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Der Dibuk (1937) [ReUp]

Posted By: Someonelse
Date: 14 Nov 2014 14:39:00
Der Dibuk (1937) [ReUp]

The Dybbuk (1937)
DVD9 | ISO+MDS | NTSC 4:3 | Cover + DVD Scan | 02:01:13 | 7,72 Gb
Audio: Yiddish LPCM 2.0 @ 1536 Kbps | Subtitles: English hardcoded
Genre: Drama, Fantasy

Director: Michal Waszynski
Stars: Abram Morewski, Ajzyk Samberg, Mojzesz Lipman

In a Polish shtetl, two young men who have grown up together betrothe their unborn children, ignoring the advice of a mysterious traveler not to pledge the lives of future generations. Soon after, one of them dies, and the wife of the other dies in childbirth. The children grow up in different towns, without ever knowing of the betrothal, but the power of the vow leads them to meet each other when they are marriageable. The young woman, Leah, is promised to another man, but Channon, the son of the father who died, is a practitioner of mysticism, and seeks to win his bride through sorcery.

IMDB | Wikipedia | Rotten Tomatoes

Now here‘s exotica: a supernatural drama filmed in Poland, on the brink of the Holocaust, entirely in Yiddish, in 1937. You won’t see many like this. Two good friends make a solemn vow that when their as-yet-unborn offspring are grown, they will be wed (assuming they are a son and a daughter). But the mother of Leyele dies in childbirth. The father of Khonnen dies trying to get to his son’s birth and the oath is forgotten. Leyele’s father Sender prospers over the years, while young Khonnen becomes a devout, mystically minded scholar. When the fated couple meet they feel an instant bond, but Sender, unaware of this, sets up his daughter’s marriage to another. In a desperate bid to thwart this union Khonnen tries to summon Satan, but dies in the attempt, and the distraught Leyele, in the middle of a traditional ‘dance with the poor’ before her union with a man she does not love, becomes possessed with Khonnen’s restless spirit. It is left to an ageing Rabbi to try to sort out the rights and wrongs of this mess, in a trial attended by Khonnen’s long-deceased father, and to send Khonnen’s soul to its rightful place in the universe…

Der Dibuk (1937) [ReUp]

All very odd, but those are just the bare bones of the tale. Michal Waszynski’s The Dybbuk is as rich and strange an artefact as any aficionado of fantastic cinema could hope for. It overflows with esoteric rituals, customs and superstitions, some of which seem unfamiliar even to the characters on screen: there’s numerology, bits of Kabbalah, odd bursts of song and poetic turns of phrase, mannered acting, and vaudeville schtick. It is based on a popular play by S. Ansky, which clearly leaned heavily on folklore and fable, and you can still see its roots as a night in the theatre with something for everyone: a little physical and character comedy, a love story, the occasional tune, all manner of unflattering hairstyles and a large helping of tragedy. But seeing the rituals and customs of Judaism acted out on the big screen was apparently a big draw in and of itself. In the first few minutes, the developing narrative is brought to a halt as Sender sings the Song of Songs: ‘Your ointments yield a sweet fragrance, …give me the kisses of your mouth…’

Der Dibuk (1937) [ReUp]

This sets a pattern for a drama that always finds space for poetry and parable (even the wedding has to accommodate the musings of a ‘Wedding Bard’). Most of the film’s best moments are verbal, even in a subtitled translation: Leyele’s lament for ‘unborn children, never mine, lost forever, lost in time’, the churchyard summoning of the dead to trial beginning ‘blameless departed’, and Khonnen’s last, mournful coda, ‘I left your body to return to your soul’.

Der Dibuk (1937) [ReUp]

The filmmaking is pretty creaky in places, a little like an old Universal feature, but with less elaborate sets and more location photography. Camera movement is largely restricted to the odd pan or dolly shot, music is sporadic and the special effects extend only as far as fades, double exposures and dissolves. This doesn’t stop The Dybbuk creating a heady supernatural atmosphere from the start, in which the spiritual and natural worlds blend and overlap. Especially in the figure of a wandering messenger from elsewhere, who, bearded, heavy-lidded and humourless, appears unbidden into this realm to deliver wisdom and warning to the cast, who seem aware, and accepting, of his otherworldliness. We don’t, unfortunately, get a guest appearance from Satan when Khonnen calls him (boo!), which leaves Leyele’s ‘dance with the poor’ as the film’s standout moment of the fantastique, and a great sequence it is too, as her despair and anguish seem to take physical form in a moment of whirling disorientation and delirium, and she finds herself literally dancing with death.

Der Dibuk (1937) [ReUp]

To a decided non-believer, this comes across as a weird little bubble of cinema, both familiar and strange, a film overlaid with real tragedy, created by artists long disappeared, dispersed and destroyed, but one still brimming with life and soul and artistry.
Electric Sheep
Der Dibuk (1937) [ReUp]

One of the most interesting Yiddish films ever made. It was made at the time the Nazis were going into their 'Final Solution' plans and were publicly blaming the Jews for all their troubles. Sholem Anskil's folk tale of a disembodied spirit who possesses the body of the woman he is about to wed serves as the theme. The supernatural and the search for the Jewish soul, make this film a testament to the inner Jewish experience more than what most of the Yiddish films had previously done.

Der Dibuk (1937) [ReUp]

Leon and Lili are the star-crossed lovers living in Warsaw's shtetl (Jewish village). The film was shot in one of Warsaw's most anti-Semitic neighborhoods, according to J. Hoberman's wonderful book on the Yiddish cinema "Bridge Of Light." Hoberman goes on to tell how the cast had quite a difficult time just getting to the studio to work, being taunted by the local hooligans with anti-Semitic remarks and often beaten upon.

Der Dibuk (1937) [ReUp]

How lovers suffer, is a theme audiences of various beliefs could relate to.

The marvelous voice of the great cantor Sirota divinely rings through the temple. There is elation in the music and in the dance of the shtetl inhabitants that brings on an unexpected joy and grace, and adds much weight to the film's sense of culture.

Der Dibuk (1937) [ReUp]

What is eerie, even as the irrational is presented onscreen, is the evil that lurks for the actors and audience, as the incomprehensible is soon to descend on them in the form of a Holocaust. They, more than likely, were caught up in it and had to brutally suffer for their religion. Also, the film's "Dance of Death" scene has become a legendary one.

This is not only a great Yiddish film, but one of my top 100 hundred films.
Dennis Schwartz: "Ozus' World Movie Reviews"
Der Dibuk (1937) [ReUp]

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