Joyless Street

Reviews

• 

  CinemaSerf

  Jun 6, 2022

  7
  This is quite a complex and telling tale of a poverty-stricken family struggling to survive in a post Great war Vienna at the star of the 1920s. The extent of their deprivation almost drives Greta Garbo ("Greta") to sell herself to put food on the table, it certainly drives her to petty crime. To be honest this rather drab and gritty story from the pen of Hugo Bettauer (who also wrote the superb "City Without Jews" (1938)) is, in itself, nothing particular to write home about - It's the excellent, earthy and well crafted performances from the sisters "Marie" (Asta Nielsen) and Garbo alongside that of their really quite greedy father "Hofrat Rumport" (Jaro Fürth) and the truly odious people peddler "Metzger" (Werner Krauss) that penetrate deeply. We see a side of a city usually presented accompanied by divine Strauss waltzes with grand costumes and the palaces shown in a completely different light. The direction from Georg Pabst is effective at, though in no great hurry to, immersing us in the true ghastliness of their situations. Garbo, quite literally, shines - her eyes and her features, frequently in intensely potent close up, really breathes life into the production that though quite long, is never dull.Read more

  This is quite a complex and telling tale of a poverty-stricken family struggling to survive in a post Great war Vienna at the star of the 1920s. The extent of their deprivation almost drives Greta Garbo ("Greta") to sell herself to put food on the table, it certainly drives her to petty crime. To be honest this rather drab and gritty story from the pen of Hugo Bettauer (who also wrote the superb "City Without Jews" (1938)) is, in itself, nothing particular to write home about - It's the excellent, earthy and well crafted performances from the sisters "Marie" (Asta Nielsen) and Garbo alongside that of their really quite greedy father "Hofrat Rumport" (Jaro Fürth) and the truly odious people peddler "Metzger" (Werner Krauss) that penetrate deeply. We see a side of a city usually presented accompanied by divine Strauss waltzes with grand costumes and the palaces shown in a completely different light. The direction from Georg Pabst is effective at, though in no great hurry to, immersing us in the true ghastliness of their situations. Garbo, quite literally, shines - her eyes and her features, frequently in intensely potent close up, really breathes life into the production that though quite long, is never dull.