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37 of 38 people found the following review helpful:
5.0 out of 5 stars
"The rich of this world have no qualms about causing misery but can't stand the sight of it." And there's a happy ending., October 1, 2007
"You gents who to a virtuous life would lead us
And turn us from all wrongdoing and sin,
First of all see to it that you feed us
Then start your preaching. That's where to begin..."
Bertolt Brecht was a hard-nosed socialist, an unpleasant and selfish gent who often took others' ideas and transformed them into something uniquely forceful and original. He believed that the proletariat struggle against the bourgeoisie was unending. When he and the composer Kurt Weill, equally original and talented in Weimar Germany, but who was not nearly so politically rigid or so personally obnoxious, collaborated on Die Dreigoschenoper in 1928, it probably flabbergasted them both to have a huge popular success on their hands. Much of the reason is Weill's clever, pungent score, but a lot of the credit goes to Brecht's utter cynicism about how the privileged behave to the workers. Says one of Threepenny's characters, "The rich of this world have no qualms about causing misery but can't stand the sight of it." The movie G. W. Pabst made from the theater production eliminates great chunks of Weill's music. One would think this would be a terrible mistake. What we have, however, is a movie of social criticism that is so cynical with such self-serving characters that the songs Pabst kept seem to lift an already excellent film into greatness.
We're seeing the story of Mackie Messer (Rudolf Forster), a man as charming as a snake. He's a murderer, a rapist, an arsonist, a thief...all tools of his trade. Mackie in his tight suit, grey bowler hat and with his ivory cigar holder preys on others. We learn all about Mackie when a street singer (Ernst Busch) entertains the crowd with stories of his crimes. When Mackie "marries" Polly Peachum (Carola Neher), however, he encounters the wrath of Mr. Peachum (Fritz Rasp), London's king of the beggars. Soon Mackie's great pal, Tiger Brown (Reinhold Schunzel), London's chief of police, cannot protect Mackie when Peachum threatens to unleash all his beggars during Queen Victoria's coronation celebrations. Eventually, Mackie is betrayed and cast into jail, soon to be hanged. But the Threepenny Opera insists on a happy ending, just as in the movies. Polly has shown herself to be a great captain of thieves while Mackie was jailed. Tiger Brown, while dismissed as police chief has nonetheless rescued a great deal of money. Mr. Peachum's wily ways come into play. And Mackie sees no great issues that threats and money can't solve. They all agree that instead of robbing others illegally, why not start a bank so they can rob everyone legally? And with this happy end, we all are satisfied.
Pabst has created a wonderful visual sense of the time and place in Victorian Soho. There's a lot of shadowy lighting that underscores the rotten society that Brecht and Weill are serving us with such style. The songs that were kept in the movie catch us up in amused cynicism ("Mack the Knife"), the cynicism for naive love ("The Wedding Song for Poor People"), the cynicism of realistic love ("Polly's Song"), the rousing cynicism of the military ("Cannon Song") and, powerfully, the cynicism of resentment ("Pirate Jenny"). Lotte Lenya, Weill's wife, who plays the maid in Mackie's favorite brothel and has been one of Mackie's many conquests, sings this with such intensity and, at the end, cheerfulness, it will curl your toes. The warehouse where Mackie "marries" Polly has been made into a mansion of luxury and love that's as phony as lipstick on a pig. The bankers and police officers are the epitome of rectitude and are as hypocritical as many a mortgage lender's handshake. Barely underneath this surface of mutual use bubbles the corruption, as Weill and Brecht would have it, of the rich, the powerful and the complacent. It doesn't take much to remember the paintings of George Grosz, with all those fat, greasy-lipped bankers, wearing nothing but underwear and top hats, lolling in the arms of sweating, fat prostitutes. The Marc Blitzstein translation of The Threepenny Opera (1954 New York Cast) (Blitzstein Adaptation) that became a huge hit on Broadway in 1954 may have softened the edges a bit of Brecht's class war, but Weill's music and Brecht's lyrics (as translated by Blitzstein) still give one of the best ideas of how effective the score and the stage production continue to be.
Pabst's movie of The Threepenny Opera, in my opinion, rates the over-used term of being a classic. The Criterion DVD transfer is in very good shape. The extras are important to learn about the period, about Brecht and Weill and why Pabst made the changes from the stage production he did, much to Brecht's anger. Criterion on a second disc includes the French version of the movie, filmed simultaneously as this German version, but with a French cast. I'd also recommend getting the Region 2 DVD of Lawrence Olivier playing MacHeath in the wonderful Technicolor film version of John Gay's The Beggar's Opera. It was John Gay, after all, who started all this.
Let's let Brecht and Weill have the last words...
"How does a man survive?
By daily cheating, mistreating, beating others, spitting in their face.
Only the man survives who's able to forget
That he's a member of the human race."
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35 of 37 people found the following review helpful:
4.0 out of 5 stars
a fine Weimar era classic, September 25, 2007
This review is for the Criterion Collection DVD edition of the film.
The Threepenny Opera, released in Germany as "Die Dreigroschenoper" is a film directed by renowned Germin director G.W. Pabst. The film is based on a play of the same name which is based on John Gay's "The Beggar's Opera."
The film is about Mackie Messer also known as Mack the Knife who marries a woman he loves. Her father is infuriated and tries to have him killed.
The film has anti-capitalist themes which led to it being banned in West Germany after World War II for years, but promoted in East Germany. The film contains some fine songs and accompaniment with the barrel organ.
The release also contains the French language version of the film.
There are some great special features in this double disc set.
Disc one contains the German language version of the film with optional audio commentary by film scholars David Bathrick and Eric Rentschler. Rentschler is an expert on early German films and has written many books on the subject. Also on disc one is a documentary on the story's adaptation into the film.
Disc two contains the French language version of the film (L'opéra de quant'sous) with non-removable English subtitles, a comparison of German and French versions with a split screen side by side look at matching scenes, an interview with Fritz Rasr, and a gallery of production photos by Hans Casparius and sketches by Andrej Andrejew.
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9 of 9 people found the following review helpful:
4.0 out of 5 stars
Ausgezeichnete Film, February 18, 1999
Considering its age, and the sheer fact of it's survival in spite of the Nazi's destruction of all copies they could find, it is an interesting and impressive piece. Since this was made close to the time that Weil and Brecht wrote the piece, I think it is closer to the rubrick than later versions. My only problem was that, as is often the case, the subtitles bore little or no resemblance to what was actually being sugn.
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