The Lost Angel
August 24, 1937: a day in the life of expressionist sculptor/author Ernst Barlach. He lives in the small town of Güstrow, keeping to himself, not interested in politics. This day he learns that his sc…
The Lost Angel
August 24, 1937: a day in the life of expressionist sculptor/author Ernst Barlach. He lives in the small town of Güstrow, keeping to himself, not interested in politics. This day he learns that his sculptor in the Cathedral is gone. August 24, 1937: a day in the life of expressionist sculptor and author Ernst Barlach. Barlach lives in the small town of Güstrow, keeping to himself, not interested in politics. One day he learns that the Nazis have dragged his famous 1927 sculpture "The Hovering Angel" - which bears the features of German artist Käthe Kollwitz - out of the Güstrow Cathedral. Barlach begins to reflect on his life of "inner emigration" and on his work, which has been either confiscated or denounced as "degenerate art" by the Nazis. Although he realizes active opposition is needed, he no longer has the strength. In 1966, this film was banned by East German/DDR officials, who considered it "mystical," with "existentialist interpretations of art and power." It was released in a shortened version only in 1971. —Ulf Kjell Gür
The Lost Angel
Biography,Drama
Film Details
August 24, 1937: a day in the life of expressionist sculptor/author Ernst Barlach. He lives in the small town of Güstrow, keeping to himself, not interested in politics. This day he learns that his sculptor in the Cathedral is gone.
August 24, 1937: a day in the life of expressionist sculptor and author Ernst Barlach. Barlach lives in the small town of Güstrow, keeping to himself, not interested in politics. One day he learns that the Nazis have dragged his famous 1927 sculpture "The Hovering Angel" - which bears the features of German artist Käthe Kollwitz - out of the Güstrow Cathedral.
Barlach begins to reflect on his life of "inner emigration" and on his work, which has been either confiscated or denounced as "degenerate art" by the Nazis. Although he realizes active opposition is needed, he no longer has the strength. In 1966, this film was banned by East German/DDR officials, who considered it "mystical," with "existentialist interpretations of art and power." It was released in a shortened version only in 1971.
—Ulf Kjell Gür.