Hoffmanns Erzählungen (1916)

In the prologue, director Oswald stands before the grave of Friedrich Schiller. This otherwise insignificant scene serves only to emphasize the artistic ambition of the film that follows. The film itself, whose staging wholly conforms to the language of the theater, is divided into three acts. They tell three stories with Hoffmann at the center, though the stories are not connected to one another. The young E.T.A. Hoffmann lives in Jena, in a bygone age, under the roof of his uncle and aunt. Also frequenting their home are Count Dapertutto, the spectacle seller Coppelius, the museum director Spalanzani, and Dr. Mirakel. Hoffmann quickly develops a deep aversion to all these mysterious, shadowy figures, especially since he senses a very hostile disposition in them. These characters, whom Hoffmann loathes, eventually find their way into three deeply unhappy love stories written by the young author, where they take on demonic traits. The first story: Spalanzani owns the mechanical doll Olympia, a life-size and very beautiful being. Coppelius, a highly peculiar and unsettling figure like Spalanzani, is owed money by Spalanzani, who gives him a promissory note instead. Hoffmann buys a strange pair of spectacles from Coppelius. Seen through them, the world turns out to be entirely different; things appear to the viewer in an intoxicating light. When Hoffmann looks at Olympia through the spectacles, he does not realize that she is a doll. He quickly falls in love with her, and although her jerky dance movements are very angular and stiff, he still does not realize that this charming being is not real. When Coppelius returns in a rage because Spalanzani’s promissory note has bounced, he furiously destroys Olympia. The second story: This one takes place in a Venetian palace. The seductive Giulietta is celebrating a bacchanal with her guests. Hoffmann is there too, giving himself over entirely to the pleasures of wine. Suddenly Schlemihl appears, an intensely jealous man who, like everyone else present, seeks Giulietta’s company. She tries to calm them all down so that the feelings of these hot-blooded young men do not take a dramatic turn. When Count Dapertutto appears, matters take a turn for the worse. He possesses a diamond whose sparkle gives him power over women. Giulietta is immediately fascinated by it. Dapertutto succeeds in setting Schlemihl and Hoffmann against each other; Hoffmann has just lost all his money to Schlemihl at cards. Hoffmann then demands a rematch. The two play cards again. At last, the two hotheads duel over money and Giulietta’s favor. Schlemihl no longer casts a shadow, having already lost it to Dapertutto through Giulietta. Schlemihl falls in the duel, pierced by a blow from Hoffmann’s sword, which belongs to Dapertutto. Hoffmann now has to flee. When he meets Giulietta for the last time, he gives her his own reflection, devoted to her in his profound love, just as Dapertutto had planned. But she only mocks him. Now free of troublesome competition, Dapertutto takes Schlemihl’s winnings and immediately claims Giulietta for himself as well. The third story: This scene takes place in the home of Councillor Crespel. Antonia is the daughter of the widowed master of the house. His wife once suffered from a rare illness triggered by singing, and died of it. The councillor fears that Antonia’s gift for singing could lead her to the same fate. When Hoffmann gets to know Antonia better, they fall in love. To her father’s delight, she agrees to give up a singing career for the sake of this love. But the mysterious Dr. Mirakel, whose sinister actions had already cost Antonia’s mother her life, also tries to exert his dreadful power in Antonia’s case. He manages to make Antonia believe that her mother is communicating with her from beyond the grave and urging her to keep singing to her heart’s content. Antonia follows this urging and dies. Deeply distraught and devastated, Hoffmann leaves the Crespels’ house and flees.