{"id":83281,"date":"2022-10-20T10:50:25","date_gmt":"2022-10-20T10:50:25","guid":{"rendered":"https:\/\/ucm.one\/phantom-1922-by-friedrich-wilhelm-murnau-b-spree-classics\/"},"modified":"2023-01-30T07:52:43","modified_gmt":"2023-01-30T07:52:43","slug":"phantom","status":"publish","type":"page","link":"https:\/\/ucm.one\/en\/phantom\/","title":{"rendered":"Phantom (1922) by Friedrich Wilhelm Murnau | B-Spree Classics"},"content":{"rendered":"

[vc_row css=”.vc_custom_1561374765584{margin-top: 20px !important;}”][vc_column width=”3\/4″ css=”.vc_custom_1561378576831{padding-right: 30px !important;}”][vc_column_text]<\/p>\n

Phantom:<\/span><\/h1>\n

[\/vc_column_text][vc_column_text]
\n“Phantom<\/strong>” is an expressionist silent film by Friedrich Wilhelm Murnau<\/strong>. “Phantom<\/strong>” impressively and in Murnauian aesthetics shows the story of the town clerk Lorenz Lubota about his search for redemption and the waste of his potential. No fantasy horror like “Nosferatu<\/strong>“, but a profound drama about unfulfilled dreams and wrong decisions.
\n[\/vc_column_text][vc_column_text]Synopsis<\/span><\/p>\n

Lorenz Lubota is an employed city writer. Privately he writes poems and records experiences from his life. One day, on his way to work, he is hit by a horse-drawn carriage. He is only insignificantly injured, but is fascinated by the lady who was driving the carriage. He cannot forget her and searches for her like a phantom. The coachwoman Veronica is the beautiful daughter of the rich ironmonger Harlan. Lubota falls for her completely and even auditions with her parents, proposes marriage. He is chased away and severely humiliated. He falls completely into his dream world and neglects his life and work. He does not notice that he is secretly adored by a pretty, quiet girl, Marie. The consequence of his unsteady way of life is that he is fired. Then he meets a girl who looks like his crush Veronica. Her name is Melitta. He takes comfort in her, but Melitta is demanding and costs Lubota a lot of money. When his savings are exhausted and Melitta asks for more and more money, he borrows it under a pretext from his aunt, a pawnbroker.
\n[\/vc_column_text][vc_single_image image=”78705″ img_size=”full” onclick=”link_image”][vc_column_text]When Lubota does not pay back the money on time, the pawnbroker Schwabe threatens to go to the police. Together with his shady buddy Wigottschinski he breaks into the pawnbroker’s house. Both are surprised by her and the pawnbroker is killed by Wigottschinski. Lubota is convicted as an accomplice and is sent to prison. He is lucky, the court was merciful with him. He is soon released. When he is released, Marie is waiting for him and takes care of him. Both become a couple and marry.[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78433″ img_size=”full” onclick=”link_image”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78439″ img_size=”full” onclick=”link_image”][\/vc_column_inner][\/vc_row_inner][vc_column_text]Production history<\/span><\/p>\n

The film was shot at Studio<\/strong> Babelsberg<\/strong> in Potsdam. The author of the novel, Gerhart Hauptmann,<\/strong> appears in the film himself at the beginning. The contemporary reviews are consistently positive. They refer to the time after the First World War and the disorientation of the people, to a disturbed relationship to reality and to great helplessness, using Lorenz<\/strong> Lubotas<\/strong> as an example. The expressionistic style of the film creates tension and a vague mysticism.
\n[\/vc_column_text][vc_row_inner][vc_column_inner][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78445″ img_size=”full” onclick=”link_image”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78442″ img_size=”full” onclick=”link_image”][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1561379511981{margin-top: 10px !important;margin-bottom: 30px !important;background-color: #efefef !important;}”][vc_single_image image=”79899″ img_size=”full” onclick=”link_image” css=”.vc_custom_1667824452950{padding-top: 15px !important;}”][vc_column_text css=”.vc_custom_1665667838466{margin-top: -10px !important;}”]Title<\/strong>: Phantom<\/p>\n

Director<\/strong>: Friedrich Wilhelm Murnau<\/p>\n

Screenplay<\/strong>: Thea von Harbou<\/p>\n

Original<\/strong> novel<\/strong>: Gerhart Hauptmann<\/p>\n

Actors<\/strong>: Alfred Abel, Frida Richard, Aud Egede-Nissen, Lil Dagover, Karl Etlinger, Hans Heinrich von Twardowski, Adolf Klein, Olga Engl, Lya de Putti, Ilka Gr\u00fcning<\/p>\n

