prewar (WWII) Germany. The madmen are still out there, set on destruction, and there are still those brave souls who feel compelled to rage against it.

But this is really a novel about the inner journey, the journey of the soul. It needed a visionary director to bring it to the screen and found one in director Fred Haines, who took up this difficult book and against all odds, delivered a flawed masterpiece-flawed because of the overuse of dated video effects and the preponderance of blaring analog synthesizers during the hallucinatory third act. This has been the most criticized segment of the film and it does present some problems to modern viewers. But as representations of psychedelic trips on the silver screen go, it's at least a cut above some of the other often embarassing attempts of the 70's. Still, it is the weakest part of the film and unfortunately, the climax.

Yet standing back, there are many more things to like than dislike about this unique and ambitious film. Max Von Sydow gives one of the finest performances of his distinguished career as the tortured misanthrope, Harry Haller, who we can't help but admire for his values and dogged ideals, but indeed would've been a difficult man to keep company with. Dominique Sanda is appropriately mysterious and deliciously seductive as the ephemeral Hermine, Harry's 'anima woman', the only problem in her performance being her dense accent, which makes her lines very difficult to parse. The same could be said of Pierre Clementi, whose accent is as thick as goose pate, but otherwise does a fine job as the hedonistic mystic sax player, Pablo.

The dark look of the film and the brooding score (other than the aforementioned synthesizer blips,) by jazz composer George Gruntz are spot on. There is a marvelous sense of place throughout the film. The location settings are very beautiful and perfectly in keeping with the film's solemn atmosphere.

This film ultimately transcends its period and its technical limitations to deliver a timeless message of renewal and hope. Underneath its dark exterior dwells a comedy, the human comedy to be precise. The more times I have viewed this film, the more funny it seems to me. Hesse's Harry is not judged harshly by the gods. Instead, Divine Providence (and his own finer instincts) gently guides his tormented soul back into life and back to his core belief in a benign universe.

Enjoy the Magic Theater. But remember, "For Madmen Only-Not for everybody!"

The DVD -

First the bad news: It is not widescreen (big mistake!)The good news is, It looks better than I thought it would. Actually, it's pretty clean.There is definitely more detail in this version than the VHS release. There are occasional inexplicable shifting color artifacts lurking in the background, but other than that it is pretty sharp looking, especially when compared to my ancient vhs copy.

It appears to have been transferred from a decent print. There are a few small momentary blobs that should have been cleaned up, but nothing critical. The sound is decent but nothing to crow about. There is static here and there, probably artifacts from the old analog print. Digital cleanup should have been applied to the audio as well, but I didn't expect it from these guys.

About the coolest thing about the DVD is the ability to turn on english subtitles. I thought I had deciphered the dialogue over repeated viewings, but I was in for a few interesting surprises. I definitely recommend viewing this film with english subtitles on, at least for the first time. It really helps.

As far as extras go, there is a trailer (unfortunately with the movie's corniest synth piece on it) and nothing else. Hopefully one day the widescreen, digitally remastered version will be released, but I wouldn't hold my breath. Until then I'll just have to be content with this improvement over the VHS tape I have treasured all these years.

NOTE: I believe that Okayuma's "Mystery of Rampo" (1994) was very influenced by the film Steppenwolf. There are just too many parallels in the structures of these two films to be a mere coincidence. Both films are very psychological and deal with the internal world, within which the line between objective and subjective reality is not clearly delineated.

Both films have an animated expository sequence at around 15 minutes into the film. Both films end with a non linear "trip" wherein reality breaks down and the dream takes over. There are specific shots in Rampo that bear an uncanny resemblance to its predecessor:a long closeup pan of old hardcover books in a bookcase transistions to a fountain pen scratching out a line on parchment. A golden music box plays a nostalgic tune...too many things to be merely coincidental. Both are of course, 'anima films'. It makes total sense that Okayuma would reference his own startlingly original film to this minor masterpiece. Together, they would make a great double bill. 'Rampo' is highly recommended to fans of Steppenwolf.
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34 of 35 people found the following review helpful
4.0 out of 5 stars Healing for the troubled spirit, September 7, 2006
By 
This review is from: Steppenwolf (DVD)
The 4 star rating is for the film, not the novel Steppenwolf: A Novel. The book itself merits 5 stars. The DVD looks like a pan and scan version of a VHS master, although with a menu of chapters, subtitles and the original trailer. In the German issue of this DVD you get an order form and write up on Hermann Hesse's collected works.

Max von Sydow (Harry Haller), Dominique Sanda (Hermine), Pierre Clementi (Pablo) and Carla Romanelli (Maria) deliver credible performances, faithful to their respective characters. Storyline is true to Herman Hesse's novel as well. The editing is hurried and choppy in the first half of the film, making it difficult to connect emotionally with the Steppenwolf's plight, whereas the surrealistic scenes in The Magic Theatre are superbly executed (pardon the pun). The illustrations used to depict the Steppenwolf's metamorphosis are reminiscent of the German Expressionist film, The Cabinet of Dr. Caligari (Restored Authorized Edition), and I suppose would be appropriate considering the story dovetails with the Expressionist period in Weimar Germany. Nevertheless, it's a film not to be overlooked if you love this amazing book by one of the 20th century's great writers.

"Steppenwolf" is in part an autobiographical story exploring the mid-life crisis of Hermann Hesse. Viewers should be aware that German nationalists up to this point had criticised Hesse for his pacifist writings and activities during WWI. He like so many of his generation had helplessly watched the socio-economic turmoil and transition of Germany during the Weimar Republic, although he had long ago immigrated to Switzerland. He witnessed the deterioration of his first wife's mental health, which subsequently lead to their divorce. And he was afflicted with gout and other physical ailments, some of which are touched upon indirectly in the film. With these tragic events weighing heavily on Hesse, he suffered a nervous break down, whereupon he underwent Jungian psychoanalysis (more about this below).

The result was "Steppenwolf", a poetic tale about a middle-aged man who is spiritually, emotionally and physically sick. Any doubt to its subject matter can be easily dispelled in the book of poetry entitled "Crisis", which Hesse published in 1927 at the same time as "Steppenwolf". It contains two poems found in the novel "Steppenwolf" and a number of confessional poems describing his despair and personal loss.

Despite the abundance of reviews and narratives written on "Steppenwolf" and Hesse's philosophical position it was, he confided in the preface of editions printed after 1961, his most "violently misunderstood" work. Hippies in the late sixties embraced its references to drug use, anti-war activity, provocative music and sexual promiscuity. Even counter-culture guru and psychiatrist Dr. Timothy Leary speculated in his book The Politics of Ecstasy (Leary, Timothy) what types of medication Hesse had been prescribed, based on his dream and surrealistic images, depicted both in his novel and this film.

In truth, Hesse's intention was to paint the picture of Steppenwolf's (or Harry Haller's) state of mind. To portray this personality, Hesse resorted to Jungian psychology, particularly the principals of `ego', `animus/anima' and `self'. Harry Haller is his `ego'. Hermine is his `anima' (animus in women). Pablo and Maria are his `self'. Harry Haller (whose initials H.H. are the same as Hermann Hesse's), however, is unable to integrate the opposite and multiple pieces in his psychological make up. Unity of the personality is attainable by emulating the immortals' (Mozart, Goethe, Nietzsche, Novalis) sense of humour or adaptability whenever confronted with rigid conformity and resistance to change.

When Hesse introduces us to Hermine, he is referring to the `anima' in himself; Hermine is the feminine name for Hermann. In Jungian psychology, this is the feminine principal present in the male consciousness or the inner personality in communication with the subconscious. Hermine is in effect the inner voice of Harry Haller (Hermann Hesse) helping him to unify his `ego' and `self'. She encourages the intellectual and serious side of Harry - the `ego' - to recognise and accept the sensual and animal (Steppenwolf) side of his personality - the `self' - which jazz musician Pablo and escort Maria are only too willing to nurture. Hermine is the unifying force of the `ego' and `self', leading to the realm of the immortals in The Magic Theatre where multiple aspects of his personality are synthesised and made whole.

In this respect, The Magic Theatre becomes a metaphorical extension of Harry Haller's mind. All that Harry loathes about the mediocrity of the bourgeois, all that he loves about Mozart, Goethe, Novalis and Nietzsche, all the passion he feels for past loves and Hermine -- in essence, all that comprises Harry -- is distilled and fused as one. For instance, the music of his revered Mozart is played through the radio he so despises; the ugliness of war he dislikes, he embraces with a theologian friend in a war against the automobile (or machine); and when he figuratively kills Hermine, expecting the jury of immortals to sentence him to the gallows, he is heartily laughed down by them.

As for the structure of the story, one literary critic has compared it to a sonata. "Steppenwolf" is comprised of three movements. In the first movement the narrator introduces us to Harry Haller and his peculiarities; the second movement elaborates on the "Treatise Of The Steppenwolf" to explain his personality and behaviour; and the third movement resolves the psychological conflict in The Magic Theatre. It is a plausible premise, considering Hesse's knowledge of classical music and his allusions to classical musicians. Unfortunately this fails to come across smoothly in the film, whereas it works well in the novel.

Despite the complexities of "Steppenwolf", it is a fascinating, heartfelt and meaningful story. Hesse pours out his soul, probing his psyche, confessing his insecurities and beliefs, his sorrows and joys, his sensuality and intellect, analysing his (the individual's) role in society and offering some form of spiritual solace. He speaks to us all, regardless of age, sex, race or culture. For we have all at some point in life experienced the bittersweet condition of the Steppenwolf.
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13 of 13 people found the following review helpful
5.0 out of 5 stars For some of us, it's not not metaphorical or allegorical - it's our "actual" trip through space and time, June 7, 2007
This review is from: Steppenwolf (DVD)
I'm awarding this flawed film 5 stars despite all the things that trendy, critical people trash it for -- it's datedness, the franco-italian-british coproduction problems of dialogue and accents. ANY film gets dated to younger eyes, and there are few, well except for "La Dolce Vita", that manage to always look timeless.

Why 5 stars? Well, I don't think I would have had a sensible map for my strange life had I not seen this film way back when. Harry's encounters with Pablo and Hermine mirror my own journey -- not just inner symbols -- but inner symbols that came to life in my outer world. It perplexes me that people suggest that the third act is a hallucincation. The whole point of the film is that your entire so-called existence is a hallucination, pal: a trick of Maya, a deft Matrix, so to speak, that has been foisted upon us for... ever since a body appeared on consciousness and mouthed "I AM".

Of course, some will say that's a romantic notion, or some existential nonsense. I leave viewers to suffer their own life-concepts and belief systems and make them real as they want to. I found a lovely truth and a great youth and early adulthood in STEPPENWOLF that continues to shape my journey.

Does this film have flaws. Why, yes. Some of the dialog is arch, especially some of Pablo's pronouncements. One wishes Fred Haines had enjoyed access to current technology to reshoot and reimagine the so-called "Magic Theater" sequence. I personally have no problem with Gruntz' score -- other than it has never been pressed for consumption. It's a lovely mix of waltzes, 30s jazz, and mid-70s synth-jazz. I still hum a lot of its memorable tunes. There's a great sax solo in the Black Eagle when Harry Haller and his alter-ego Hermine dance the foxtrot.

There are classic moments: a flip, camp Herr Goethe telling the serious, somber Harry, "It don't matter, honey."

I wish the transfer had been better, with features added. I suppose too much time has passed (33 years).

In time, one hopes, a hunger for such journeys of the spirit in film will return. This one -- along with Nic Roeg's PERFORMANCE -- comes closest to my truth and experience of travelling through time and consciousness, so those of you on that train will enjoy it, despite its dated limitations.

Oh yes... there is always Dominique Sanda to look at.

'So.. your soul has fallen to pieces.. Great! Put it back together again. Any door you like.'
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19 of 21 people found the following review helpful
5.0 out of 5 stars Finally available, June 18, 2006
By 
Rowen di Bowen (MA ,United States) - See all my reviews
This review is from: Steppenwolf (DVD)
Finally this incredible adaptation of Hermann Hesse's nobelprize winning book will become available here too.

I first saw this movie in the 70's on a late night program in Germany and ever since have been hoping it will one day appear on DVD.

Max v. Sydow is very good here,probably one of his best performances.You couldn't think of a better Harry Haller.

Also the locations are fantastic and really get the atmoshere from the book brilliantly across.

This is the kind of movie one can only wish they would still do today.

Definetly one of the best adaptations I have seen.

Congratulations to the director and cinematography for having a superb vision to get this difficult material into such an exciting and inspiring movie.

Maybe not a very commercial project but one that will definetly be enjoyed by the people who have read and liked this book for a long time.

Classic!
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6 of 6 people found the following review helpful
5.0 out of 5 stars For madmen only, July 4, 2007
By 
Alex R. Chapman (Perth, Western Australia) - See all my reviews
This review is from: Steppenwolf (DVD)
The works of Herman Hesse have come in and out of fashion over the last century. I first saw Steppenwolf on a wet Sydney night in the Glebe Valhalla - an encore cinema double with Siddhartha at the tail-end of his last great resurgence, in the mid-1970's.

As an eighteen year old, it was Steppenwolf in particular that spoke to me that night - the whirl of 20's jazz set against the great German masters; the prematurely aging protagonist Harry (Max von Sydow) full of wolfish disdain and thoughts of death swept up into the mysteries of beauty, raw vitality and alternative realities, guided by the stunning Hermine (Dominique Sanda); the decadent Pablo (Pierre Clémenti) and the sensuous Maria (Carla Romanelli).

