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World Film Locations Vienna 1st Edition Robert
Dassanowsky Digital Instant Download
Author(s): Robert Dassanowsky
ISBN(s): 9781841505695, 1841505692
Edition: 1st
File Details: PDF, 5.43 MB
Year: 2012
Language: english
WORLD
FILM
LOCATIONS
vienna
Edited by Robert Dassanowsky
WORLD
FILM
LOCATIONS
VIENNA
Edited by Robert Dassanowsky

First Published in the UK in 2012 by All rights reserved. No part of this

Intellect Books, The Mill, Parnall Road, publication may be reproduced, stored
Fishponds, Bristol, BS16 3JG, UK in a retrieval system, or transmitted, in
any form or by any means, electronic,
First Published in the USA in 2012
mechanical, photocopying, recording,
by Intellect Books, The University of
or otherwise, without written consent.
Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA A Catalogue record for this book is
available from the British Library
Copyright ©2012 Intellect Ltd
World Film Locations Series
Cover photo: Before Sunrise, 1995
ISSN: 2045-9009
(Castle Rock/Detour
eISSN: 2045-9017
The Kobal Collection)
World Film Locations Vienna
Copy Editor: Emma Rhys ISBN: 978-1-84150-569-5
eISBN: 978-1-84150-736-1
Printed and bound by
Bell & Bain Limited, Glasgow
WORLD
FILM
LOCATIONS
VIENNA
editor
Robert Dassanowsky

series editor & de sign

Gabriel Solomons

contributors
Thomas Ballhausen
Michael Burri
Robert Dassanowsky
Laura Detre
Todd Herzog
Susan Ingram
Dagmar C. G. Lorenz
Joesph W. Moser
Markus Reisenleitner
Arno Russegger
Nikhil Sathe
Heidi Schlipphacke
Oliver C. Speck
Justin Vicari
Mary Wauchope

location photography
Severin Dostal
(unless otherwise credited)

location maps
Joel Keightley

published by
Intellect
The Mill, Parnall Road,
Fishponds, Bristol, BS16 3JG, UK
T: +44 (0) 117 9589910
F: +44 (0) 117 9589911
E: [email protected]

Bookends: Internal courtyard of the Hofburg Palace

complex (Severin Dostal)
This page: The Third Man (Kobal)
Overleaf: The Living Daylights / Mayerling (Kobal)
 CONTENTS
Maps/Scenes Essays
10 Scenes 1-8 6 Vienna:
1922 - 1936 City of the Imagination
Michael Burri
30 Scenes 9-16
1936 - 1955 8 Vienna Imperial
at Home and Abroad:
The City as Film Myth
50 Scenes 17-24 in the 1930s and 1940s
1957 - 1976 Joseph W. Moser

28 Vienna and the Films

70 Scenes 25-32
of Louise Kolm-Veltée
1976 - 1986
Robert Dassanowsky

90 Scenes 33-39 48 The Jewish Topography

1987 - 2001 of Filmic Vienna
Dagmar C. G. Lorenz
108 Scenes 40-46
2001 - 2011 68 Vienna in Film 1945–55:
Building a Post-War Identity
Mary Wauchope

88 Wonder Wheel:
The Cinematic Prater
Todd Herzog

106 The Spaces of

The Other Vienna in
New Austrian Film
Nikhil Sathe

Backpages
124 Resources
125 Contributors
128 Filmography

World Film Locations | Vienna 3

acknowledgem ents
This book would not have
been possible without
the motivation, support,
direction, and patience of
Gabriel Solomons at Intellect.
I also wish to acknowledge
the generous assistance of
Michael Burri and Severin
Dostal, and most certainly the
superb work of each of the
contributors in this unique
cinematic-urban adventure.
I dedicate the volume to the
city and people of Vienna.
robert dassanowsk y

published by
Intellect
The Mill, Parnall Road,
Fishponds, Bristol, BS16 3JG, UK
T: +44 (0) 117 9589910
F: +44 (0) 117 9589911
E: [email protected]
INTRODUCTION
World Film Locations Vienna

‘the vienna that never was, is the greatest city in the world,’ commented
Orson Welles as he attempted to film an experimental spy spoof on its grand
circular boulevard of palaces, government buildings, museums and parks, the
Ringstrasse, in 1968. He had become familiar with the city at a time in which it was
at its least traditionally cinematic, as his character Harry Lime darted in and out of
the war-torn shadows of The Third Man (Carol Reed, 1949). Along with The Sound
of Music (Robert Wise, 1965), which is set wholly in Salzburg and its environs (on
location for the most part), and a few additional films, these cinematic memories
represent Austria in much of the world's imagination.
Throughout western film history Vienna, its capital, has most often appeared as a
fantasy based on the imperial city it was until 1918. Austrian film took the lead in
the perpetuation of this lost world with the ‘Viennese Film’ of the 1930s and 1940s,
a genre that was remade and imitated by Hollywood, often by its sizeable Austrian-
Hungarian expatriate and exile population, which also contributed to the myth
(e.g. Josef von Sternberg’s Dishonored [1931], Henry Koster’s Spring Parade [1940],
Billy Wilder’s The Emperor Waltz [1948], Michael Curtiz’s A Breath of Scandal [1960],
etc.). During the post-war Austrian film industry boom, Vienna was able to market
itself on an international scale with historical backdrops for opulent Agfacolor
melodramas, comedies, and operettas based on the myths of the Habsburg dynasty
and the aristocratic-bourgeois world of the nineteenth and early twentieth century.
The most indelible of these imperial epics is Ernst Marischka’s Sissi series (1955–57)
which made a world star of Romy Schneider and permanently romanticized the
reputation of the penultimate Austrian Empress, Elisabeth or ‘Sissi’.
Vienna, much like Paris, is a film city obsessed with love – from pre-Blue Angel
Marlene Dietrich and Willi Forst in Café Elektric/Cafe Electric (Gustav Ucicky, 1924)
to Omar Sharif and Catherine Deneuve in Mayerling (Terence Young, 1968) to
Ethan Hawke and Julie Delpy in Before Sunset (Richard Linklater, 1994) – albeit this
attitude presents a somewhat thornier prospect in the city of Freud, as the recent
A Dangerous Method (David Cronenberg, 2011) aptly underscores. There have, of
course, been other cinematic associations and Vienna has functioned as a stand-in
for Budapest (The Journey [Anatole Litvak, 1959]), a Vienna-esque Sweden (A Little
Night Music [Harold Prince, 1977]), Moscow (Firefox [Clint Eastwood, 1982]) and
Paris (The Three Musketeers [Stephen Herek, 1993]), while ‘Old Vienna’ has ironically
been shot in Prague (Amadeus [Milos Forman, 1984]; The Illusionist [Neil Burger,
2006]) and Paris (Julia [Fred Zinnemann, 1977]). New Austrian Film has introduced
a grittier image of Vienna through the iconoclastic visions of its contemporary
creators. But German film-maker Benjamin Heisenberg insists that Vienna remains
‘a fantastic cinema city’. Beyond its iconic historical sites and new landscapes there
are views that ‘are not particularly beautiful and not touristic, but very exciting’. {

