Mythological Roots of Weimar
Contemporary knowledge of life in Twenties Berlin principally springs from mass-market films and plays. But the number of Lost-in-Weimar costume-dramas is surprisingly small. Motion-picture shorthand normally brings to mind the haughty personas of Marlene Dietrich, Lotte Lenya, Joel Grey and Liza Minnelli—each iconically attired in a lacy garter belt, black silk stockings, and shiny, elevated footwear.
Although Josef von Sternberg’s early talkie The Blue Angel (shot simultaneously in German, English, and French in 1930) was based on Heinrich Mann’s 1905 novel, its dark atmospheric rendition of sexual debasement at least belonged to a then present-day Berlin. In fact, the Blue Angel cabaret of the movie title was directly modeled on a Berlin North dive known as The Stork’s Nest. Even Marlene Dietrich’s chair-straddling Lola-Lola character had more than a passing physical likeness to the Nest’s real-life star fatale, Lola Niedlich, who was not above hawking her own dirty postcards between other singers’ acts.
(Dietrich, of course, later claimed her glamorous, cold-hearted inspiration was sparked by a nameless male transvestite, an anonymous fashion-plate she admired at the Silhouette, Berlin’s HQ for glam-dom gender-benders. Maybe, maybe not.)
Another émigré, Lotte Lenya, the diminutive Viennese chanteuse, arrived in New York in 1936 with equally high hopes. Although her composer husband Kurt Weill dutifully pushed her career forward, Lenya’s star rose only in the post-World War II period when the Weill/Brecht Weimar confection The Three-Penny Opera became the surprise Off-Broadway musical hit of 1954. Lenya achieved immediate cult status as a novel avatar of Berlin sexuality—the saucy shrew with the delectable, whiskey-and-cigarette rasp. Everything about Lenya radiated High Camp (not yet defined but rapturously appreciated in the Greenwich Village habitat of the time) from her ironic stage delivery to her evil-if-matronly bisexual predilections. Moreover, Lenya herself disturbingly epitomized the cartoonish whores from George Grosz’ pornographic oeuvre, another Weimar import that was gaining popularly in the Eisenhower-Marlborough Book Club-Kennedy era.
I The writer most responsible for the myth of “Sodom on the Spree” was, of course, the British Peter Pan, Christopher Isherwood. His semi-autobiographical Berlin Stories were written in the Thirties but only found a wide readership decades later when they were appropriated for Broadway and Hollywood vehicles.
The first dramatization of the Isherwood vignettes, I Am a Camera (staged in 1951; filmed in 1955) introduced the American public to the character of Sally Bowles and the sinister “demonic Berlin-Nazi takeover” theme. These adaptations, however, were essentially cerebral renderings—in the inimitable “Playhouse 90” black-and-white television style—not helped by their tame erotic imagery (nary a nipple or garter in sight) and conventional Fifties scenario: serious, artistic type lands in a dangerous and sexually-charged environment (usually a foreign stand-in for Manhattan), becomes involved with a promiscuous female, realizes the folly of his ways, and returns with newly-minted enthusiasm to his trustworthy wife/fiancée/home (that is, the domestic tranquility of Levittown).
Hal Prince’s Broadway musical version of the Isherwood stories, Cabaret (staged in 1966) provided an entirely fresh and titillating look at nocturnal Berlin. His scenic designer, the Russian-born Boris Aronson, actually spent several months in the city during the depths of the 1923 Inflation. And the book by Joe Masteroff attempted to both restore the “divine decadence” of Isherwood’s about-to-be-fascist Berlin while updating
Prince’s Cabaret was shot through with the anxieties of 1966 America in Year Three of the Great Society. Counterculture live-in arrangements, drug use on campus, The Factory, and debutantes-gone-wrong were already stock-in-trade Life magazine features. Censorship in Hollywood and on the newsstands was fast eroding, thanks to the ACLU, which helped suburbanize the Sexual Revolution. Halloween-masked radicals paraded down Fifth Avenue while Silent Majority hard-hats menacingly chewed their hoagies. Inner-city teens torched and looted without consequence. Feminists talked a lot about their bodies. Towering drag queens in ever-swelling groups sauntered through the big-city night. Prince’s Cabaret really hit home. Sally Bowles could have been any investor’s (or reviewer’s) daughter from the suburban North Shore.
Nazi Sexuality expanded into a hot S&M and leather subset of mail-order pulps and 16mm smokers. The backstreet Ventura County shlockmeisters, naturally, were just following in the footsteps of Fifties’ Men’s magazines, which long bandied about the sick-sex by Germans-in-wartime scenario. Finally, highbrow European film directors mounted the Berlin-to-Auschwitz bandwagon, notably with The Damned (1969), The Night Porter (1973), and The Serpent’s Egg (1976). Like Edwin S. Porter, Christopher Isherwood had unwittingly devised a free-wheeling multinational staple that knew no cultivated bounds or embodied much historical truth.
Fosse’s Hollywood musical Cabaret (1972) jettisoned the sweet comic interludes of the Masteroff stage script. He sharpened the juxtapositions of fetish-strewn Berlin with the smartly-uniformed avengers of the New Germany. Yet again mass audiences were allowed to partake in the polymorphous confusion of old Weimar—via a doll-faced Joel Grey in nifty drag and big-eyed Liza in shameless, junior Marlene getup—while rationally condemning it. Although the Fosse film laboriously plotted out the dangers of female promiscuity and predatory homosexuals (of the duplicitous cross-dressed or monocle-wearing varieties), its harsh social message was less apparent to Seventies adolescents. Cabaret (and, by extension, Weimar Berlin) signified nothing more than wild clothing and wild sex. Bad Boy, Bad Girl, mean, mocking, in-your-face Sex.
This newest trend in Weimarism was a kick, imparting graphic life to Karl Lagerfeld, David Bowie (on his third go-round), German neo-noir costume film-epics, the Plasmatics, Macy’s lingerie ads (especially preceding Mother’s Day), Marquee-“O”-and-Skin glossies, Madonna-in-Gaultier-garb, a mini-genre of gay Holocaust weepies, Marilyn Manson, and a smash, brothelized import of that old workhorse, Cabaret.
