The Moon of Israel

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Die Sklavenkönigin
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This article is about the film. For the novel, see Moon of Israel (novel).

The Moon of Israel
Die Sklavenkönigin
Gerhard Gruber
(in the modern reissue)
Release date
  • 24 October 1924 (1924-10-24)
Running time
103 minutes
CountryAustria
LanguageSilent (German intertitles)

The Moon of Israel (German: Die Sklavenkönigin, or "The Queen of the Slaves") is a 1924 Austrian epic film. It was directed by Mihaly Kertész (later Michael Curtiz). The script was written by Ladislaus Vajda, based on H. Rider Haggard's 1918 novel Moon of Israel, which in its turn was inspired by the Biblical story of the Exodus.

It was this film that brought Kertész to the attention of the studio head Jack L. Warner, who invited him to Hollywood in 1926, where he rapidly became Michael Curtiz and made a career with the Warner Studios.

Shooting took place in Vienna with about 5,000 extras, in the studios of Sascha-Film, and outdoors in the Laaer Berg park area. The premiere was on 24 October 1924. The restored complete version of the film, which was thought to be entirely lost for many years, was first shown on 26 February 2005 in the Wiener Metro Kino.

Story

In about the year 1230 BC the

Israelites are in slavery in Egypt. At this difficult time the Jewish slave-girl Merapi falls in love with Prince Seti, son of the Pharaoh Menapta. This socially inappropriate love leads to numerous problems, which can nevertheless be resolved. At the end of the film Moses leads his people through the Red Sea
and into freedom.

Production

One of the most outstanding scenes is the

parting of the Red Sea by Moses (Hans Marr). Since at the same time the American film The Ten Commandments
was being made, which also featured the parting of the Red Sea, the Viennese team took extraordinary care over this scene out of fear of superior American special effects technology. In the final version, thanks to subsequent trick editing, the gigantic wooden construction, designed to release 100 cubic metres (3,500 cu ft) of water from both sides at once, is unrecognisable. The water poured into a closed wooden trough 8 metres (26 ft) square and 1 metre (3 ft 3 in) deep on the Laaer Berg park in Vienna. The walls of water to either side were modelled out of plaster, which looked completely realistic on black-and-white film. One single take could now depict both the parting and the closing of the sea: for the former, the shot was simply spliced into the film in reverse.

The actors were filmed in the dry and overwhelmed by the "sea" later, during the editing. When, a few weeks after the Sklavenkönigin opened, the competing film was also in the cinemas, it came as a surprise that the parting of the Red Sea was considerably more realistic in the Austrian production. It was not only the Viennese critics who noted this: even Hollywood colleagues expressed their amazement that in this regard Laaer Berg had outdone Hollywood.[citation needed]

The director of Sascha-Film,

Sascha Kolowrat-Krakowsky
, the film's producer, as technical director.

The film is supposed to have cost 1.5 billion

Kronen. The true value of the sum is admittedly relativised by the constant high inflation that raged until the mid-1920s. Still, nevertheless it is one of the highest outlays ever for an Austrian film. Sascha-Film was only able to obtain credit from their bank against the personal security provided by Sascha Kolowrat-Krakowsky. The reason for this was partly the high production costs, but also the film's very risky economic prospects - many Austrian film production companies, after several boom years, had gone bankrupt. Austrian production companies were less and less able to stand up to the strong competition of cheap foreign imports, particularly from the United States. Additionally, inflation was receding, which made Austrian films more expensive abroad, after a period in which film export had flourished, thanks to the weak currency. Besides, the high period of the epic film
was gradually passing - the sensation value of the enormous crowd scenes and of scantily clad actresses was falling.

Cast

Sets and costumes

The sets and buildings were created by

Sodom und Gomorrha
of 1922. The costumes were by Remigius Geyling. The great majority of the cast were very simply dressed, but the palace residents and the priests had some of the most imaginative and creative costumes of the silent film period.

Background

Like other films of the period the Die Sklavenkönigin was inspired by the Egyptomania that was sweeping the world after the discovery of the intact tomb and treasures of the Pharaoh Tutankhamun. The female lead, for once, was not the director's wife, as in most of Michael Kertész's previous films: Lucy Doraine was by this time divorced from him, and so the starring role went to María Corda, the wife of his competitor Alexander Korda, who was also making epics in Vienna at this time.

The premiere took place in the Eos-Kino, in which Sascha-Film had an interest. For the occasion the cinema was done up in Ancient Egyptian style and decorated with pictures of gods and statues of warriors.

Versions

The black-and-white silent 35 mm film, 2,300 metres long, had a sound track added in 1932 by the Selenophon Licht- und Tonbildgesellschaft; without the intertitles it was only 2,074 metres long.[1][2]

In 2005 using a positive print on a

Gerhard Gruber.[3]

Critics

See also

Notes

  1. ^ CINE MUDO / Silent movies (21 June 2017). "La esclava reina (1924 Austria) Sklavenkönigin / Moon of Israel". Archived from the original on 21 December 2021. Retrieved 13 November 2017 – via YouTube.
  2. ^ robert fells (17 April 2017). "MOON OF ISRAEL (1924) an Austrian film of the Exodus". Archived from the original on 21 December 2021. Retrieved 13 November 2017 – via YouTube.
  3. ^ On 22 April 2006 in the context of the "Austria - Japan Silent Film Duo Projects" Gruber accompanied on piano a screening of Die Sklavenkönigin with the Japanese benshi Midori Sawato. This was both the Japanese premiere of the restored version of the silent film and also Gruber's first appearance in Japan.
  4. ^ "Im Vordergrund steht die großzügige und durchaus gelungene Aufmachung des Bildes, seine eindrucksvollen Massenszenen und die imposanten Bauten, welche von einer in jeder Hinsicht einwandfreien Photographie zur Geltung gebracht werden. Das Sujet ist dramatisch wirksam, mit vielen schönen Momenten, die Regieführung im Tempo nicht erlahmend."
  5. ^ „Die technische Ausführung ist, besonders in den farbigen Szenen sehr zu loben, lediglich den Durchgang durch das Rote Meer haben wir in einem Wiener Film schon besser gesehen.“

References

  • Gottlein, Arthur, 1976: Der österreichische Film - ein Bilderbuch. Vienna: Österreichische Gesellschaft für Filmwissenschaft, Kommunikations- u. Medienforschung
  • Imaginierte Antike - österreichische Monumental-Stummfilme, Historienbilder und Geschichtskonstruktionen in Sodom und Gomorrha, Samson und Delila, Die Sklavenkönigin und Salammbô. Vienna: Verlag Filmarchiv Austria, 2002

External links

Wikimedia Commons has media related to Die Sklavenkönigin.
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