Robert Dassanowsky, Editor

World Film Locations | Vienna 5

VIENNA
City of the Imagination
w Text by
Michael
Burri

a prodigious image machine , Ernst Lubitsch once quipped that he might

Vienna excels as a global brand. Far from the prefer Paris, Paramount to Paris, France.
city’s landmarks: St Stephen’s Cathedral, the Early big-budget films tended to present a
Schönbrunn Palace, and the Ringstrasse, a studio Vienna reconstructed around visually
lightly stamped ‘made in Vienna’ is recognizable dominant locations. In Der junge Medarus/
in character types and stories, sounds, settings The Young Medarus (1923) the pre-Hollywood
and choreographies. Meanwhile, an aspirational Michael Curtiz recreated Schönbrunn, St
Viennese lifestyle can be found in virtually Charles Church, and St Stephen’s as alternating
any major North American or European city. A backdrops. The Wedding March (1928), by Vienna-
European cousin to Hollywood, Vienna is a soft born Erich von Stroheim, actually did substitute
power empire whose fictions and fantasies have Vienna, Paramount for Vienna, Austria. Like his
colonized our imagination. This Vienna belongs Merry-Go-Round (1923), whose budget-busting
to the world. But Vienna also belongs to film- rebuilding of Vienna in a southern California
makers who – whether they embrace or reject it backlot cost him his director’s job, The Wedding
– struggle with the extraordinary success of the March mapped social hierarchies onto the urban
global brand Vienna. Vienna films are always space. The inner city marks the merging of
a tale of two cities. The first Vienna is a vast religious and imperial tradition, high culture
aggregation of artifacts, emotional associations, and the elite male, while the suburban periphery
and histories – monarchy, Mozart, Freud, Blue features popular entertainment, commerce, and
Danube, two catastrophic world wars, and the the erotically-charged lower-class female.
rest. The second Vienna is the city that film Some early films did combine studio interiors
directors adapt, redefine, and remake in the with iconic city exteriors. Gustav Ucicky’s Café
shadow of the first. Films set in Vienna thus Elektric/Cafe Electric (1927) casts St Stephen’s as a
unfold amid a surplus of images. The city does distant crime scene backdrop, while Paul Fejös’s
not have to introduce itself: we already know Sonnenstrahl/Ray of Sunshine (1933) transfers its
too much. visual focus from the old urban landmarks to the
monumental apartment buildings recently built
in the outer districts by the municipal socialist
government. More characteristic, however, was
Lubitsch’s The Smiling Lieutenant (1931), a remake
of Ludwig Berger’s Ein Walzertraum/A Waltz
Dream (1925), filmed at Vienna, Paramount.
Stock footage of the cathedral-spired and domed
skyline, Hofburg Palace and the Graben establish
location and then yield to a Vienna of opulent
interiors, garden restaurants and romantic park
benches.
Recognizable cityscapes and exterior
locations, even when reconstructed, imply an
engagement with politics and a willingness
to acknowledge a socially precarious urban
environment. But it was the relocation of

6 World Film Locations | Vienna

 Opposite Dog Days (2001) / Below Cafe Electric (1927)

characters, situations and urban topographies.

To this synthesis belongs Vienna as a transitory
space, a neutral frontier city, located between
the ‘free’ West and the soviet East. Leopold
Lindtberg’s Die Vier im Jeep/Four in a Jeep (1951)
and John Glen’s The Living Daylights (1987), among
other works, testify to Vienna as a locus classicus
of the Cold War genre film. Of course, not every
reworking in The Third Man enjoyed such an
auspicious afterlife. Emil Reinert’s Abenteuer in
Wien/Adventure in Vienna (1952) remains one of
the few attempts at a Viennese film-noir style.
And one wonders whether Reed would claim
Guido Zurli’s Lo Strangolatore di Vienna/The Mad
Butcher (1971), the story of a narcissistic and
murderous profiteer who treats his victims as
dramatic action to interior spaces that in the meat, among his cinematic progeny.
Opposite © 2001 Allegro Film / Above © 1927 Sascha-Film

1930s films of Willi Forst produced the most Recent generations of Austrian film-makers
enduring and emulated cinematic articulation have increasingly argued that Viennese films too
of Vienna. Indeed, his directorial debut, Leise often say what has already been said, rather than
flehen meine Lieder/Gently My Songs Entreat (1933) how people actually live in Vienna. As a result,
may be seen as an ironic farewell to the exterior and in response to the widespread perception
location. Opening with a shot of St Stephens’s, that the inner city has become an enclave of the
the camera pulls back. The image is revealed rich and famous, New Wave Austrian film has
as a painting, freight on someone’s back, on its tended to find its stories in the outer districts and
way to a pawnshop to be sold. With Maskerade/ social periphery. Ulrich Seidel’s Hundstage/Dog
Masquerade (1934), Forst – whom a 1936 German Days (2001) and Götz Spielmann’s Antares (2004)
film trade paper called the ‘man who created stand here for many. And yet, certain locations
a city’ – most fully elaborated the formula of continue to catalyse certain kinds of action. The
the ‘Viennese Film’. Its visual centre is the Prater marks the place of casual encounters and
ballroom, a location that masterfully fused core improbable twists of fate. Thus, Willy Schmidt-
elements of the Viennese brand: high society, Gentner’s Prater (1936), the story of an unlikely
music, conviviality, romantic intrigue and romance that begins there, speaks across
perhaps, above all, the waltz – the last an element decades to Wilhelm Pellert’s sharply critical
ideally suited to cinematic representation and Jesus von Ottakring/Jesus of Ottakring (1976), in
proprietarily Viennese. which a factory owner, randomly harassed by
It should be impossible to open a film with the thugs at the Prater, subsequently hires those
phrase, ‘I never knew the old Vienna.’ But Carol thugs to commit his crimes. And a rescue from
Reed’s The Third Man (1949) did just that, and in drowning in Sonnenstrahl/Ray of Sunshine (1933)
retrospect, the post-war at the Danube River, a traditional site of danger
...in response to years offered a brief and ruined lives, is echoed nearly half a century
the widespread window in which such later in Peter Patzak’s Den Tüchtigen gehört die
perception that a helpless confession Welt/The Uppercrust (1981), a dark tale of politics
the inner city has seemed sensible, and crooked property deals along the river.
become an enclave of even desirable. Reed’s Meanwhile, feature television films, like the

