Diary of a Lost Girl

1929 [GERMAN]


IMDb Rating 7.9 10 4113

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Uploaded By: FREEMAN
March 18, 2021 at 05:58 AM


Louise Brooks as Thymian
1.01 GB
German 2.0
23.976 fps
1 hr 52 min
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Movie Reviews

Reviewed by dbdumonteil 10 / 10

The modern melodrama was born.

The melodrama we would love with Stahl's and Sirk's works was born with Pabst .We are far from DW Griffith's "orphans in the storm" !Although implausible,this film has realist accents and Pabst's directing takes our breath away.And what a beautiful last line:"Nobody's lost when there's a little love!"

Melodrama is par excellence a woman's story.An unfairly treated woman.Its construction is parabolic: happiness,downfall,redemption. But "Tagebuch" is much more complex;its first part already features tragedy:Elisabeth's suicide is a sinister omen.

Admirable sequences:

The reformatory where two martinets (a shrew and a terrifying smiling bald man)treat their pupils like dogs.The scene when the girls eat their soup is unforgettable.

The scene at the notary's office where Thymiane returns good for evil ,which climaxes the movie.Pabst uses no (or so few) subtitles : his pictures have the strength of a Chaplin movie.The close-up on Meinert's hand after the girl has refused to shake it,sublimates her redemption.

The final scene when Thymiane meets again her former mate and her final rebellion:"I know the benefits of that house!"

Like very few silent movies,"Tagebuch" can grab today's audience at least as much as "Pandora's box" (aka "Loulou" aka "der büchse der Pandora").Both movies have a very dense screenplay full of twists and unexpected ends -Loulou's death in the former;Thymiane's rebellion in the latter).Both feature Louise Brooks ,who remains an attractive woman even by today's canons when so many silent screen actresses'charm -and actors' - seems outdated nowadays (think of Brigitte Helm -Maria in Lang's masterpiece "Metropolis").Her charisma was so strong that she did not have to speak to move us.That may account for her failure in the talkies.

Do not miss Pabst's anti-war "West front 1918" either.It compares favorably to Milestone's "All quiet on the western front" and Gance's "J'accuse".

Reviewed by melvelvit-1 8 / 10

The real "Diary" - now "Lost"

Louise Brooks is luminous in this rather trite tale of a young girl's ruination and regeneration. The plot line founders toward the end but, as a whole, DIARY OF A LOST GIRL is notable for its arresting visuals and set-piece sequences. Unfortunately, we'll never see G.W. Pabst's original intent:

"THE DIARY OF A LOST GIRL was based on the moralistic novel by Margarete Bohme... But the censors did not miss the point. They butchered DIARY more brutally than PANDORA. In the ending Pabst intended, Thymiane was to become the proprietress of her own high-class brothel, rejecting respectability in favor of the wealth and power that a rotten bourgeoisie could respect. But the censors insisted that Thymiane embrace precisely the kind of sentimental reformism that Pabst disdained, twisting the film into conformity with German middle-class values. Pabst capitulated because he had to coexist with them and because he would live to fight another day for such subsequent (and better) films as ...THE THREEPENNY OPERA... DOALG was a kind of sacrificial lamb, as its scenarist, Rudolf Leonhardt, affirms: 'Pabst's accommodating nature had already made him prepared to make two different endings -for vice, even involuntary vice, must not go rewarded. Where the censors had not forbidden passages beforehand, entire filmed sequences were cut without mercy later on...'"

I love what there is of it (especially the brothel & reformatory scenes), but I was never in the majority:

"But it was death, rather than immortality, that awaited DOALG at the box office upon its release... The influential critic Hans G. Lustig gave it a single withering paragraph in 'Der Tempel'... No serious criticism of DOALG could take place until three decades later...Lost on most critics was the fact that Pabst's technique in DOALG was different from that of PANDORA. Lotte Eisner, virtually alone, recognized a new, semi-documentary restraint: 'Pabst now seeks neither Expressionistic chiaroscuro nor Impressionistic glitter; and he seems less intoxicated than he was by the beauty of his actress."

Highly recommended!

Reviewed by joshh76 10 / 10

An excellent film with one of Louise Brooks best performances

The comments submitted are from Josh76's Dad, Dan47 I found this film to be deeply moving. Louise Brooks portrays the innocent Thymiane with such pathos that I wanted to reach out to the screen and rescue her. Unlike most films from this period there is no rescue in "the nick of time". Events follow an inexorable nightmare pattern as Thymiane, the victim, is condemned to imprisonment after being raped and impregnated by her father's employer. Abandoned financially and emotionally by her selfish father she can only fall into prostitution after she escapes the home for wayward girls. I couldn't help being reminded of "The Magdalene Sisters", another film where girls are blamed for the lustful acts of their attackers and seducers. Louise Brooks expresses more with her eyes then most actors do with paragraphs of dialogue. Even during the giddiest parties in the brothel she expresses desperation, despair and regret with rare subtlety. Despite its' age and the lack of sound the film stands up well. The presentation is not overly sentimentalized, though the enduring "goodness" of the Thymiane and her eventual "redemption" might stretch the imagination. In an age where "human trafficking" is running rampant we could use an actress of such beauty, charisma, and sympathy to portray the continuing plight of girls and women driven into the sordid life of prostitution.

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