Producer<\/strong>: Erich Pommer<\/p>\n

Cinematography<\/strong>: Axel Graatkjaer, Theophan Ouchakoff<\/p>\n

Buildings<\/strong>: Erich Czerwonski, Hermann Warm<\/p>\n

Editing<\/strong>: Friedrich Wilhelm Murnau<\/p>\n

Music<\/strong>: Leo Spies<\/p>\n

 <\/p>\n

Production<\/strong> Company<\/strong>: Uco-Film GmbH<\/p>\n

Production<\/strong> Year<\/strong>: 1922<\/p>\n

Genres<\/strong>: Drama, Silent movie<\/p>\n

Country<\/strong>: Germany<\/p>\n

Language<\/strong>: Silent film<\/p>\n

Location<\/strong>: Bioscop studio, Neubabelsberg, Potsdam, Brandenburg<\/p>\n

Length<\/strong>: 116 min<\/p>\n

FSK<\/strong>: 12<\/p>\n

Aspect<\/strong> ratio<\/strong>: 4:3 – 1.33:1<\/p>\n

Sound<\/strong>: Mono[\/vc_column_text][vc_separator color=”custom” accent_color=”#a0a0a0″][vc_column_text]Other titles:<\/em><\/p>\n

German<\/strong>: Phantom<\/p>\n

French<\/strong>: Le fant\u00f4me<\/p>\n

Italian<\/strong>: Fantasma<\/p>\n

Spanish<\/strong>: El beso de la fama[\/vc_column_text][vc_separator color=”custom” accent_color=”#a0a0a0″][vc_column_text]Film label: <\/strong>B-Spree Classics<\/p>\n

Premiered<\/strong> on November 13, 1922, Ufa-Palast am Zoo, Berlin on the occasion of Gerhart Hauptmann’s 60th birthday.<\/p>\n

Mediabook (Blu-Ray+DVD)<\/strong>: November 11, 2022[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]About Friedrich Wilhelm Murnau<\/span><\/p>\n

Friedrich Wilhelm Plumpe,<\/strong> his civil name, was born in Bielefeld on December 28, 1888. He attended acting school<\/strong> with Max<\/strong> Reinhardt<\/strong>, who immediately recognized his great talent and made him his assistant director at the Hebbel<\/strong> Theater<\/strong>. In 1910 he adopted the stage name “Murnau<\/strong>“. Initially for artistic reasons, but above all as a sign of a break with his parents, who did not accept his artistic activities or his homosexuality. Murnau<\/strong> is still considered one of the most important directors of the silent film era worldwide and one of the most important German film directors ever. Three of his films (“Nosferatu: A Symphony of Horror<\/strong>” “The<\/strong> Last<\/strong> Man<\/strong>“, “Faust<\/strong>“), are in the top 30 (according to experts) of the best films ever made in Germany. Murnau<\/strong> went to the USA in 1927 and made films for the Fox<\/strong> company. The film “Sunrise<\/strong>“, made in the USA in 1927, won three Oscars<\/strong> at the 1929 Academy<\/strong> Awards<\/strong>. With the following film “Four<\/strong> Devils<\/strong>” there were great difficulties with the Fox<\/strong> film company, which angered Murnau. But this film was also very well received and rated in the USA. In 1929, there was a final rift between Murnau and the Fox studio. During the shooting of “City<\/strong> Girl<\/strong>” they constantly interfered with his work. Murnau did not like such constraints and canceled the contract with Fox<\/strong>. He tried to get back into business with UFA<\/strong> in Berlin, but that also failed. He then bought a sailing yacht and took it to the South Seas.
\n[\/vc_column_text][vc_column_text][\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78457″ img_size=”full” onclick=”link_image”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78454″ img_size=”full” onclick=”link_image”][\/vc_column_inner][\/vc_row_inner][vc_column_text]On the island of Bora Bora, he shot the film “Tabu<\/strong>” exclusively with amateur actors. This film, which Murnau<\/strong> had financed himself, was taken over by the Paramount<\/strong> studio. There they were so enthusiastic about this film that they gave Murnau<\/strong> a two-year contract. However, the life of Friedrich Wilhelm Murnau<\/strong> took a tragic course. On March 11, 1931, shortly before a promotional tour for the film “Taboo<\/strong>” planned in Germany, Murnau<\/strong> was driving on a road south of Santa Barbara (California). He had let his servant Filipino, only 14 years old, take the wheel. The heavy car went out of the driver’s control at high speed, overturned and plunged down an embankment ten meters. While all the other occupants, besides Murnau<\/strong> and the valet, another person and his German shepherd got away with only a few scratches, Murnau<\/strong> hit the back of his head against a utility pole and was seriously injured. He was taken to a hospital in Santa Barbara and died the following night from his severe head injuries. He did not live to see the premiere of his film “Tabu<\/strong>” on March 18, 1931. He was buried in Berlin on March 19. Only 9 people attended his funeral, including Greta Garbo, Emil Jannings, Erich Pommer<\/strong> and G. W. Pabst<\/strong>. Fritz<\/strong> Lang<\/strong> gave the eulogy.[\/vc_column_text][vc_column_text css=”.vc_custom_1653179697701{margin-bottom: -20px !important;}”]Filmography (excerpt)[\/vc_column_text][vc_empty_space height=”28px”][vc_row_inner css=”.vc_custom_1653179480172{margin-bottom: -25px !important;padding-bottom: -25px !important;background-color: #efefef !important;border-radius: 5px !important;}”][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1665666244342{margin-bottom: -5px !important;padding-bottom: 5px !important;}”]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
1917<\/span><\/td>\n\u00a0Devil’s Girl (lost) |\u00a0 Teufelsm\u00e4dchen (verschollen)<\/span><\/td>\n<\/tr>\n
1919<\/td>\nThe Boy in Blue (lost) | Der Knabe in blau (verschollen)<\/span><\/td>\n<\/tr>\n
1920<\/td>\nSatanus (Fragment)<\/span><\/td>\n<\/tr>\n
<\/td>\nThe Hunchback and the Dancer (lost) | Der Bucklige und die T\u00e4nzerin (verschollen)<\/span><\/td>\n<\/tr>\n
<\/td>\nThe Janus Head (lost) |\u00a0 Der Januskopf (verschollen)<\/span><\/td>\n<\/tr>\n
<\/td>\nEvening, Night, Morning (lost) |\u00a0 Abend, Nacht, Morgen (verschollen)<\/span><\/td>\n<\/tr>\n
1921<\/span><\/td>\nThe Walk into the Night |\u00a0 Der Gang in die Nacht<\/span><\/td>\n<\/tr>\n
<\/td>\nMarizza, the smuggler’s Madonna (fragment) |\u00a0 Marizza, die Schmugglermadonna (Fragment)<\/span><\/td>\n<\/tr>\n
<\/td>\nCastle Vogel\u00f6d | Schloss Vogel\u00f6d<\/span><\/td>\n<\/tr>\n
<\/td>\nLonging (lost) |\u00a0 Sehnsucht (verschollen)<\/span><\/td>\n<\/tr>\n
1922<\/span><\/td>\n The Burning Field | Der brennende Acker<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1665666258658{margin-bottom: 0px !important;}”]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
1922<\/td>\nNosferatu: A symphony of horror | Nosferatu, eine Symphonie des Grauens<\/span><\/td>\n<\/tr>\n
<\/td>\nPhantom<\/span><\/td>\n<\/tr>\n
1923 <\/span><\/td>\nThe Expulsion (Fragment) | Die Austreibung (Fragment)<\/span><\/td>\n<\/tr>\n
1924 <\/span><\/td>\n\u00a0The Grand Duke’s finances | Die Finanzen des Gro\u00dfherzogs<\/span><\/td>\n<\/tr>\n
<\/td>\nThe Last Man | Der letzte Mann<\/span><\/td>\n<\/tr>\n
1925 <\/span><\/td>\nTart\u00fcff<\/span><\/td>\n<\/tr>\n
1926 <\/span><\/td>\nFaust, a folk tale | Faust, eine Volkssage<\/span><\/td>\n<\/tr>\n
1927 <\/span><\/td>\nSunrise<\/span><\/td>\n<\/tr>\n
1928 <\/span><\/td>\nFour Devils (burned) | Vier Teufel (verbrannt)<\/span><\/td>\n<\/tr>\n
1930 <\/span><\/td>\nCity Girl<\/span><\/td>\n<\/tr>\n
1931 <\/span><\/td>\nTabu<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”5″][vc_empty_space height=”35″][vc_column_text]In the turmoil of the Second World War, some of Friedrich Wilhelm Murnau’<\/strong>s German films were lost and are now considered lost. In a major fire at the Fox<\/strong> company buildings in the USA, the film “Four<\/strong> Dev<\/strong>ils” also burned. Of Murnau’s<\/strong> 22 films, only 12 are complete today, 3 as fragments and 7 no longer exist.[\/vc_column_text][vc_row_inner][vc_column_inner][vc_single_image image=”78490″ img_size=”full”][\/vc_column_inner][\/vc_row_inner][vc_column_text css=”.vc_custom_1668296280871{margin-top: 15px !important;}”]About Alfred Abel<\/span><\/p>\n

