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Des Alters Erste Spuren (1913) DES ALTERS ERSTE SPUREN (1913). STEPHANIE ROLL and ULI JUNG Women Enjoying Being Women Some Observations on the Occasion of a Retrospective of Franz Hofer's Extant Films in Saarbrücken The rediscovery of Franz Hofer as an auteur of Imperial German cinema at the 1990 Pordenone Silent Film Festival has led film scholars to a number of theoretical approaches towards his films. The person behind the oeuvre, though, has remained, until recently, unknown. While Heide Schlüpmann in her groundbreaking article for the catalog to the 1990 Pordenone Festival1 still assumed that Hofer was Austrian; later research has established that he was born on August 3 1, 1882, in Saarbrücken, nee Franz Wygand Wüstenhöfer, the son of a minor railroad official.• As of 1910 he was involved as an actor, dra­ maturge, and stage director for various Berlin theaters.3 At the same time he worked as a playwright. Between 1910 and 1912 he established himself as a screen writer, providing scripts for Franz Porten, Viggo Larsen, Walter Schmidthässler and Ernst A. Becker.In this capacity Hofer was active mainly for the Berlin Vitascope Company, and when one of Vitascope's executives, Julius Kaftanski, left the company to form his own firm, Luna Film-Industrie, he lured Hofer away, offering him the opportunity to direct his own scripts. Moreover, Kaftanski developed a number of strategies to build up Hofer as the company's main attraction.4 Thus from 1913 through 1915 he produced twenty-five films as writer-director, a body of work which from today's point of view marks the peak of Hofer's creative success. Although Hofer left Luna after such successful a period of time, for whatever reasons, he can be seen as a filmmaker who favored working under steady contracts. Thus he usually worked for one company at a time shifting from Luna to Messter Film GmbH, and from there to Apollo Filmgesellschaft (as of 1916) and ultimately to the Bayerische Filmgesellschaft (1917)1 and Olaf Film-Gesellschaft (1919) before forming his own production company, Hofer Film GmbH, in 1920. By this time Hofer's career was already declining, though. Upon the closing down of his company in 1925 after 11 productions Hofer's productivity slowed down considerably. In 1927, he once more was able to produce four films, among which was a remake of his most popular pre-war vehicle, DAS ROSA PANTÖF• FELCHEN. Even before the advent of Nazi power, Hofer joined the NSDAP in 1932,possibly to enhance his faltering film career. In October 1933, he became a member of the Fachschaft Film, a legal prerequisite for his further activities within the German film industry. His last film as a director, DIE DREI KAISER- 159 JÄGER (1933), which was co-directed by Robert Land,6 was also his first and only sound film. After its premiere on November 15, 1933, Hofer's only fur­ ther assignment within the German film industry was as Assistant Director to Johannes Guter for his FRÄULEIN LISELOTI ( 1934). After this, Hofer turned his back on the film business for good. As early as 1932 one of his plays, Schill, was premiered on the stage in Berlin. Subsequently Hofer's biography is ob­ scure. A few of his plays were reviewed in the journals, and when he attended the premiere of his play Braut auf Abruf7 at the Görlitz local theater late in June, 1944, this was his last recorded public appearance. lt is not known what became of him.8 Of the eighty-four films Hofer directed between 1913 and 1933 only fif­ teen are still available. Of course the prints are scattered in archives all over Europe and the United States. In a painstaking effort, the film critic Andrea Dittgen has undertaken to bring the entire extant films of Hofer to his native city where the Saarbrücken Filmhaus hosted a weekend's retrospective from April 16 to 18, 1999. Most of the surviving films derive from the pre-WWI years and give at least an idea of Hofer's thematic preferences and directorial concepts. The two films of the 192os,DIE GLOCKE (1922) andMADAME Lu, DIE FRAU FÜR DISKRETE BERATUNG (1929) demonstrate how Hofer's style became more and more out of date while DREI KAISERJÄGER (1933), set against the eve of the First World War, seems tobe more in line with early Fascist conceptions of heroic and self-sacrificing male film characters. In the academic discussion of Hofer's ceuvre, his peculiar treatment of fe­ male characters has been theorized: Hofer's films are not regressive in relation to the social drama's manifestation of a female gaze in cinema. On the contrary, they represent variations of a sympathetic look at modern woman's awakening, and the fears that this emancipation induces in men. This social-psychological interest is reflected in