the rich and famous, masterpiece shattered

the consensus around
irregular detective series Trautmann (2000–08),
have invested less traditional public spaces such
New Wave Austrian the older ‘Viennese as the Second District’s Karmeliter Markt with
film has tended to Film’, if such a new imaginative energy. The global brand of
find its stories in the consensus ever existed, Vienna is hardly at risk, but we can continue
outer districts and and delivered a new to count on new additions to that blessing and
social periphery. synthesis of Viennese curse – its surplus of images. {

7
 VIENNA IMPERIAL w
Text by
Joseph W.
Moser

SPOTLI G HT

at Home and Abroad

The City as Film Myth in the 1930s and 1940s

following the defeat in World War depicted as the capital of a fierce empire, but
I, Vienna struggled with its new identity after rather as an elegant and jovial city, thus quite
1918 as the capital of the small First Republic a contrast to filmic imagery of Berlin. The
of Austria. As the economic and political crisis myth, however, ignores the fact that Vienna
of the 1920s and 1930s were taking its toll was de facto the capital of central Europe
on this city, film-makers discovered that a attracting a tremendous amount of immigration
‘grand’ Vienna was a successful film subject. from across the continent, including a Jewish
Much of this image of the city, however, was minority that accounted for a tenth of the city’s
created in Vienna studios rather than ‘on population. The films also do not explore the
location’. The fantasy imperial image of the stark economic differences between the ruling
city had begun with operetta themes in silent classes and the vast majority of poor working-
film which were popular in export. At home, class Viennese, many of whom had immigrant
social-critical urban melodramas that dispelled backgrounds.
such imagery were in fact more popular. The Hollywood studios also underscored and
mythic Vienna in Austrian cinema is located in exported a romanticized imperial and post-
films sometime between the Vienna Congress World War I period Vienna in such films as The
of 1815 and the outbreak of World War I in Wedding March (1928) by Austrian-expatriate
1914, during a century of peace under the rule Erich von Stroheim, Viennese Nights (1930)
of the Habsburg monarchs. Vienna is never by Allan Crosland and Oscar Hammerstein
II, Dishonored (1931) by Viennese-Hollywood
director Josef von Sternberg, Daybreak (1931)
based on Arthur Schnitzler's Traumnovelle
(Dream Story, also used by Kubrick for Eyes
Wide Shut [1999]) by Jacques Feyder, Reunion in
Vienna (1933) by Sidney Franklin, and The Night
is Young (1935) by Dudley Murphy and Vienna-
born Hollywood writer Vicki Baum.
published by With the onset of sound production in
Intellect Vienna, actor-director Willi Forst and writer
The Mill, Parnall Road, Walter Reisch contributed greatly to this
Fishponds, Bristol, BS16 3JG, UK mythic image of Vienna through their Viennese
T: +44 (0) 117 9589910 Film genre. This concept has often been
F: +44 (0) 117 9589911
generalized to include any film that offers
E: [email protected]
a sentimentalized image of Vienna with a
narrative in or suggesting Viennese dialect.
But in its strictest original definition, it was

8 World Film Locations | Vienna

 Opposite Spring Parade (1934) / Below Letter From an Unknown Woman (1948)

contemporary variants: the class-conflict Lehár

operetta, Eva (Johannes Reimann, 1935), Sylvia
und ihr Chauffeur/Waltz around the Stephenstower
(J. A. Hübler-Kahla, 1935) and Rendezvous in
Vienna (Victor Jansen, 1936). The Habsburg
romance and the Viennese Film/Musical was
also produced in Germany: Liebelei/Flirtation
(Max Ophüls, 1933), Endstation/Last Stop (E. W.
Emo, 1935), Romanze/Romance (Herbert Selpin,
1936), in France Mayerling (Anatole Litvak,
1936), De Mayerling à Sarajevo/From Mayerling to
Sarajevo (Max Ophüls, 1940), and Britain Good
Night, Vienna (Herbert Wilcox, 1932), Bitter Sweet
(Herbert Wilcox/Noel Coward 1933), Waltzes
from Vienna (Alfred Hitchcock, 1934).
Continuation of Vienna's production of
Viennese Film after Austria's annexation to
Nazi Germany in 1938 was a market-driven
strategy as well as the regime's co-opting of
Austrian cultural history as propaganda for a
an elegantly stylized orchestration of period ‘Greater Germany’. Willi Forst created his most
Above © 1938 Rampart Productions
Opposite © 1934 Deutsche Universal-Film

