Adapted from Christa Winsloe’s successful play “Gestern und Morgen,” Mädchen in Uniform (1931) emerged as a significant film during Germany’s Weimar Republic era. Carl Froelich took the helm to bring this story to the silver screen, inviting both the play’s lead actress, Hertha Thiele, and its original director, Leontine Sagan, to participate in their film debuts. Sagan focused on directing the cast and mise-en-scene, while Froelich oversaw the overall artistic direction, ensuring the film’s quality.
While the original play and subsequent novel delved deeply into themes of sexual and lesbian love, the film adaptation opted for a more subtle approach. The explicit lesbian undertones were toned down, and the originally tragic ending was replaced with a more hopeful conclusion. Although the film subtly hints at burgeoning lesbian feelings and the broader spectrum of young women’s sexuality, its primary focus shifted towards a critique of the rigid and inhumane authoritarian Prussian societal structure. This system of upbringing, still prevalent in the Weimar Republic, was increasingly viewed as a threat to the young democracy. Audiences of the time resonated more strongly with this social critique than with the overt sexual themes.
Despite the thematic shift, Mädchen in Uniform remains a landmark film of the Weimar period. It bravely depicted a loosening of societal attitudes towards sexuality and challenged the old authoritarian lifestyle. However, the film’s premise struggles to seamlessly connect these two critical themes – the personal awakening of sexual identity and the oppressive societal structure. While not explicitly political in its stance, the film, echoing its original play title “Yesterday and Tomorrow,” undeniably advocates for a more liberal and humane society. The film’s progressive themes led to its banning after the Nazi rise to power, although ironically, Joseph Goebbels reportedly admired its cinematic qualities.
The film powerfully visualizes the outdated, rigid mentality it critiques. The opening sequence, following establishing shots of Potsdam, juxtaposes marching soldiers with the regimented walk of the schoolgirls. Their movements mirror the soldiers, emphasizing the imposed discipline and lack of individuality. The Frau Oberin, the headmistress, embodies Prussian authority. Her presence and demeanor are akin to a stern Prussian monarch, reminiscent of Frederick the Great, a figure often glorified in nationalistic films of the 1920s and 30s. Her severe hairstyle is not merely practical; it resembles a crown, symbolizing her absolute power. The character of Von Kenten visually embodies the fear instilled by this authority, her posture and demeanor constantly conveying a state of anxiety and submission.
The film’s sound design is particularly noteworthy, exemplified by the use of a military trumpet in the final scene. As the Frau Oberin walks through the corridor in resignation, the trumpet sound underscores that while there might be minor shifts within the institution, the external, societal power structures remain unchanged and imposing.
Leontine Sagan and Carl Froelich’s direction, coupled with the film’s cinematography, is exceptional. However, the film’s enduring classic status is largely attributed to the compelling performances of Hertha Thiele and Dorothea Wieck in the leading roles. Thiele’s portrayal of Manuela is that of a sensitive yet proud young woman, while Wieck masterfully imbues the character of Fräulein von Bernburg with subtlety and vulnerability. Ellen von Schwannecke also deserves recognition for her wonderful, though often overlooked, performance as Ilse. Thiele and Wieck later reunited in Frank Wysbar’s remarkable film Anna und Elisabeth (1933), another film exploring lesbian themes, with Wysbar having been one of the producers of Mädchen in Uniform.
An intriguing and somewhat symbolic aspect of the film’s legacy lies in the divergent paths of its key figures. Hertha Thiele and Leontine Sagan were forced into exile in 1933 and did not regain prominent careers in post-war West Germany. In contrast, Dorothea Wieck and Carl Froelich (who became a member of the Nazi party) continued their careers in Nazi Germany and afterwards. Considering the collective spirit in which this film was made, rather than by a traditional studio, this split in fates can be interpreted as a microcosm of the broader societal schism within Germany itself.
For a deeper understanding of the film and its source material, reading the original novel is highly recommended. It provides further insight into the nuances of the characters and the socio-political context of Mädchen in Uniform.