Alfred Abel<\/strong> was born in Leipzig on March 12, 1879, the son of a Jewish merchant. Abel completed a commercial apprenticeship and then studied art drawing at the Leipzig Art Academy.<\/strong> He also received private acting lessons. After a few stints at smaller theaters, he came to Berlin in 1904 to Max<\/strong> Reinhardt’s<\/strong> Deutsches<\/strong> Theater<\/strong>. In the most famous of Max<\/strong> Reinhardt’s<\/strong> only few film works, “The Venetian Night<\/strong>,” Abel<\/strong> made his film debut. In his more than 100 silent film roles, he worked with the most important directors of the time, such as Fritz Lang<\/strong> and Friedrich Wilhelm Murnau<\/strong>, in several films.[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78541″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78544″ img_size=”full”][\/vc_column_inner][\/vc_row_inner][vc_column_text]
\nIn 1930 Alfred<\/strong> Hitchcock<\/strong> cast him in his film “Mary<\/strong>“, the German version of “Murder<\/strong>“. In the talkies, Abel mostly played gentlemen with good manners, best dressed, of a distinguished reserved manner of a perfect gentleman. Abel<\/strong> directed five films himself and was cast as an actor in 36 talkies. When the Nazis discovered in 1935 that Alfred<\/strong> Abel<\/strong> had a Jewish father, i.e. was of Jewish<\/strong> descent, he was expelled from the Reichsfachschaft Film. However, Goebbels<\/strong> personally ordered Alfred<\/strong> Abel<\/strong> to be readmitted for artistic reasons. Alfred Abel<\/strong> died unexpectedly in Berlin on December 12, 1937. He was only 58 years old.
\n[\/vc_column_text][vc_column_text css=”.vc_custom_1653179697701{margin-bottom: -20px !important;}”]Filmography (excerpt)[\/vc_column_text][vc_empty_space height=”28px”][vc_row_inner css=”.vc_custom_1653179480172{margin-bottom: -25px !important;padding-bottom: -25px !important;background-color: #efefef !important;border-radius: 5px !important;}”][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1665668644843{margin-bottom: -5px !important;padding-bottom: 5px !important;}”]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
1913 <\/span><\/td>\nA Venetian Night | Eine venezianische Nacht<\/span><\/td>\n<\/tr>\n
1915 <\/span><\/td>\nLache, Bajazzo<\/span><\/td>\n<\/tr>\n
1922 <\/span><\/td>\nDr. Mabuse, the Gambler 1+2 | Dr. Mabuse, der Spieler 1+2<\/span><\/td>\n<\/tr>\n
The Burning Field | Der brennende Acker<\/span><\/td>\n<\/tr>\n
Phantom<\/span><\/td>\n<\/tr>\n
1923 <\/span><\/td>\nBuddenbrooks<\/span><\/td>\n<\/tr>\n
1924 <\/span><\/td>\nThe Grand Duke’s Finances | Die Finanzen des Gro\u00dfherzogs<\/span><\/td>\n<\/tr>\n
1927<\/span><\/td>\nThe tragedy of a lost man | Die Trag\u00f6die eines Verlorenen<\/td>\n<\/tr>\n
Metropolis<\/span><\/td>\n<\/tr>\n
1930 <\/span><\/td>\nDolly makes a career | Dolly macht Karriere<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1665668931086{margin-bottom: 0px !important;}”]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
1931 <\/span><\/td>\nMary<\/span><\/td>\n<\/tr>\n
The Disgust | Das Ekel<\/span><\/td>\n<\/tr>\n
My wife, the impostor | Meine Frau, die Hochstaplerin<\/span><\/td>\n<\/tr>\n
The Congress Dances | Der Kongress tanzt<\/span><\/td>\n<\/tr>\n
1932 <\/span><\/td>\nThe White Demon | Der wei\u00dfe D\u00e4mon<\/span><\/td>\n<\/tr>\n
1933 <\/span><\/td>\nBurning Secret | Brennendes Geheimnis<\/span><\/td>\n<\/tr>\n
1935 <\/span><\/td>\nVictoria<\/span><\/td>\n<\/tr>\n
1936 <\/span><\/td>\nThe Court Concert | Das Hofkonzert<\/span>
\n<\/span><\/td>\n<\/tr>\n
1937 <\/span><\/td>\nSeven Slaps | Sieben Ohrfeigen<\/span><\/td>\n<\/tr>\n
Unter Ausschluss der \u00d6ffentlichkeit<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”5″][vc_empty_space height=”32″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78547″ img_size=”full” alignment=”center” onclick=”link_image”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78550″ img_size=”full” alignment=”center” onclick=”link_image”][\/vc_column_inner][\/vc_row_inner][vc_column_text css=”.vc_custom_1668296440986{margin-top: 15px !important;}”]About Lil Dagover<\/span><\/p>\n

