

While no content description of the film could be found, it is clear the plot of Der Fürst der Diebe und seine Liebe/The King of Thieves and His Love (Viggo Larsen, 1919) deals with a gentleman criminal, played by Larsen himself. In 1920, critic Friedrich Sieburg wrote about a terrifying experience he had when viewing this very film when suddenly the musicians stopped playing while the film went on. "In act 3, as Der Fürst der Diebe was roaring along in his car (his shawl fluttering like a flag, wind blowing briskly through the high grass of the passing landscape), the musicians in the small orchestra - violin and piano for lively scenes, organ for deathly scenes - suddenly decided to break for dinner. The music stopped. Silence. The reels whirred. The light hissed. The action sped ahead. I tell you, it was frightening. I felt as if I was six feet under."

While no content description of the film could be found, it is clear the plot of Der Fürst der Diebe und seine Liebe/The King of Thieves and His Love (Viggo Larsen, 1919) deals with a gentleman criminal, played by Larsen himself. In 1920, critic Friedrich Sieburg wrote about a terrifying experience he had when viewing this very film when suddenly the musicians stopped playing while the film went on. "In act 3, as Der Fürst der Diebe was roaring along in his car (his shawl fluttering like a flag, wind blowing briskly through the high grass of the passing landscape), the musicians in the small orchestra - violin and piano for lively scenes, organ for deathly scenes - suddenly decided to break for dinner. The music stopped. Silence. The reels whirred. The light hissed. The action sped ahead. I tell you, it was frightening. I felt as if I was six feet under."
1919-11-04
0
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6.5A fictionalised exploration of Beethoven's life in his final days working on his Ninth Symphony. It is 1824. Beethoven is racing to finish his new symphony. However, it has been years since his last success and he is plagued by deafness, loneliness and personal trauma. A copyist is urgently needed to help the composer. A fictional character is introduced in the form of a young conservatory student and aspiring composer named Anna Holtz. The mercurial Beethoven is skeptical that a woman might become involved in his masterpiece but slowly comes to trust in Anna's assistance and in the end becomes quite fond of her. By the time the piece is performed, her presence in his life is an absolute necessity. Her deep understanding of his work is such that she even corrects mistakes he has made, while her passionate personality opens a door into his private world.
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