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Die Sünden der Vater
(Sins of the Father)
Also known as Faedrenes synd in Denmark; The Devil’s Assistant and Regina in the USA
(1913) Germany
B&W : Three reels
Directed by Peter Urban Gad
Cast: Asta Nielsen [Hanna Meyer], Fritz Weidemann [Junger Maler Marten], Emil Albes [Vater Meyer], Hermann Seldeneck [Maler Professor Harlow], Max Wogritsch [Hans Braun], Fräulein Stoike [Tochter Fanny Harlow]
Deutsche Bioscop Gesellschaft mit beschränkter Haftung production for Projektions Aktiengesellschaft Union-Film [PAGU]; distributed by Internationale Film-Vertriebs. / Scenario by Peter Urban Gad, from a novel by Hermann Sudermann. Cinematography by Guido Seeber. / Released 28 February 1913. / Standard 35mm spherical 1.33:1 format. / The film was released in Denmark as Faedrenes synd in Denmark on 25 August 1913. The film was released in the USA in two reels by The General Film Company, Incorporated, on 26 February 1914.
Drama.
Synopsis: [?] [From The Moving Picture World]? Because of the shiftless habits of her father Hanna is obliged to seek employment as an artist’s model in Harlow’s studio, where she meets Marten, a rising genius, who later has the girl pose for him. He soon shows evidence of a very high regard for the girl, which she reciprocates, losing her former affection for her childhood friend, Hans a faithful, honest and worthy young gardener. Through Harlow’s influence the young artist secures a scholarship and goes to Italy for study on the eve of his departure proclaiming his love to his benefactor’s daughter. Hanna, broken-hearted by her lover’s treachery, falls into evil habits, finally becoming destitute. She obtains employment in Harlow’s household, where she again sees Marten, who returns a celebrated artist. Unable to resist the hopelessness of her position the girl sinks to the lowest depths of misery, where she is found some time later by Marten, in seeking a model for a picture to depict the misery of the hopeless. The artist hopefully begins his task, which is soon interrupted by the violent death of Hanna’s father, at whose bier she vows to lead a better life in the strength of her new resolve Hanna strives for better things, regains the love of Hans, improves her condition and begins again to experience the joys of a new life, which drives the expression of hopelessness from her face. Upon learning the cause that threatens destruction to his picture, Marten profiting by the knowledge of her weakness, shamefully tries to again make love to the girl. The expression of misery again returns. The picture is finished and pronounced a masterpiece, and the young painter is receiving the plaudits of his fiancée and her father, when Hanna, whose downfall has cost the love of Hans, appears on the scene, reveals Marten’s perfidy and destroys the canvas in a tense and most dramatic scene.
Reviews: [The Moving Picture World, 7 March 1914, page ?] A strong two-part picture featuring Asta Neilson and in which she shows that kind of acting that has won her the reputation she enjoys. What is more, we seldom see a film story with so much that is deeply significant and at the same time is so clear and simple that every heart that has felt pain can fully understand it. There is no padding in it. After the situation is once clear, the action proceeds logically and naturally to a passionate climax. It is an offering that will make its mark on every audience and will be talked about. From the spectator’s viewpoint, on account of its new story, its dramatic plot, its interesting characters and its acting, its staging and photography, a most worthy picture.
Survival status: Print exists in the George Eastman Museum film archive [35mm positive].
Current rights holder: Friedrich-Wilhelm-Murnau-Stiftung [Germany]; Public domain [USA].
Listing updated: 7 November 2022.
References: Pratt-Spellbound p. ? : Website-GEM; Website-IMDb.
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