Expectations were quite high for 'Joyless Street'. Have been for a long time been captivated by Greta Garbo, my first expsoure to her being in the wonderful 'Camille' where she literally was the film in the best possible way. Had just seen Werner Krauss in a Mephistopheles-like role in 'A Student in Prague' and was hugely impressed by him. Another reason to see 'Joyless Street' was the great Pabst himself, his direction of actresses and what their characters have to go through in their stories being what set him apart at the time in a bold way.
Something that can all be seen in 'Joyless Street'. Although it is tonally far from joyful, as an actual film in quality overall without comparing it to anything or anyone else the film is a joy in terms of how much it does right. Which is actually almost everything. The subject may be joyless but the execution of the film is anything but joyless, actually found it a great and nearly brilliant film that is not quite perfect but does so much right.
My only real problem with 'Joyless Street' was the ending, that felt tonally at odds with the rest of the film and like it was tacked on due to studio interference or something.
Otherwise 'Joyless Street' came over to me as great. It looks great, not just the atmospheric lighting, the elegant settings and stylish and varied photography but actually also this time the editing, which was as seamless as one could get at this point of film history. Pabst's direction is on point, and what he excelled in is very evident. His direction of the legendary Greta Garbo is noteworthy and her character's story is one to identify with all the way regardless of whether anybody themselves has been through it themselves.
Along with the editing, which was very advanced at that point (am not meaning this at all disrespectfully, there are many classics pre-1925 for sure), the most striking thing about 'Joyless Street' is its realism. Not just in the evocative settings but also how it depicts the period the film is set in, middle-class Vienna is portrayed quite authentically here (for the time). This is something that Pabst turned out to be a pioneer of, what is called "street realism".
It is thoughtfully written and it has the right amount of grit and emotion in the story. Garbo is as always captivating, can look at her eyes and face is wanted to. Asta Nielsen's role is just as challenging and some have said she was too old for her role, to me she did very emotively and didn't overdo or phone in. Werner Krauss proved with 1926's 'The Student of Prague' that he could do sinister-like roles well, he excels here as well at that.
Summarising, great film. 9/10
Something that can all be seen in 'Joyless Street'. Although it is tonally far from joyful, as an actual film in quality overall without comparing it to anything or anyone else the film is a joy in terms of how much it does right. Which is actually almost everything. The subject may be joyless but the execution of the film is anything but joyless, actually found it a great and nearly brilliant film that is not quite perfect but does so much right.
My only real problem with 'Joyless Street' was the ending, that felt tonally at odds with the rest of the film and like it was tacked on due to studio interference or something.
Otherwise 'Joyless Street' came over to me as great. It looks great, not just the atmospheric lighting, the elegant settings and stylish and varied photography but actually also this time the editing, which was as seamless as one could get at this point of film history. Pabst's direction is on point, and what he excelled in is very evident. His direction of the legendary Greta Garbo is noteworthy and her character's story is one to identify with all the way regardless of whether anybody themselves has been through it themselves.
Along with the editing, which was very advanced at that point (am not meaning this at all disrespectfully, there are many classics pre-1925 for sure), the most striking thing about 'Joyless Street' is its realism. Not just in the evocative settings but also how it depicts the period the film is set in, middle-class Vienna is portrayed quite authentically here (for the time). This is something that Pabst turned out to be a pioneer of, what is called "street realism".
It is thoughtfully written and it has the right amount of grit and emotion in the story. Garbo is as always captivating, can look at her eyes and face is wanted to. Asta Nielsen's role is just as challenging and some have said she was too old for her role, to me she did very emotively and didn't overdo or phone in. Werner Krauss proved with 1926's 'The Student of Prague' that he could do sinister-like roles well, he excels here as well at that.
Summarising, great film. 9/10