romantic melodrama, music, Viennese locales impressive film work in a musical trilogy on
and stereotypes, and most often a variation Old Vienna (partially shot on location) during
on the theme of the artist sacrificing love for the Nazi regime with Operette/Operetta (1940),
art. The classic early films include Leise flehen Wiener Blut/Viennese Blood (1942) and Wiener
meine Lieder/Gently My Songs Entreat (Willi Mädeln/Young Girls of Vienna (1945/49). Viennese
Forst, 1933; remade as Unfinished Symphony by comedic actors Hans Moser and Paul Hörbiger
Anthony Asquith in London in 1934), Maskerade/ were among the highest paid actors during
Masquerade (Willi Forst, 1934; which made a the Nazi era, and starred in several comedies
star of actress of Paula Wessely and was remade set in Vienna that were extremely popular
as Escapade by Robert Z. Leonard at MGM the with audiences across occupied Europe. They
same year with Reisch contributing a revision established Vienna and the cinematic Viennese
of his original screenplay), and Episode (Walter way of life as the most charming of all German-
Reisch, 1935). Reisch also scripted The Great speaking cities. But this enforced rather
Waltz (Julien Duvivier, 1938), MGM's Johann than negated the memory of the forbidden
Strauss epic which launched his important independent Austria at home.
career in Hollywood Although Carol Reed's The Third Man
Continuation of (Ninotchka [1939], (1949) offered on-location war-torn realism,
Vienna's production Gaslight [1944], Niagara Hollywood continued to market back-lot
[1953], Titanic [1953]). imperial Habsburg-era Vienna throughout and
of Viennese Film The Viennese Film following the war with Juarez (William Dieterle,
after Austria's and variants proved to 1939; based in-part on exiled Austrian author
annexation to Nazi be popular for other Franz Werfel's play on the doomed Habsburg
Germany in 1938 Austrian directors with Emperor Maximilian of Mexico), Spring Parade
was a market-driven mixed studio and on- (Henry Koster, 1940; a remake of the 1934
strategy as well as location productions: Frühlingsparade), They Dare Not Love (James
the regime's co- Frühjahrsparade/Spring Whale/Victor Fleming, 1941), Letter from an
Parade (Geza von Unknown Woman (Max Ophüls, 1948) and The
opting of Austrian Bolvary, 1934), Hoheit Emperor Waltz (Billy Wilder, 1948). Austrian film
cultural history as tanzt Walzer/Eternal picked up the city’s mythic-romantic image once
propaganda for a Waltz (Max Neufeld, more in its opulent imperial epics of the 1950s
‘Greater Germany’. 1935); as did its more and was able to use actual historical sites. {

9
 N

I O NS
AT M
C
[{

A
LO

P
VIENNA maps are only to be taken as approximates

Floridsdorf

Döbling
3

Währing Donaustadt
(north)
Brigittenau
Hernals

7
Ottakring
Penzing 8
2
Innere Stadt 6
Rudolfsheim 5 (center)
Neubau
4 Prater
Wieden

Landstrasse

Hietzing Schloss 1
Schönbrunn
published by
Intellect Favoriten
The Mill, Parnall Road,
Fishponds, Bristol, BS16 3JG, UK
T: +44 (0) 117 9589910
F: +44 (0) 117 9589911
E: [email protected]

10 World Film Locations | Vienna

 LOCATIONS
SCENES 1-8 1.
the queen of sin and the spectacle
of sodom and gomorrah/
sodom und gomorrha (1922)
Laaer Berg, Filmteichstrasse, 10th District
page 12

2.
the city without jews/
die stadt ohne juden (1924)
Behind the Burgtheater (Court Theater)
on the Ringstrasse, 1st District
page 14

3.
ray of sunshine/
sonnenstrahl (1933)
Wohnanlage am Friedrich Engels-Platz, 1-10
(Housing Complex on the Friedrich Engels
Square), 20th District
page 16

4.
voices of spring/
Donaustadt frühlingsstimmen (1933)
Vienna Academy (now University) of Music,
(south) Lothringerstrasse 18, 3rd District
page 18

5.
last stop/endstation (1935)
Street car 59 from Opera House to the
Naschmarkt in the 6th District
page 20

6.
the best day of my life/heut’ ist der
schönste tag in meinem leben (1936)
The Prater Hauptallee (Prater Central
Boulevard), 2nd District
page 22

7.
an orphan boy of vienna/
singende jugend (1936)
Schloss Wilhelminenberg, Savoyenstrasse 2,
16th District
Simmering page 24

8.
Prater (1936)
Prater Amusement Park, 2nd District
page 26

11
 The Queen of Sin and the Spectacle of Sodom
and Gomorrah/Sodom und Gomorrha (1922)
LOCATI O N Laaer Berg, Filmteichstrasse, 10th District

In the midst of an economic crisis that resulted in hyperinflation, mass

unemployment and political radicalization, the Austrian film industry
produced silent film epics of monumental scale on themes taken from the Old
Testament and classical antiquity to rival Hollywood. The largest and most
monumental of these films and perhaps the most expensive film ever produced
in Austria, was Sodom und Gomorrha. The film juxtaposes a contemporary story
of seduction, sin and redemption set in Vienna with a biblical tale that could
be mobilized for designing, constructing and spectacularly destroying lavish,
art deco-inspired sets of gigantic proportion. An appropriate setting was found
on the Laaer Berg grounds, an abandoned site of clay pits and hilly grasslands
at the southern edge of Vienna, which was landscaped to accommodate not
only the historical sets (including a Babylonian temple and city gates) but also
artificial roadways, a man-made lake, newly planted reeds and palm trees.
Like the eponymous cities of the biblical story, these structures disappeared
in an engineered Armageddon with the film’s final take on 14 June 1922. For
more than half a century, the site reverted to a little-used field overgrown with
weeds, with only a plaque hinting at its former cinematic glory. However, on
the occasion of the 1974 International Horticultural Show, then the largest
show of its kind, another monumental endeavour began: the transformation
of abandoned hills and clay pits into residential areas and a utilization of the
location’s thermal spring. Today only the name and manicured quality of the
Kurpark (spa park) Oberlaa recalls its earlier incarnation of imagineered nature.
✒Susan Ingram and Markus Reisenleitner

12 World Film Locations | Vienna

Directed by Michael Curtiz (as Mihály Kertész)
Scene description: The Engagement Celebration
Timecode for scene: 0:10:22 – 0:21:09

Images © 1922 Sascha-Film

13
 The City without Jews/
Die Stadt ohne Juden (1924)
LOCATI O N Behind the Burgtheater (Court Theater) on the Ringstrasse, 1st District

long believed lost, a print of this rare example of Austrian cinematic

expressionism was discovered and restored by the Film Archive Austria (FAA)
in 1991. Its fantasy captures the social seismograph of inter-war central Europe
and manages to articulate an anti-Semitism that was never presented in any
documentary from the era. Based on the 1922 satiric novel by Hugo Bettauer
(subtitled A Novel of Tomorrow), an anti-Semitic government in Vienna
orders all Jews expelled, but this eventually results in cultural and economic
disaster. Without the Jews to blame, the anti-Semitic party collapses and the
people ultimately demand the return of the Jews. Known for his journalism,
which often provoked right-wing forces in Austria, Bettauer was murdered
by an Austrian Nazi eight months after the premiere of the film. Breslauer
co-scripted the cinematic treatment of the novel with one of the very few
German-language female film writers of the time, Ida Jenbach. It sets the
action in the fictional city of Utopia, which is nevertheless clearly recognizable
as the Austrian capital. The script also negates some of Bettauer’s vitriol with
a revised ending which reveals that the narrative has actually been the fevered
dream of a now repentant politician (Hans Moser). A key scene of the film is
the mob protest against the growing economic crisis, which according to the
novel, takes place in front of Vienna’s iconic Parliament building. Breslauer
instead relocates it to the urban spaces behind the Burgtheater. Despite the
blunting of the novel’s ultimate statement, the director’s skillful cinematic
indications of the facade-like theatricality of politics and the underside of
things makes this one of the most important and thought-provoking silent
films in Austrian cinema history. ✒Thomas Ballhausen

