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Austria , Germany by Robert Von Dassanowsky The previous lack of even the most basic published information on Ida Jenbach is symptomatic of the long scholarly neglect of Austrian cinema history in and outside the country. With research, restoration, and archival work beginning in the last decade of the twentieth century, much has been reclaimed and often examined for the first time.
This includes the rare female artists behind the camera, and the careers of those who perished in the Holocaust.
The triple layer of cultural amnesia surrounding the work of screenwriter Ida Jenbach as Austrian film talent, female artist, and Shoah victim is a case in point. She studied acting at the Vienna Conservatory and gave her stage premiere in Mannheim in , and subsequently found acting work in theatrical productions in Vienna, Munich, Salzburg, and Kronstadt.
Although Kolm would share or give her husbands—first, director Anton Kolm, then cameraman Jakob Fleck—credit for her screenwriting, editing, direction, and production, leaving her own official film credits inconclusive, her realization as a filmmaker must have been influential on Jenbach.
Jenbach did her most of her screenwriting for Austrian directors Hans Karl Breslauer and Max Neufeld and helped develop new genres for both of them. Economic disaster in the city of Utopia, visually indicated as Vienna, leads to the expulsion of the Jews, who are then asked to return when the original problem is only exacerbated by their expulsion. A romantic pairing symbolically reunites the divided culture.
Unfortunately, the subsequent murder of author Hugo Bettauer by a Nazi party member resulted in a limited release of the film; screenings were greeted with violence or stink bomb attacks and cuts were made by alarmed theatre managers. Although Ida Jenbach never received credit for film direction, she became the only female member of the Austrian Directors Club. It was the second of three film versions of the play to be directed by Louise Kolm and Jakob Fleck, and featured a young German actor who was to become noted Hollywood director William Dieterle.
Her pause in screenplay production between and remains unexplained, but it may have been due to her adjustment to the challenges of the new sound film. When Jenbach returned to writing, she worked in the German film industry and again primarily for the Kolm-Fleck team, which had moved to Berlin in Jenbach now abandoned the socially critical aspects of her earlier work and concentrated on operettas.
Ida Jenbach – Women Film Pioneers Project
When the film was remade the following year in England as After the Ball , only Neufeld received credit for the original screenplay. Because she was of Jewish extraction, although she claimed the Protestant faith, as was Jakob Fleck, neither Ida Jenbach nor the Kolm-Fleck team were able to work in German film after Jenbach was well suited for this work in internationally marketable contemporary and socially critical comedy, and it remains a mystery as to why she did not remain active.
Jenbach was forbidden to work following the German Anschluss in , and in she was deported to the ghetto at Minks which was liquidated in , so she either perished in Minsk or at the nearby Maly Trostenets extermination camp Loacker Her life and work are crucial pieces of the puzzle we study in an attempt to grasp the historical moment of the creation and destruction of a democratic society. Geser, Guntram and Armin Loacker, eds. Die Stadt ohne Juden. Edition Film und Text 3.
Schwiegersöhne (1926) - Release Info - IMDb
Hansch, Gabrielle and Gerlinde Waz. Ein Beitrag zur Filmgeschichtsschriebung Berlin: Der Schauspieler und Regisseur Max Neufeld. Loacker, Armin and Martin Prucha, eds. Der deutschsprachige Emigrantenfilm New York and Oxford: