Veidt Dances an Expressionist Ballet

My interest in Conrad Veidt was tipped by a Halloween-season showing of the 1924 silent thriller, The Hands of Orlach, for which Dennis James provided live organ accompaniment at the Indiana University Auditorium. Veidt’s career spanned a quarter century, beginning in 1917 with the silent movies and into the talkies, ending at his death in 1943 at age 50.

Hans Walter Konrad Weidt was born in Berlin, Germany, on 22 January 1893. He was drafted into the German Army during World War I and saw action in the Battle of Warsaw but contracted a serious illness that subsequently earned him a discharge in 1917. That year he returned to Berlin to pursue an acting career. He would eventually appear in more than a hundred films.

One of his earliest, most memorable performances was in the classic German Expressionist film, The Cabinet of Dr. Caligari, in 1920. Veidt played the sleepwalker Cesare to Werner Krauss’ Dr. Caligari. By the end of the decade, he was making movies in Hollywood as well.

Veidt was vigorously opposed to the Nazi regime. When Hitler’s Minister of Propaganda Joseph Goebbels began a purge to rid the German film industry of Jews and liberals in 1933, Veidt and his third wife, Ilona, a Hungarian Jew, emigrated to England. Throughout the World War II era, he donated large amounts of his personal fortune to the British war effort.

He became a British citizen in 1938, although he and Ilona moved to Hollywood in the early 1940s. Ironically, his best-known Hollywood role was as a Nazi officer, Major Heinrich Strasser, in the 1942 Humphrey Bogart-Ingrid Bergman film, Casablanca.

Veidt suffered a massive heart attack while playing golf in Los Angeles and died on 3 April 1943.

Handsome, gaunt, and exuding an aura of anxiety, sometimes ecstatic and sometimes maniacal, Veidt was at his best in the German Expressionist films of the late Teens to early Thirties. In The Hands of Orlach, in which he plays a pianist whose injured hands are replaced with those of an executed murder, according to critic Lotte Eisner, Veidt “dances a kind of Expressionist ballet, bending and twisting extravagantly, simultaneously drawn and repelled by the murderous dagger held by hands which do not seem to belong to him.”

It was a pleasure to rediscover not only the tantalizing stylizations of the German Expressionist silent films but also to witness one of the masters of that art at work.

Professor Media*

From the broadsheets and banned theater of America’s founding era to TV news, Twitter, and sitcoms today, media have been our professors, teaching us about our world and shaping how we think about and respond to important issues. Mass media are more directly educative for most adults than any type of formal schooling. Increasingly, as the current mania for standardized testing narrows the school curriculum, media also are surpassing classroom teachers as our children’s most influential educators.

This media-education interconnection is complex and often problematic. While media have helped to shape progress on some issues of importance to American democracy, they also have contributed to ignorance and misunderstanding. The First Amendment protects freedom of expression, but it does not ensure truth. Societally reflective sitcoms, for example, have paved the way for progress on social issues, from civil rights to marriage equality. But biased political advertising and propagandistic “news” have contributed to political stagnation and the growing gap between rich and poor.

Media are seductive. We spend hours on “screen time.” Those who control the media well understand that what is portrayed and how it is framed shapes socially shared knowledge. The rise of corporate oligarchy in the United States has been achieved, in part, through concerted propaganda passed off as truth. What this means is that, if we are to reclaim American democracy, greater attention needs to be paid to the educative power of media—and not merely to the traditional forms (movies, radio, television) but to new media that we carry with us in our mobile phones and tablet computers. According to a Pew study last year, one in three Americans gets news through Facebook.** And two-thirds of adult Americans use Facebook.

For media consumers—which means everyone, children and adults—it has never been more important to exercise effective credibility strategies, such as critically examining claims of “truth.” A quote attributed to American economist Thomas Sowell is apt: “If people in the media cannot decide whether they are in the business of reporting news or manufacturing propaganda, it is all the more important that the public understand that difference, and choose their news sources accordingly.” However, such understanding must be taught, not just in schools but through the media themselves.

Principles of journalism must cross all platforms, from sitcoms to news reports. Are “facts” accurate, credible, verifiable, contextually appropriate, and unbiased? Whether the purveyor is a talking head or a comic character, how is “truth” situated? If we subscribe to the biblical admonition that the “truth will set you free,” then we also must invoke the first part of that quotation about “knowing the truth,” which is the real challenge, regardless of the context.

*This essay is cross-posted on two blogs: Advancing Learning and Democracy (http://advancinglearning.blogspot.com) and Arts in View (http://artsinview.blogspot.com).

** http://www.journalism.org/2013/10/24/the-role-of-news-on-facebook/

Three Takes on 20th Century Art

A recent vacation swing through Wisconsin and back by way of Chicago offered an opportunity to visit three art institutions, each with a focused exhibit worth seeing.