14 World Film Locations | Vienna

Directed by Hans Karl Breslauer
Scene description: Suffering a vast economic crisis, the outraged inhabitants of
the city of Utopia stage a mass demonstration and demand political solutions
Timecode for scene: 0:14:53 – 0:15:20

Images © 1924 H. K. Breslauer-Film

15
 Ray of Sunshine/
Sonnenstrahl (1933)
LOCATI O N Wohnanlage am Friedrich Engels-Platz, 1-10
(Housing Complex on the Friedrich Engels Square), 20th District

the dejected everyman Hans (Gustav Fröhlich) makes his way to the
Danube Canal intending to end his life. He is interrupted by another figure
with similar plans. A young woman Anna (Anabella) jumps into the canal
and Hans follows her to save her from drowning in the dark waters. Rescued,
he wraps himself around her freezing body in what is lit to suggest that this
ought to be a romantic moment. But this narrative is propelled by its honest
moments of humanity. What follows is the attempt of both characters to
find work and a life together in a crushing financial crisis. Often compared
to Capra, Fejös begins with the disaster that other social realist films
might end with. The inversion makes fantasy impossible but allows for a
story of hope and perhaps even a reasonable dream to be fulfilled. Failed
opportunities, misadventures, and touching song interludes that mock the
musical genre’s bombast follow. The film concludes with what critic Fritz
Rosenfeld at the time called ‘An apotheosis of proletarian solidarity in Red
Vienna’. The couple has managed to secure an apartment in the gleaming
new public housing complex on the Friedrich Engels-Platz (erected 1930–33).
Hospitalized, Hans cannot work and Anna alone cannot meet the payments
for the taxi they have acquired. At the height of her desperation, with the
unyielding collector attempting to repossess the taxi, the neighbours show
that community is an extended family. From the balconies of the complex
coins rain down on Anna so that she can manage the payment.
✒Robert Dassanowsky

16 World Film Locations | Vienna

Directed by Paul Fejös
Scene description: A man and woman losing hope find
their modest dream rescued by the working class
Timecode for scene: 1:22:14 – 1:24:58

Images © 1933 Serge Otzoup-Filmproduktion/Tobis-Sascha

17
 Voices of Spring/
Frühlingsstimmen (1933)
LOCATI O N Vienna Academy (now University) of Music,
Lothringerstrasse 18, 3rd District

an impromptu and hilarious operatic ‘jam’ about sausages in

the Academy’s cafe underscores the gender role conflicts and artistic
temperaments of the very modern characters in this romantic musical
comedy that utilizes the melodies of Johann Strauss. The thin plot involving
the two daughters of the Academy’s overworked and befuddled porter (a
pre-Hollywood S. Z. Sakall stealing the film) training for careers on the
stage and an operetta-parody confusion regarding their fiancés, provides an
entertaining structure by with the director presents the mores and tribulations
of the ‘new woman’ who is self-determined, careerist, and frank about desire.
One daughter, played by opera singer Adele Kern, gives the required high
art performance; the other provides the screwball comedy angle. But despite
its progressive frame and truly funny sight gags, the film never forgets that
First Republic Vienna is in the midst of a major economic depression and
political instability, and Kern’s attempt to bolt her education for a premature
career results in a poignant sequence in which she is faced with impoverished
performers; one of them an elderly woman who informs her of the abuse that
awaits (and not just her voice) from unscrupulous talent agents. The film’s
attempt to create continuity for Vienna’s music culture identity and to stress
the importance of education, particularly for young urban women in the age
of radio, jazz, and men who openly reject their father’s profession remains
surprisingly fresh. ✒Robert Dassanowsky

18 World Film Locations | Vienna

Directed by Paul Fejös
Scene description: An improvised opera between music
students suggests the continuing war between the sexes
Timecode for scene: 0:13:32 – 0:16:04

Images © 1933 Serge Otzoup-Filmproduktion/Tobis-Sascha

19
 Last Stop/Endstation (1935)

LOCATI O N Street car 59 from Opera House to the Naschmarkt in the 6th District

in endstation, an attempt to create a variant on the popular Viennese

Film in Berlin studios, we see extensive exterior shots made on location in
Vienna along the Number 59 streetcar line, which at the time was among
the longest in Vienna. It travelled from the outlaying suburb of Lainz past
the famous landmark of the Naschmarkt, Vienna’s largest and oldest open
air marketplace (established around 1780) on the banks or ‘Wienzeile’ of the
Vienna River canal, to the Opera House on the Ringstrasse and ending at
the Neue Markt (New Market) in the centre of Vienna’s First District. The
streetcar no longer travels this route but in 1935, Anna (Maria Andergast), a
seamstress employed in a posh millinery shop in the inner city, rides the line
to deliver a large hat box to an important client in Lainz. The trolley conductor
Karl (Paul Hörbiger) advises Anna that she cannot bring such a sizeable box
on board and hangs it off the back of the car. Anna concernedly keeps an eye
on the valuable package as the trolley makes its way past the Naschmarkt,
where the box falls off the car and is run over by another trolley. The gallant
Karl bails out the terrified Anna by replacing the hat which, of course, leads
to more romantic comedy. Made three years before Austria's annexation to
Nazi Germany, this film was a German-Austrian co-production made to racist
specifications which excluded Jewish actors and film artists. The Naschmarkt
has survived many attempts at relocation, modernization and even
eradication. Now revitalized and under historical preservation, it continues
its role as an international food market venue and also as an expanded area of
new and varied ethnic restaurants and cafes. ✒Joseph W. Moser

20 World Film Locations | Vienna

Directed by E. W. Emo
Scene description: Vienna’s Streetcar Named Desire:
a woman, a trolley conductor and a hatbox
Timecode for scene: 0:06:30 – 0:08:45