an aesthetic interest in trans­ gressions, in the pleasures of parody, expressed through images of women and through genre [ .. .].9 As important as this theoretical observation may be, it does not illuminate an aspect that became apparent in a overall back to back viewing of the extant films. Hofer does not depict women in their struggle for emancipation, nor does he document their endeavors to this end. In the subjectivity of these cha­ racters, the male-female relationships are not acted out as battles of the sexes. His women are playful, teasing sometimes, self-sufficient and self-reliant; their attitude towards men is not threatening, at least not in the men's perception. The female desire in Hofer's films more often than not follows pretty conven­ tional expectations. Wedlock is still within the women's wishes, but they insist on the right to their own choice. The men, on the other hand, are not scared away by these female attitudes; on the contrary, they are being lured towards 160 Franz Hofer (1914) these female characters exacdy because of their playful charms, because of the pleasure of being played with. As Heide Schlüpmann in her Saarbrücken lec­ ture on Hofer put it: he is not a chronicler of women's liberation. Rather, he is a troubadour: he sings the hymn in praise of women. Hofer's genre versatility has often been noted. Nevertheless, it must be stated, that his generic approaches bear consequences for the depiction of his female characters. In his earliest films Hofer seems to prefer an exotic type of woman, women who attract male gazes and do so in their capacities as artists in the entertainment industry. They present themselves to men as objects of desire only to reassure themselves of their own independence of men. This can be seen especially in DES ALTERS ERSTE SPUREN (1913) where the variety dancer's eroticism provides her upward social mobility in as much as the men compete with each others to keep her, while she does not feel obliged to accept any of the men's proposals. What attracts men, in the long run, are her non­ committal manners, the evasiveness with which she treats them. The moment she seems to accept a suitor's proposal, which is to say: the moment she seems to steer into conventional bourgeois living expectations, she looses all her at­ tractiveness for this man. Suddenly he realizes the first traces of age in her face and leaves her to a social decline well into the gutter. Moreover, it is the man who offers her his hand in marriage, and the very moment she accepts, he turns her down. In this film the woman's very form of existence depends on her ability to attract the advances of men, an ability she is able to hold up as long as her sen­ sual eroticism promises to be available for more than one man, as long as she is promiscuous. Once she is ready to choose one single man, a decision brought about by the heavy blows fate has dealt out to her, her form of existence col­ lapses irreversibly. In DIE SCHWARZE KUGEL (1913) things are different. Violetta and Edith only in their public roles as entertainment artists embody a calculated exotic appeal for the gazing men. In their privacy they strive for completely conventional wishfulfilments like fidelity, respectability, and stability in marriage. In DIE SCHWARZE NATTER (1913) however, the two female protagonists cater to diffe­ rent male views of feminine eroticism. The one, Blanche Estree, decidedly a hosenrolle, signifies dornination by holding in her hands a riding whip when she is introduced into the narrative. Her opponent, Zadija, is as a dancing sna­ ke charmer associated with archetypal threatening potentials, and her erotic interest in Iwan Korff is only faked at the beginning and serves in the end to acquire secret documents from him. The moment her erotic desire for him becomes real, she accepts at the same time bourgeois and conventional beha­ vioral patterns. Once the films leave the realms of the circus and entertainment the erotic attractiveness takes on other forms. In DER STECKBRIEF (1913), for example, the depiction of the erotic is divided: the intuitive Nelly Perron gives back to Egon Valier his courage to face life just by devoting some affection to him while the detective Ellen Gray drives him incessantly into a corner and desta­ bilizes him through her offensive eroticism. N elly's material existence does not depend on her erotic self-representation towards men. She is a modern, autonomous woman, apparently economically self-reliant, and her understan­ ding of her role allows her to open up towards men completely by her own decision. Among the female protagonists in Hofer's extant early films she is by far the strongest and the most self-determined.
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