Lil Dagover<\/strong> was born Marie Antonie Sieglinde Marta Seubert<\/strong> on September 30, 1887 in Pati (now Indonesia). Lil<\/strong> Dagover<\/strong> was one of the leading German silent film stars, but unlike other silent film actresses, she also appeared in many cinema and television productions during the sound film era. She was cast in some 80 motion pictures from 1913 until shortly before her death in January 1980. She acted under such important German directors as Helmut K\u00e4utner, Fritz Lang, Friedrich Wilhelm Murnau, Detlef Sierck, Alfred Weidenmann<\/strong> and Ottokar<\/strong> Runze<\/strong>. But she also appeared in international productions, for example in the USA under director Michael<\/strong> Curtiz<\/strong> and in France under director Henri<\/strong> Fescourt<\/strong>. In 1907 she married the actor Fritz<\/strong> Daghofer<\/strong> and changed her married name to Lil<\/strong> Dagover<\/strong>. Lil from her call name Sieglinde and in her new married name she replaced the “f” with a “v”. Through her husband she came to the film. In 1913, she made her film debut in the silent flick Snake<\/strong> Dance<\/strong>. In 1919 she played her first important role in the Fritz<\/strong> Lang<\/strong> two-parter “The Spiders<\/strong>“. In 1920, she appeared in one of the most important German films of all time: “The Cabinet of Dr. Caligari<\/strong>,” directed by Robert<\/strong> Wiene<\/strong>.
\n[\/vc_column_text][vc_single_image image=”78553″ img_size=”full”][vc_column_text css=”.vc_custom_1668296488423{margin-top: 15px !important;}”]Lil Dagover was the top cast member in most of the sophisticated silent films of the 1920s. After her divorce from Fritz<\/strong> Daghofer<\/strong>, she married film producer Georg<\/strong> Witt<\/strong> in 1926. In the 1920s, she also acted under Max<\/strong> Reinhardt<\/strong> at the Deutsches<\/strong> Theater<\/strong> in Berlin. She had a language education, so it was not difficult for her to switch to talkies. She remained a celebrated film star even during the Nazi era. She pretended to be apolitical and kept away from the public as much as she could. Even after the end of the Second World War, she made films again from 1948. When she played the title role in the 1961 Edgar<\/strong> Wallace<\/strong> classic “The Strange<\/strong> Countess<\/strong>,” she was almost 75. In her last film role, directed by Maximilian<\/strong> Schell<\/strong> in “Tales from the Vienna Woods<\/strong>,” she was then already at the biblical age of 92. After the Second World War, she received the Federal<\/strong> Film Award<\/strong> for her role in “Royal Highness<\/strong>” and the Film<\/strong> Ribbon<\/strong> in Gold<\/strong>! Lil Dagover<\/strong> died on January 23, 1980 at her home in Gr\u00fcnwald-Geiselgasteig (Bavaria Film Studios).[\/vc_column_text][vc_column_text css=”.vc_custom_1653179697701{margin-bottom: -20px !important;}”]Filmography (excerpt)[\/vc_column_text][vc_empty_space height=”28px”][vc_row_inner css=”.vc_custom_1653179480172{margin-bottom: -25px !important;padding-bottom: -25px !important;background-color: #efefef !important;border-radius: 5px !important;}”][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1665670340510{margin-bottom: -5px !important;padding-bottom: 5px !important;}”]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
1913 <\/span><\/td>\nSnake dance | Schlangentanz<\/span><\/td>\n<\/tr>\n
1918 <\/span><\/td>\n\u00a0The song of the mother | Das Lied der Mutter<\/span><\/td>\n<\/tr>\n
1919 <\/span><\/td>\nThe spiders | Die Spinnen 1+2<\/span><\/td>\n<\/tr>\n
Harakiri<\/span><\/td>\n<\/tr>\n
1920 <\/span><\/td>\nThe Cabinet of Dr. Caligari | Das Cabinet des Dr. Caligari<\/span><\/td>\n<\/tr>\n
1921 <\/span><\/td>\nThe Tired Death | Der m\u00fcde Tod<\/span><\/td>\n<\/tr>\n
1922 <\/span><\/td>\nPhantom<\/span><\/td>\n<\/tr>\n
1925 <\/span><\/td>\nTart\u00fcff<\/span><\/td>\n<\/tr>\n
1927 <\/span><\/td>\nThe Count of Monte Cristo |\u00a0 Der Graf von Monte Christo<\/span>
\n<\/span><\/td>\n<\/tr>\n
1930 <\/span><\/td>\nThere Is a Woman Who Never Forgets You | Es gibt eine Frau die dich niemals vergisst<\/span><\/td>\n<\/tr>\n
The White Devil | Der wei\u00dfe Teufel<\/span><\/td>\n<\/tr>\n
1931 <\/span><\/td>\nThe Congress Dances | Der Kongress tanzt<\/span><\/p>\n