If you have read any of Hesse's novels then I expect you will recognise the fond filmic echoes of 19th century German village streets from 'Demian' or 'Peter Kamenzind', the curious psychological sub-texts which rise and fade throughout, the innocent love, the fury at the bourgeoisie.

But it was Steppenwolf that was adopted by the hippie generation as a touchstone for their psychedelic experimentations and this film, released in 1974, also references this modern interpretation of Hesse's work. Hesse was in fact exploring his own reality with the Jungian psychoanalyst J.B. Lang during periods of writing this book, between 1924 and 1928.

I really can't claim to understand the Jungian references between the four major characters in the novel/film and the psychological archetypes and personas of Jung. Nevertheless, the strength of the journey Harry undertakes, and the realisations he makes about the spiritual and the physical have stayed deeply rooted within me since that first viewing.

To watch it again, 30 years later, at the same age as Harry is in the film, was an eery experience - but extremely life-affirming.

This won't be a film for every-one: the special effects are dated, and the necessary contraction of the novel into a screenplay can always be criticised. Yet to me the director and writer Fred Haines has captured the essence of Hesse and his youthful appeal in this film, and combined with brilliant performances from the small cast has created a true masterpiece.

[A final technical comment on the DVD for those purchasing outside the USA - this Home Vision Entertainment release is strictly Region 1 encoded - it would not play on my new DVD player in Australia, but my laptop was able to switch to Region 1 mode and play it satisfactorily. This may not be a real problem for those with multi-region players.]
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3 of 3 people found the following review helpful
4.0 out of 5 stars Probably the best Hesse on film, a MUST for middle-aged depressives, May 11, 2013
This review is from: Steppenwolf (DVD)
Widely acclaimed as the best film adaptation of a Hermann Hesse novel, this movie is rarely seen outside of retro film festivals. It is an impressionistic, nouveau-psychedelic observation of the spiritual/physical duality of man and the clash of popular versus classic cultures, staged as a character study of "Harry"-- a stodgy and depressed middle-aged intellectual who breaks loose, via fantasy, to seek peace and self-realization.

In this respect it sticks pretty closely to the main points of Hesse's book, with all it Jungian overtones, though of course there are some of the usual shortcuts needed to compact the story into a movie-length tale. The special effects were cutting-edge for its time, and include animation, color synthesis, superimposition, acoustic trickery, and other techniques to convey the confusion and magic of the illusory world Harry encounters.

It Stars Max Von Sydow (in his first film after The Exorcist), the alluring Dominique Sanda (in dual roles), the quirky French actor/director Pierre Clementi (in dual roles), and also features a touching, yet very seductive bedroom scene with the unbelievably gorgeous Carla Romanelli.

Somewhat of an acquired taste, this film may be a bit too slow and "intellectual" for those who just watch it for the psychedelic & sexual parts, yet may seem too flippant and "hip" for those who might otherwise appreciate the ethical and philosophical issues that are explored. Most "serious" critics considered this film to be essentially plotless and/or pointless, since it doesn't really lend itself to their oh-so-learned pontifications on technique and (ahem) proper (ahem) character development.

An open mind is required, for this show to be enjoyed. Which, come to think of it, may well be the real life-lesson learned by Harry. . . as well as the audience. . . and possibly, Hesse's readers. Hmmm. . . . . .

When I first saw this flick back in the 70's, several of the people I knew described it as "Ingmar Berman on acid". . . and it was primarily marketed as an underground, counter-cultural, free love and pro-drug statement. Nowadays, with all of the relative media freedom that has since ensued, it just seems rather quaint, and amusing. . . but nonetheless entertaining.

This film was originally rated "R" -- there are some very sexy scenes, drug references, and some female nudity. Pretty tame by today's standards, but probably not a good flick for religious home-schoolers to watch with their offspring. Especially if they've been feeling stodgy and depressed. You just never know where this sort of thing might lead. . . .
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2 of 2 people found the following review helpful
4.0 out of 5 stars Ambitious attempt to film a major work, August 11, 2007
This review is from: Steppenwolf (DVD)
I was one of the "flower children" mentioned in another review who was heavily influenced by the work of Hermann Hesse in the '60's. I didn't do drugs, though, but did attempt to look at the fundamental problems of life that Hesse displayed. He may have been right in saying that we wouldn't understand these problems until mid-life crisis hits. I'm not sure. I'm wanting, now to re-read the book.