Images © 1935 Algefa-Film

21
 The Best Day of My Life/
Heut’ ist der schönste Tag in meinem Leben (1936)
LOCATI O N The Prater Hauptallee (Prater Central Boulevard), 2nd District

this film has two stars – the tenor Joseph Schmidt and the romantic
outskirts of Vienna’s Prater, which is the setting for the movie’s most famous
scene. In this act we see Schmidt as Tonio, a successful tenor recently
returned to his hometown from a successful tour reconnecting with his
Uncle Paul. They ride together in an elegant Viennese Fiaker (horse drawn
carriage) down the idyllic Prater Hauptallee (Main Boulevard). This romantic
road, densely lined with chestnut trees, is intended to suggest pleasure and
relaxation to viewers. Both Schmidt and Otto Wallburg, who portrays Paul,
play their roles with obvious delight. What followed the creation of this scene
was however anything but peaceful for those involved. Director Richard
Oswald and actor Felix Bressart, who played the character of Uncle Max,
were forced by the rise of Nazism to flee to the United States and found work
in Hollywood. Joseph Schmidt and Otto Wallburg were not so fortunate.
Schmidt remained in Austria until just before the annexation to Germany
in 1938 and then escaped to the Netherlands, southern France and finally
Switzerland, where he was detained as an illegal immigrant of Jewish
origin. Schmidt died in an internment camp near Gyrenbad, Switzerland in
1942. Wallburg also remained in Europe and fled to Amsterdam where he
worked with the well-known German actor and director Kurt Gerron. Both
men would eventually be sent to the Theresienstadt ‘paradise camp’ and
ultimately to the gas chambers at Auschwitz. ✒Laura Detre

22 World Film Locations | Vienna

Directed by Richard Oswald
Scene description: The reunion of a famous singer
and his uncle in idyllic, verdant Vienna
Timecode for scene: 1:03:11 – 1:07:45

Images © 1936 Globe-Film

23
 An Orphan Boy of Vienna/
Singende Jugend (1936)
LOCATI O N Schloss Wilhelminenberg, Savoyenstrasse 2, 16th District

scenes of poverty and abuse that is the life of the orphan boy Toni
(Martin Lojda) opens the most famous of the few overtly Catholic-themed films
produced during the clerico-authoritarian Austrian state (1933–38).The shelter
he finds with a street musician (Hans Olden), a victim of unemployment but
also a man of principles who becomes Toni's adopted father figure relates
the economic hardships of the country, but also strong messages of cultural
identity. Toni's significant vocal talents bring him to the Vienna Boys Choir
where Sister Maria (Julia Janssen) becomes his mother figure and he learns
the importance of duty, trust and faith. The film shifts location to the Tyrol
to promote the regime’s new highway connecting Vienna with the Alps, to
allow for musical concerts, and provide for emotive melodrama. The film was
something like the Sound of Music of its time – immensely popular throughout
Europe and England (banned in Nazi Germany) and winning a best foreign
film award from Czechoslovakia. An early scene in which the sailor-uniformed
choir boys parade and sing operetta in the gardens of the Choir’s home at the
Wilhelminenberg Palace to the encouragement of their ‘leader’ Sister Maria,
intentionally mocks the style and content of Hitler Youth films produced in
Germany. The palace has come to represent the changes in Austria during
the century: from a Habsburg residence to a World War I military hospital,
veteran's centre, orphanage and finally the Choir Boys home, it was soon
returned to military hospital service. Following the war, the city donated
it to the care of concentration camp victims. It then once more became an
orphanage and a special education facility, and now ranks as a popular hotel
and conference site. ✒Robert Dassanowsky

24 World Film Locations | Vienna

Directed by Max Neufeld
Scene description: Sister Maria encourages a different
kind of regimentation among the boys in her charge
Timecode for scene: 0:03:09 – 0:06:27

Images © 1936 Meteor-Film/Union-Film Wien

25
 Prater (1936)
LOCATI O N Prater Amusement Park, 2nd District

is there a place in vienna more connected with cinema than the

Prater? Already before film, it offered pre-cinematic visual experiences. The
first booths to show films in 1896 helped stake the park’s claim as Vienna’s
birthplace of the cinema theatre. It has remained a place for the projection
of dreams and desires. The 1936 film Prater is the story of two young friends,
Fred (Carl Esmond) and Nicki (Hans Olden), and the charming Tini (Magda
Schneider). Both men show interest in the young woman, whom they have
met in the Prater, but Fred is clearly infatuated. A montage sequence on the
iconic Prater Geisterbahn (ghost train) ride signals their budding romance.
But such lighthearted bliss is, of course, temporary. The easygoing Nicki
makes a living as a popular singer, but the over-serious Fred is a frustrated
painter unable to act as a salesman for his own works. The naive Tini secretly
approaches Baron Castelli (Fred Hennings) to help sell Fred’s paintings. A
scoundrel, he invites her to the Prater, where he pours spiked champagne and
attempts to seduce her in a private salon. Tini manages to escape, but Fred now
rejects her because he has seen her in the Baron’s car. Desperate, Tini runs
to the raging Danube and jumps in. Anything is possible at the Prater. It is a
place where the restrictions of everyday life are suspended, but in the face of
this perpetual state of unreality, the Prater tells us, you need to keep your cool.
Tini survives, and Fred has a change of heart. Still, it is the easygoing singer
Nicki who delivers melodic wisdom: ‘Always keep a sense of humor. At life’s
worst moments, smile a bit.’ ✒Michael Burri

26 World Film Locations | Vienna

Directed by Willy Schmidt-Gentner
Scene description: Fred and Tini’s trip on a Prater ride
signals the start of romance – and near tragedy
Timecode for scene: 0:11:20 – 0:12:25