Elizabeth of Austria | Elisabeth von \u00d6sterreich<\/span><\/p>\n

The Woman from Monte Carlo<\/span><\/td>\n<\/tr>\n

1934 <\/span><\/td>\n\u00a0I marry my wife | Ich heirate meine Frau<\/span><\/td>\n<\/tr>\n
1935 <\/span><\/td>\n\u00a0The Bird Seller | Der Vogelh\u00e4ndler<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1665670323114{margin-bottom: 0px !important;}”]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
1936 <\/span><\/td>\nFinal chord | Schlussakkord<\/span><\/td>\n<\/tr>\n
1937 <\/span><\/td>\nThe cross sonata | Die Kreutzersonate<\/span>
\n<\/span><\/td>\n<\/tr>\n
1938 <\/span><\/td>\nThe stars are shining | Es leuchten die Sterne<\/span><\/td>\n<\/tr>\n
1940 <\/span><\/td>\nFriedrich Schiller<\/span><\/td>\n<\/tr>\n
Bismarck<\/span><\/td>\n<\/tr>\n
1950 <\/span><\/td>\nChased by the devil | Vom Teufel gejagt<\/span><\/td>\n<\/tr>\n
1953 <\/span><\/td>\nRoyal Highness | K\u00f6nigliche Hoheit<\/span><\/td>\n<\/tr>\n
1954 <\/span><\/td>\nSchlo\u00df Hubertus<\/span><\/td>\n<\/tr>\n
1955 <\/span><\/td>\nRoses in Autumn | Rosen im Herbst (Effi Briest)<\/span><\/td>\n<\/tr>\n
1956<\/span><\/td>\nCrown Prince Rudolf’s last love | Kronprinz Rudolfs letzte Liebe<\/span><\/td>\n<\/tr>\n
1959 <\/span><\/td>\nBuddenbrooks<\/span><\/td>\n<\/tr>\n
1961 <\/span><\/td>\nThe Strange Countess | Die seltsame Gr\u00e4fin<\/span><\/td>\n<\/tr>\n
1975 <\/span><\/td>\nThe Judge and his Executioner | Der Richter und sein Henker<\/span><\/td>\n<\/tr>\n
1977 <\/span><\/td>\nThe Standard | Die Standarte<\/span><\/td>\n<\/tr>\n
1979 <\/span><\/td>\nStories from the Vienna Woods | Geschichten aus dem Wienerwald<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”5″][vc_empty_space height=”32″][vc_empty_space height=”10″][vc_column_text css=”.vc_custom_1665675959983{margin-top: 15px !important;}”]About Frida Richard<\/span><\/p>\n

Friederike<\/strong> Raithel<\/strong>, her civil name, was born in Vienna on November 1, 1873. There she attended a dance and drama school together with Max<\/strong> Reinhardt<\/strong> and Fritz<\/strong> Richard<\/strong>. Fritz<\/strong> Richard<\/strong> married her in 1898, and she first worked as an English teacher. In 1905 she moved with her husband to Berlin. There she also met Max<\/strong> Reinhardt<\/strong> again and acted on his stages.[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78556″ img_size=”full” alignment=”center” onclick=”link_image”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78559″ img_size=”full” alignment=”center” onclick=”link_image”][\/vc_column_inner][\/vc_row_inner][vc_column_text css=”.vc_custom_1665676014613{margin-top: 15px !important;}”]From 1910 she also appeared in silent films and became one of the busiest actresses of the silent era, mostly in supporting roles. In 1932, the Richard<\/strong> couple<\/strong> moved to Salzburg, where Fritz<\/strong> Richard<\/strong> died a year later. From the mid-1930s, she also appeared in top German productions. For example, she played important roles in “The Victor<\/strong>,” “Mothers<\/strong> Love<\/strong>,” “Ein hoffnungsloser Fall,” “The<\/strong> postmaster<\/strong>” and “The Great Sacrifice <\/strong>.” Last film before her death was Leni<\/strong> Riefenstahl’s<\/strong> “Tiefland<\/strong>“. Frida<\/strong> Richard<\/strong> died on September 12, 1946 in Salzburg.[\/vc_column_text][vc_column_text css=”.vc_custom_1653179697701{margin-bottom: -20px !important;}”]Filmography (excerpt)[\/vc_column_text][vc_empty_space height=”28px”][vc_row_inner css=”.vc_custom_1653179480172{margin-bottom: -25px !important;padding-bottom: -25px !important;background-color: #efefef !important;border-radius: 5px !important;}”][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1665673093462{margin-bottom: -5px !important;padding-bottom: 5px !important;}”]<\/p>\n\n\n\n\n\n\n\n\n\n
1910 <\/span><\/td>\n\u00a0The fourth commandment | Das vierte Gebot<\/span><\/td>\n<\/tr>\n
1913 <\/span><\/td>\nEva<\/span><\/td>\n<\/tr>\n
1917 <\/span><\/td>\n\u00a0The Bell | Die Glocke<\/span><\/td>\n<\/tr>\n
1922<\/span><\/td>\nPhantom<\/span>
\n<\/span><\/td>\n<\/tr>\n
1924 <\/span><\/td>\nThe Nibelungs 1+2 | Die Nibelungen 1+2<\/span><\/p>\n

