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类型：剧情片 德国 1925
主演：Asta Nielsen 葛丽泰·嘉宝 Agnes Esterhazy Werner Krauß Karl Etlinger Valeska Gert
导演：G·W·帕布斯特
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剧情简介 《悲情花街》是1925年的一部剧情片。由G·W·帕布斯特执导，Asta Nielsen、葛丽泰·嘉宝、Agnes Esterhazy等联袂主演。悲情花街，又名Die Freudlose Gasse、The Joyless Street。Die freudlose Gasse (The Joyless Street), directed Georg Wilhelm Pabst from a script by Willy Haas, based on a novel by Hugo Bettauer, is not only one of the most important films of the Weimar Republic, it is also one of the most spectacular censorship cases of the era. While the film made its director famous, the state institutions of control guaranteed that no one would ever see the film in its original form. The film was considered too much of a provocation. Its story from the inflationary period in Vienna in the years immediately after World War I offered enough dynamite for several muckraking novels: nouveau riches currency and stock market speculators who wallow in Babylonian luxury, homeless and unemployed Lumpenproletariat living in barns, women who sell their souls for a bit of fresh meat at the butcher's, arrogant but impoverished former bureaucrats unaware of their social slide, young social climbers willing to prostitute themselves with high society women, sexual orgies and bordellos, murder out of jealousy, murder out of despair, and, finally, a revolution in the streets. Contemporary film critics, as well as film historians have always recognized The Joyless Street as a seminal film, a film on the border between German Expressionism and Neue Sachlichkeit (new realism). Two quotes from contemporary reviews may illustrate the point: the Berliner Tageblatt wrote: "In terms of its acting, this is a beautiful film with great direction and wonderful actors." In fact, the film starred Asta Nielsen, Werner Kraus, Hertha von Walter, and a young Greta Garbo who would go on to a stellar career in Hollywood. In the Deutsche Allgemeine Zeitung, Otto Friedrich wrote: "He (Pabst) achieves his goal in great style, does not tread on well-worn paths, presents new ideas which are uniquely his own, and with this achievement gives us a new hope. He captures the atmosphere of an idea, keeps redrawing it on the surface in ever more intensive images, in contrasts of action that make an ever stronger impression. He illustrates the down-trodden souls of the era and the manic lust for pleasure of its people who are trying to do nothing more than escape for a few minutes from the terrible truth of the present." Not only was the film cut for political and moral reasons in every country where it was publicly shown, it was also reedited in order to close the huge gaps created by censorship cuts. Thus, in almost every country totally different narratives of The Joyless Street emerged. According to Mark Sorkin, Pabst's editor, he and Pabst had made the first cuts the night before the premiere, because the theatre owner insisted the film be shortened.
While the first version of The Joyless Street still had a length of 3738 meters (only four meters were initially cut by the censorship board on 25 May 1925), the film was back in court on 29 March 1926, because the police had issued a decree calling for a total ban on the film, due to its "lewd" and " seditious" tendencies. Now only 3477 meters remained of the film. None of the later surviving versions ever came close to this length. Neither a German version, nor the original German censorship cards are known to exist. Everyone who has seen the new reconstruction of The Joyless Street agrees that it is a vast improvement over all previously existing versions. Yet it remains only a subjective attempt at a reconstruction. While it is true that the reconstruction team tried to base every one of it decisions on documentary evidence, it must also be admitted that without a surviving original German version, we will never know what the film really looked like. Given the incredible complexity of the narrative, involving at least six different subplots, and the fact that the film is still missing at least 700 meters, this version must be characterized as at attempt at a reconstruction. Jan-Christopher Horak
综合评分：
DVD电影网评分8.2，算是一部高评分电影作品，亲们，能有此分数的电影也为数不多呀，推荐大家值得观看。
影迷点评：
彼得潘耶夫斯基 说：格奥尔格·威廉·帕布斯特指导，在雨果·贝陶尔小说的基础上，由威利·哈斯改编的《欢乐街》(the joy street)，不仅是魏玛共和国最重要的电影之一，也是当代最引人注目的审查案件之一。虽然这部电影使其导演出名，但国家控制机构保证没有人会看到这部电影的原貌。这部电影被认为太过挑衅。它的故事是从战后不久维也纳的通货膨胀时期开始的……一部关于德国表现主义与新现实主义之间边界的电影，描绘了时代的堕落灵魂和它的人们的躁狂快感，这些人除了逃离现在可怕的真相外，什么都不能做。鉴于故事情节的惊人复杂性，涉及至少六个不同的次情节，以及这部电影仍然失踪至少700meters这一事实，这一版本必须被定性为重建的尝试。
Freddie Lee 说：绝望的魏玛时代（德奥匈都一样），而更绝望的是还有十余年的法西斯时代在后面等着。 嘉宝演技不咋样嘛，然而这确是她参与演出的艺术成就最高的一部电影。那个堕入风尘杀了男友情妇的女孩子（丹麦的默片女神阿斯塔尼尔森）演得最好，把贫穷导致的卑微，沦落风尘的自暴自弃与麻木，因爱生恨的怨怼，临死前的忏悔都表达得很细腻感人。最震撼的还是最后那个悲惨的母亲，手刃了屠夫，摄影机踉踉跄跄地跟着她奔向死亡。而一片大火中诞生的，不是革命的曙光，而是法西斯的降临。 今天的我们是不是离这样的时代也越来越近了？
seamouse 说：电影表现的是1921年的维也纳，奥匈帝国刚瓦解3年，左翼的社民党上台2年，所谓的“红色维也纳”时期，与基社党统治的乡野各州存在显著价值观冲突。战后苦难时期的大量维也纳工人，甚至共享同一床榻，被当成轮船睡的妓女。这么看来电影表现的有独立家庭间的住宅已经够不错了，能让嘉宝这样的超级大美人置身”花街“还有别的、对得起观众情绪的美好路子可走。2年后的1923，市政府推出第一套社会福利房，从此一发不可收拾，让维也纳成就了社会公平的今日面貌。
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