However, as to the film. Well, there are a lot of reasons to look at a movie and since our purpose here, as readers, is to give others a useful index, I'll give my opinion....as a thoughtful viewer. I found plenty of food for thought and I actually took a few notes. This would probably be a good film for a class or workshop where people had weeks to explore the meanings and, hopefully to apply them to their own lives. The themes are certainly worthy of attention and exploration and for that I'm tempted to give the film five stars.

And yet, as a movie....there is something lacking for me. It's one thing to bring up important questions and another to put them into a form that works for the viewer. As important as the questions were, and these are things that I do take seriously in my own life, I was left sort of cold at the end. Maybe it was the technique of the Magic Theater in the last scene that lost me. Actually I turned the DVD off at this point and only resumed it the next night to see what happened. I think that the technique just didn't live up to the concepts. No problem. It's still worth a watch and some serious consideration. In the end, though, I don't think that the problem that the HH character suffered---that of being overly heady to the exclusion of his heart--was resolved. It still seems a very heady, philosophical work and I think that a person who is sincerely interested in these questions would be better off to read the book.
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1 of 1 people found the following review helpful
4.0 out of 5 stars For Madmen Only, September 24, 2007
This review is from: Steppenwolf (DVD)
Adapting a Hesse novel to film is no easy task. In his introduction to Steppenwolf, Hesse said that almost no one under the age of 50 would understand the book; but cest la vie. I first read the book in my teens. I would come back to it several times through the next three decades. It impressed me very differently each time.

Max Von Sidow is perfect as Harry Haller. An outwardly respectable man who is fighting a war within himself between his "human" and "animal" nature. He meets Hermine, the woman who helps him find some enjoyment in his life. A jazz musician named Pablo completes the picture, with his "refreshments" that permit Harry to enter the Magic Theater. Therein he comes face to face with all the repressed elements of his psyche; and after a series of crisis, comes to accept the whole of his being; and "Laugh with the Immortals".

There are some parts of the movie that are a bit dated. Some that are very very "European" for an American palete. Some that could have been done a bit differently (and it would be interesting to see how a talented director of today, with an appropriate CGI budget, could handle this). but all in all, it is a very good movie.
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9 of 13 people found the following review helpful
3.0 out of 5 stars The surreal 70s...to the max, February 15, 2007
By 
LGwriter "SharpWitGuy" (Astoria, N.Y. United States) - See all my reviews
This review is from: Steppenwolf (DVD)
Fred Haines' 1974 film version of this Hermann Hesse novel appears to have been heavily influenced by the psychedelica very much in vogue in the swingin' sixties and the early seventies. Replete with color negative footage, Czech-style animation, wacky over the top music, all kinds of disjunctive jump cuts, a blatant anti-war sequence, sensual sex that winds up meaning very little, and a whole heck of a lot of European-style psychobabble dialogue, it nevertheless conveys the spirit of the novel on which it was based.

The character referred to in the title, Harry Haller, played by Max von Sydow, is a dissolute writer unsure of all aspects of his life, and it's this uncertainty that attracts him to--and/or that brings to him two entities: 1) Hermine, his "muse", played by Dominique Sanda, and 2) the Magic Theater, of which she is, in fact, a part, but which is also frequented by Pablo, the saxophone-playing sensualist and Maria, the ultra-sexy woman who obviously symbolizes--more than Pablo or Hermine--pure sensuality.

But essentially, says Hesse--channeled through Fred Haines--none of these entities are real. In fact, it's tough to tell who or what is real and that is the real point of the film, it seems. We live and eventually die and go through life as participants in a play whose meaning is lost to us. All kinds of psychological symbolism and related stuff is in this film, but rather than trying to interpret it all--or any of it, for that matter--better perhaps to say that here's an oddity, a curio, a semi-fascinating period piece that smacks of its time and gives the viewer--along with concert footage of the Grateful Dead, for example--a snapshot of what the early seventies were all about.

Worth seeing for this reason, Steppenwolf is a film that may not necessarily be remembered easily but on the other hand is not necessarily forgotten right away either. Somewhere in between...
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1 of 1 people found the following review helpful
4.0 out of 5 stars Steppenwolf, March 31, 2009
By 
Eric (Poughkeepsie) - See all my reviews
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This review is from: Steppenwolf (DVD)
Certainly a well-made movie, with some great moments, but given the nature of the original book -- something almost impossible to translate to film -- I'd say the movie doesn't quite reach the book's heights. If you portray the Magic Theater as a real place, it can't have the unreal, in-the-mind dimension that makes it so sublime in Hesse's novel, despite the surrealistic elements the movie adds. Hermine, Harry, Maria, and Pablo are all wonderful, but...the book is better!
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Steppenwolf
Steppenwolf by Fred Haines (DVD - 2012)
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