The mountain of destiny | Der Berg des Schicksals<\/span><\/td>\n<\/tr>\n

1926 <\/span><\/td>\nFaust<\/span><\/p>\n

Manon Lescaut<\/span><\/p>\n

The holy mountain | Der heilige Berg<\/span><\/td>\n<\/tr>\n

1928\u00a0<\/span><\/td>\nSchinderhannes<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1665673203095{margin-bottom: 0px !important;}”]<\/p>\n\n\n\n\n\n\n\n\n\n
1929 <\/span><\/td>\nThe burning heart | Das brennende Herz<\/span><\/td>\n<\/tr>\n
1932 <\/span><\/td>\nThe victor | Der Sieger<\/span><\/td>\n<\/tr>\n
1939 <\/span><\/td>\nMother Love | Mutterliebe<\/span><\/td>\n<\/tr>\n
1940 <\/span><\/td>\nThe Postmaster | Der Postmeister<\/span><\/td>\n<\/tr>\n
1941 <\/span><\/td>\nGoodbye, Franziska | Auf Wiedersehn, Franziska<\/span><\/td>\n<\/tr>\n
1942<\/span><\/td>\nEternal Rembrandt | Ewiger Rembrandt<\/span><\/p>\n

The Golden City | Die goldene Stadt<\/span><\/p>\n

The Great Sacrifice | Opfergang<\/span><\/td>\n<\/tr>\n

1945 <\/span><\/td>\nTiefland<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”5″][vc_empty_space height=”32″][vc_column_text css=”.vc_custom_1668296534548{margin-top: 15px !important;}”]About Aud Egede-Nissen<\/span><\/p>\n

Aud<\/strong> Egede<\/strong>–Nissen<\/strong> was born on May 30, 1893 in Bergen, Norway. She played the role of Femme Fatal in a series of German silent films beginning in 1914. Whether as a calculating seductress or a strumpet, she was great in these roles. With the beginning of the talkies, her film career came to an end. In her last German film, one of the first talkies, “Zwischen Tag und Morgen<\/strong>” (Between Day and Morning), she once again played a brilliant role. After her film career, she only acted in theater in Norway and also directed plays. She died in Oslo on November 15, 1974.[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78562″ img_size=”full” alignment=”center” onclick=”link_image”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”78863″ img_size=”full” alignment=”center” onclick=”link_image”][\/vc_column_inner][\/vc_row_inner][vc_column_text css=”.vc_custom_1653179697701{margin-bottom: -20px !important;}”]Filmography (excerpt)[\/vc_column_text][vc_empty_space height=”28px”][vc_row_inner css=”.vc_custom_1653179480172{margin-bottom: -25px !important;padding-bottom: -25px !important;background-color: #efefef !important;border-radius: 5px !important;}”][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1667844588515{margin-bottom: -5px !important;padding-bottom: 5px !important;}”]<\/p>\n\n\n\n\n\n\n\n
1916 <\/span><\/td>\nThe Phantom of the Opera | Das Phantom der Oper<\/span><\/td>\n<\/tr>\n
1920 <\/span><\/td>\nSumurun<\/span><\/td>\n<\/tr>\n
<\/td>\nAnna Boleyn<\/span><\/td>\n<\/tr>\n
1922 <\/span><\/td>\nDr. Mabuse, the gambler 1+2 | Dr. Mabuse, der Spieler 1+2<\/span><\/td>\n<\/tr>\n
\u00a0<\/span><\/td>\nPhantom<\/span>
\n<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1666270244895{margin-bottom: 0px !important;}”]<\/p>\n\n\n\n\n\n
1923 <\/span><\/td>\n The Road | Die Stra\u00dfe<\/span><\/td>\n<\/tr>\n
1925 <\/span><\/td>\nThe Disreputable | Die Verrufenen<\/span><\/td>\n<\/tr>\n
1931 <\/span><\/td>\n\u00a0Between night and morning | Zwischen Nacht und Morgen<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”5″][vc_empty_space height=”10″][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_column_text]Phantom | Trailer [2022] (German) \u1d34\u1d30<\/span>[\/vc_column_text][vc_video link=”https:\/\/youtu.be\/vX9Z5rETJYc” css=”.vc_custom_1668423953143{margin-top: -10px !important;}”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][vc_column_text]Comments & Feedback<\/span><\/p>\n