Images © 1936 Mondial-Film

27
 VIENNA AND
SPOTLI G HT

THE FILMS OF w Text by

Robert
Dassanowsky

LOUISE KOLM-VELTÉE
while france's alice guy (1876–1968) to actually produce feature films were Louise
has had her pioneering role as the earliest Veltée (1873–1950), her husband, Anton Kolm
feature filmmaker often qualified by her gender (1865–1922) and their cameraman Jakob
as the ‘first female film director’, the prolific Julius Fleck (1881–1953). Erotic films were
studio founder, writer, director and producer re-discovered in the late 1990s which appear
Louise Veltée (or Louise Kolm aka Louise to predate the trio’s productions, but it was the
Fleck) was, until very recently, missing from Kolm–Fleck efforts, beginning in 1906, that
cinema scholarship. In 1896, Louise’s father, mark the beginning of an actual Vienna-based
Louis Veltée, began showing films in his wax film industry in the Austro-Hungarian Empire.
museum on the First District’s fashionable In January 1910, the first true Austrian film
Kohlmarkt street near the imperial Hofburg production company was formed by Louise
palace, and swiftly became known as the and Anton Kolm with Jakob Fleck in a spacious
father of the Austrian movie theatre. Louise and prominent building at Währingerstrasse
(or Luise), worked as a cashier at her father’s (9th District). Although the French had long
business and learned about the nascent art held the rights to film at the imperial court,
from one of its very first public practitioners. Kolm–Fleck managed to secure the privilege
While Count Alexander von Kolowrat- of filming Emperor Franz Joseph during his
Krakowsky (known as Sascha Kolowrat, visit to a Vienna flying field, and thus secured
1896–1927) has traditionally been labelled the their placement as Austria–Hungary’s pre-
father of the Austrian film industry, the first eminent film company. Their production of
Der Müller und sein Kind/The Miller and his Child
(1910), the earliest existing Austrian feature
film, was the first to establish the concept of
a prop company. Two films soon displayed a
more sophisticated style of film writing, acting
and music composition: Das goldene Wiener
Herz/The Golden Viennese Heart (1911) and Die
Glückspuppe/The Doll of Happiness (1911) which
was written and directed by Louise Kolm along
with her team with whom she always shared
credit: Anton Kolm and Jakob Fleck. She
insured that pre-production of the crime drama
Der Unbekannte/The Unknown Man (1912), for
which she was credited as sole director, built
anticipation in a manner that has since become
a convention of international film-making.
Most of the films during this prolific phase
of the Kolm–Fleck partnership were socially

28 World Film Locations | Vienna

 Opposite The Golden Viennese Heart (1911)
Below With Heart and Hand for the Fatherland (1915)
from famed Viennese cultural critic Karl Kraus
(1874–1936), who detested the use of film
(particularly the manipulated war reportage
by Kolowrat) for the sake of propaganda and
as a form of ‘emotional war’ on the audiences.
Kraus’s 1919 play Die letzten Tage der Menschheit
(The Final Days of Mankind), gives a cynical
portrayal of the influence of motion pictures.
After the concerted effort by film-makers to
bring literature into the cinema, cinema had
now finally become part of literature.
Not all production was dedicated to war
propaganda. The Kolm–Fleck team filmed
Austrian folk-dramatist Ferdinand Raimund’s
magical tale, Der Verschwender/The Spendthrift
in 1917, and used it to build up the career of
its actress Liane Haid (1895–2000), the first
true Austrian film star. She followed this with
Louise and Anton Kolm’s Eva, die Sünde/Eva,
The Sin (1920), in which she portrays a femme
critical melodramas, such as Das Proletarierherz/ fatale who attempts to seduce a monk – an
Above © 1915 Erste österreichische Kinofilms-Industrie
Opposite © 1911 Erste österreichische Kinofilms-Industrie

The Heart of the Proletarian (1913). An attempt at early indication of Louise Kolm’s continuing
melding documentary, operetta and feature film desire to break traditional gender norms in her
on a subject which has become one of the more films. Although these films were considered
popular ‘Viennese’ themes in international film large-scale costume dramas for the time, every
history, Johann Strauss an der schönen blauen attempt was made to reduce costs while giving
Donau/Johann Strauss on the Beautiful Blue impressive production values. The gothic ‘sets’
Danube in 1913, was a misfire despite its lavish of Der König amusiert sich/Rigoletto (1918) based
conception and its premiere which coincided on the Victor Hugo novel for example, were
with the unveiling of the Johann Strauss not constructed in a studio but were actual
Memorial in Vienna’s Stadtpark or City Park examples of neo-Gothic architecture found in
(Parkring, 1st District). Vienna, such as the famed Rathaus (City Hall)
Kolm's company was also significant in on the Ringstrasse (Rathausplatz, 1st District).
bringing the Great War into the cinemas. These With the collapse of the Empire and the birth
films melded heroic notions with sentimental of the Austrian Republic, Kolm-Fleck countered
drama and rousing melody or song. Der Traum Vienna’s Kolowrat studio with a new facility
eines österreichischen Reservisten/The Dream constructed in the Rosenhügel section of
of an Austrian Reserve Officer (1915) was based Vienna (Speisingerstrasse 121-127, 23rd District).
on the tone-poem by Following Anton Kolm’s death in 1922, Louise
Carl Michael Ziehrer. Kolm and Jakob Fleck relocated to Berlin,
In January 1910, the Louise Kolm and Jakob where they married and Louise would continue
first true Austrian Fleck also co-wrote and to write and co-direct, now with her second
film production directed Mit Herz und husband, into the 1930s. The studio they had
company was Hand fürs Vaterland/ founded was expanded and for a time became
formed by Louise With Heart and Hand the most modern and technically advanced film
and Anton Kolm for the Fatherland production facility in Europe under different
(1915) with songs company names (including Tobis-Sascha and
with Jakob Fleck by Vienna's beloved Wien-Film). It has survived all other major
in a spacious and operetta composer, studios in Vienna and is today utilized as a
prominent building Franz Lehár. Although state-of-the-art television and film production
at Währingerstrasse timely, the genre did facility known as Filmstadt Wien (Film City
(9th District). not escape disapproval Vienna) or simply as the Rosenhügel Studio. {

29
 N

I O NS
AT M
C
[{

A
LO

P
VIENNA maps are only to be taken as approximates

Floridsdorf

Döbling

Währing Donaustadt
(north)
Brigittenau
Hernals

Ottakring 12
Penzing 9
16 Leopoldstadt
11
Rudolfsheim Neubau 13
10 Innere Stadt Prater
Wieden (center)
15
Landstrasse

Hietzing Schloss
Schönbrunn
published by
Intellect Favoriten
The Mill, Parnall Road,
Fishponds, Bristol, BS16 3JG, UK
T: +44 (0) 117 9589910
F: +44 (0) 117 9589911
E: [email protected]

30 World Film Locations | Vienna

 LOCATIONS
SCENES 9-16 9.
court theater aka burg theater/
burgtheater (1936)
Burgtheater, Universitätsring 2 (as of 2012;
formerly Dr Karl-Lueger-Ring), 1st District
page 32

10.
operetta/operette (1940)
Theater an der Wien interiors,
Linke Wienzeile 6, 6th District
page 34