In Sheboygan, Wisconsin, at the John Michael Kohler Arts Center, I encountered a retrospective titled “Arts/Industry: Collaboration and Revelation,” highlighting the 40th anniversary of a program involving mainly ceramic artists and the large Kohler Company, known for its innovative kitchen and bathroom fittings and fixtures. Having lived in Sheboygan from 1970 to 1991, I recognized a few of the early works on view. The program has produced an astonishing variety of ceramic arts, through artists in residence at the factory.

In Milwaukee, the featured exhibit at the Milwaukee Art Museum was “Kandinsky: A Retrospective,” featuring paintings and other works by Russian-born Wassily Kandinsky (1866-1944) from the large collection at the Centre Pompidou in Paris. The works on view span 1900 to 1944, from Kandinsky’s experimentation with Art Nouveau through the Bauhaus years and culminating with his flirtations with Surrealism and Abstract Expressionism. (Fragment I for Composition VII from 1913 is shown above.)

Finally, at the Chicago Art Institute, I was happy to visit “Magritte: The Mystery of the Ordinary, 1926-1938,” billed as the “first major museum exhibition to focus exclusively on the breakthrough years of René Magritte” (1898-1967), a Surrealist responsible for some of the 20th Century’s most engaging images. From works on paper that first gained him recognition in Brussels, the exhibit moves forward through the Paris years when he was in contact with fellow Surrealists, such as André Breton, Salvador Dali, and Joan Miró. The exhibit concludes with works made in London and Brussels between 1937 and 1938, including the iconic Time Transfixed, in which a train engine emerges from a fireplace.

All three exhibits showcase aspects of 20th Century Modernism, from the eclectic mix of artists’ ceramic works in a 40-year show spanning late Modernism to Postmodernism, to Kandinsky’s experiments in Art Nouveau and Abstract Expressionism, and finally to Magritte’s emergence from early Impressionistic works to his solid place in Surrealism. A vacation that includes such an abundance of visual images is truly a marvel of coincidence.

Have You Ever?

Much of my poetry draws on life experiences, which is doubtless true for most poets (a distinction to which I have only a passing, rather dubious claim). The following poem, however, is starkly autobiographical and intended, I suppose, as a morsel of "tough love" or "straight talk" to someone who is going through a hard time of some sort.

Have You Ever?

Have you ever followed the ambulance

And waited for the doctor, who shook his head

And said,

Your wife is dead?

Your love, your light, your reason for life

Is dead?

I have.

Have you ever gone home at dawn to tell

Your three-year-old son and his fifteen-year-old brother,

Mom is dead?

Do you hear what I said?

Then called your daughter, your dad, your loved one’s parents

With the sad news?

I have.

Have you ever waited in an exam room

Waited for the doctor, who shook his head

And said,

You have cancer?

Have you felt the jolt of fear for yourself, for your kids

Course through?

I have,

Not one time but two.

So, yes, by all means, tell me about your terrors,

Your fears and misgivings, the sharp teeth that gnaw

At your mind.

Tell me.

I know where you’re at, where you’re going.

I’ve been there.

I have.

But don’t tell me you cannot survive,

That it’s all too much, that you can’t stand the pain.

You can.

You know why?

Because I’ve been through your hell and I’m still alive.

I have survived.

I have.

You will, too.

Remembering Maya Angelou

I heard the sad news about Maya Angelou’s death at age 86 the day after I took a German friend (who’d been a high school exchange student with us about a decade ago) to Cincinnati, Ohio, to visit the National Underground Railroad Freedom Center. In the gift shop there, I bought the Complete Collected Poems of Maya Angelou. I had other books by her but not that one. It seems extraordinary that she was much on my mind at just this time.

A few years ago I worked with a co-editor on an anthology project titled Why Civic Education Matters, published by the Center for Civic Education (http://new.civiced.org/). To include an essay by Maya Angelou in the book, my co-editor Greg Bernstein conducted an interview with the busy author and sent me the transcript. My task was to take the raw material and craft an essay. The challenge, which I quite enjoyed, was to capture the essence of Maya Angelou’s responses and transform them into a coherent narrative, all the while being sensitive to her unique voice. I have to assume that when she was shown the edited work, she was satisfied.

Prior to developing the anthology, of course, I had gained an advantage by having seen Maya Angelou in films and on television. I had heard that wonderful, distinctive voice many times. Best of all, I had the pleasure of seeing her in person when she spoke at the Indiana University Auditorium. That particular evening was nothing short of magical. Maya Angelou at 80-plus years of age held a standing-room-only audience of more than 3,000 totally enthralled for an hour and a half. She talked, read, recited, sang, and even danced her way into the hearts of everyone present. It was an evening I’ll never forget.