“After Nosferatu, The Phantom represents a clear evolution of Murnau’s talent.”<\/em> (themoviewaffler<\/strong>.com<\/strong>)<\/p>\n

“It’s been less than a decade since The Phantom, long thought lost, was rediscovered and restored. It stands in the shadow of its more famous predecessor, but even if it’s not the landmark Nosferatu it is, it should be seen.” (<\/em>battleshippretension<\/strong>.com<\/strong>)<\/p>\n

“F.W. Murnau’s Phantom, released the same year but shot after Nosferatu, is not a fantasy film as its title suggests, but it sometimes approaches that genre for its recurring expressionist aesthetic and some “Murnauscher” thematic elements. The various monochrome hues of the picture were expressly chosen by Murnau, who, however, wanted the dream and nightmare visions to remain in pure black and white.<\/em>” (Francis Moury, juanasensio.com<\/strong>)<\/p>\n

“Perhaps the most interesting feature of Phantom is that the main thematic nodes are all resolved through immediate visual gimmicks, i.e. fully functional on the narrative and at the same time on the symbolic level.”<\/em> (David Bax 2015 \/ garden-of-silence.com<\/strong>)<\/p>\n

“Phantom, a poignant drama about unfortunate choices and the tragedy of a life lived in the shadow of failure.”<\/em> (cinegrandiose<\/strong>.com<\/strong>)[\/vc_column_text][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_btn title=”Amazon” style=”flat” color=”orange” size=”sm” align=”center” i_icon_fontawesome=”fab fa-amazon” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fwww.amazon.de%2FFriedrich-Wilhelm-Murnaus-PHANTOM-24-seitiges%2Fdp%2FB0BHMZHBHN%2Fref%3Dsr_1_2%3F__mk_de_DE%3D%25C3%2585M%25C3%2585%25C5%25BD%25C3%2595%25C3%2591%26crid%3DDS5EUMP98QXY%26keywords%3Ddas%2Bphantom%2Bmurnau%26qid%3D1666083811%26s%3Ddvd%26sprefix%3Ddas%2Bphantom%2Bmurnau%252Cdvd%252C95%26sr%3D1-2|title:Amazon|target:_blank|”][\/vc_column][vc_column width=”1\/4″][vc_btn title=”JPC” style=”flat” color=”green” size=”sm” align=”center” i_icon_fontawesome=”far fa-dot-circle” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fwww.jpc.de%2Fjpcng%2Fmovie%2Fdetail%2F-%2Fart%2Ffriedrich-wilhelm-murnaus-phantom-limited-mediabook%2Fhnum%2F11062249%3Fiampartner%3Dspon6%26awc%3D150%26awa%3D1263%26gclid%3DCjwKCAiA9qKbBhAzEiwAS4yeDa2sPtZ1vsjE8RRkVOyVwXgUtWDMILapLlKWr9zzIVnx64_TRxrf5RoCQp0QAvD_BwE|title:JPC|target:_blank|”][\/vc_column][vc_column width=”1\/4″][vc_btn title=”Shop” style=”flat” color=”juicy-pink” size=”sm” align=”center” i_icon_fontawesome=”fas fa-shopping-cart” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fucm.one%2Fprodukt%2Fphantom%2F|title:Shop|”][\/vc_column][vc_column width=”1\/4″][vc_btn title=”Who Streams It” style=”flat” color=”sky” size=”sm” align=”center” i_icon_fontawesome=”fas fa-question-circle” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fwww.werstreamt.es%2Ffilm%2Fdetails%2F2936440%2Fphantom%2F|title:Who%20Streams%20It|target:_blank|”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”15px”][vc_column_text css=”.vc_custom_1667823681875{margin-bottom: -5px !important;}”]<\/p>\n

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Available formats and finishes<\/span><\/p>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_empty_space][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”78214″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/6″][vc_empty_space height=”12px”][vc_column_text]Limited Mediabook (Blu-Ray + DVD):<\/strong><\/p>\n

Blu-Ray aspect ratio: 4:3 – 1.33:1 \/ 1080p 24; DVD aspect ratio: 4:3 – 1.33:1<\/p>\n

Running time Blu-Ray: 121 min; Running time DVD: 116 min<\/p>\n

Sound Format Blu-Ray: German DTS-HD Master Audio 2.0 (mono); Sound Format DVD: German DD 2.0 (mono)<\/p>\n

Bonus material: Mediabook with 24-page book part with many pictures and interesting background information<\/p>\n

FSK 12 | FSK sticker removable[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_separator css=”.vc_custom_1653175357110{margin-top: -5px !important;}”][vc_empty_space height=”10px”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”15px”][vc_column_text]
\nNews<\/span>
\n[\/vc_column_text]