11.
the third man (1949)
Josefsplatz, 1st District
page 36

12.
the red danube (1949)
Aspang Train Station, 3rd District
page 38
Donaustadt 13.
(south) four in a jeep/die vier im jeep (1951)
Neue Burg (New Castle wing), Hofburg
Palace and Ringstrasse, 1st District
page 40

14 .
adventure in vienna/
abenteuer in wien (1952)
Vienna International Airport, in Schwechat,
south-east of Vienna
page 42

15.
april 1, 2000/1. april 2000 (1952)
Schönbrunn Palace Park, 13th District
page 44

16.
sissi (1955)
Simmering St Michael’s Cathedral, Michaelerplatz
(Michael's Square), 1st District
page 46

14

31
 Court Theater aka Burg Theater/
Burgtheater (1936)
LOCATI O N Burgtheater, Universitätsring 2
(as of 2012; formerly Dr Karl-Lueger-Ring), 1st District

with this film two entertainment institutions of the inter-war years are
melded – the reputation of the Austria’s national theatre as the German –
language stage, and the auteurial film-making of Willi Forst, creator of the
Viennese Film genre (along with screenwriter Walter Reisch) which gave
Austria its cinematic identity in the 1930s and was a staple for remakes in
Hollywood. With Burgtheater he is at his most tragic-ironic. Forst claimed
influence from René Clair, and his stylized romantic melodramas with
music tended toward period Vienna and the theme of sacrificing love for
art. But not all Viennese Films were costume epics or necessarily set in
Vienna. Burgtheater however, is the apotheosis of Forst’s genre and style, a
complex spiral of the art, ego and love mirroring the Goethe and Schiller
plays performed on stage. A great ageing actor Mitterer (Werner Krauss)
falls for a young tailor’s daughter Leni (Hortense Raky) who is enamoured
with Joseph (Willi Eichberger) a young theatre-hopeful. The young man’s
accidental invitation to a Baroness’s society salon brings him fame but also
scandal and it is a performance by the self-sacrificing star actor that saves
his life and unites the young couple. Forst underscores the performances
off stage and the truths under the art on stage. The nexus of the film is
the scene at the back entrance to the theatre building (opened in 1888) in
which Joseph, believing he has found his fated future, abandons Leni (who
arranged for his introduction by stealing an invitation) for the fame the
Baroness (Olga Tschechowa) might bring him, and Mitterer believes she
has come for him alone. ✒Robert Dassanowsky

32 World Film Locations | Vienna

Directed by Willi Forst
Scene description: The theatre of life and love – on and off stage
Timecode for scene: 0:47:30 – 0:49:15

Images © 1936 Willi Forst-Filmproduktion

33
 Operetta/Operette (1940)

LOCATI O N Theater an der Wien interiors, Linke Wienzeile 6, 6th District

operette is the first of Willi Forst’s lavish Vienna trilogy filmed during
the annexation to Nazi Germany and is an attempt to underscore the cultural
importance of the Viennese operetta through a semi-fictionalized history
which includes composers Johann Strauss II and Franz von Suppé. Forst
himself plays Franz Jauner, based on the famous nineteenth-century theatre
actor and operetta director, who attains the directorship of the Theater an
der Wien (Theater on the Vienna River Canal; created by Mozart librettist
Emanuel Schikaneder, 1801) through the influence of operetta star Marie
Geistinger (Maria Holst). After he receives the appointment letter, Jauner
exclaims that he is going to a big theatre in a big city. Vienna is indeed
depicted as a large metropolis, but it is not allowed to rival Berlin within
the Nazi regime, even in historical portrayal. Jauner comes to direct the
Carltheater, and through his occasional meetings with Marie, who tours
widely, the audience learns of her secret love for him. They meet again when
the married Jauner has become the head of the court opera and Marie is
engaged to the Count Esterházy. Both lament that they have been unfaithful
to the operetta which has bound them together. Jauner moves to the
leadership of the Ringtheater, which burns down during a performance on 8
December 1881, killing 386 people. He is named responsible for the disaster
and serves a three month prison sentence. Although the film has a happy
ending with the audience cheering Jauner’s return to operetta as he recalls
Marie’s presence in his life, the historical Jauner committed suicide in 1900
following the discovery of the bankruptcy of the Carltheater (damaged in
bombing 1944; demolished 1951). ✒Joseph W. Moser

34 World Film Locations | Vienna

Directed by Willi Forst
Scene description: Franz Jauner arrives in
Vienna, the future capital of Operetta
Timecode for scene: 0:18:00 – 0:20:24

Images © 1940 Wien-Film

35
 The Third Man (1949)

LOCATI O N Josefsplatz, 1st District

more than a few of today’s travellers to Vienna hope to retrace the steps
of The Third Man. Vienna does not disappoint. A Third Man walking tour,
weekly screenings at a Ringstrasse movie theatre and a dedicated museum,
all meet the popular demand to experience the city through the film and its
hero Harry Lime (Orson Welles). For if Mozart is the classic face of Viennese
high culture, Harry Lime is his iconic modern twin, a figure around which
Vienna is repackaged as a site of popular film culture. Spiritual adviser to
generations of Harry Lime stalkers, Holly Martins (Joseph Cotten) is looking
for Lime from the moment he arrives at the train station. But as Martins soon
learns from Lime’s house porter (Paul Hörbiger), his old school friend is dead,
killed by a truck in the street. Disappointed, but roused by adversity and a
beautiful woman, Martins receives a call. ‘Baron’ Kurtz (Ernst Deutsch) offers
Martins a walking tour of the accident site. The Third Man is celebrated for its
expressive use of locations damaged by wartime bombings. But the Josefsplatz
survived the war and the sequences shot there radiate the charisma of a square
architecturally complete since 1783. The later equestrian statue of Emperor
Joseph II occupies its centre, while the Palais Pallavicini is situated directly
across it. Martins is led to perhaps the loveliest square in all Vienna. It’s a
seduction scene. Martins succumbs. But who can say that they have not fallen
for a good Viennese story dispensed as truth? Harry Lime rose again, only to
be betrayed unto death by his friend. And he is still worshipped today. Poor
Harry, poor Holly. Lucky us. ✒Michael Burri

(Photo © Austrian National Library)

36 World Film Locations | Vienna

Directed by Carol Reed
Scene description: ‘And this is where he died.’ Kurtz tells
the story of Harry Lime’s death to Holly Martins
Timecode for scene: 0:14:58 – 0:17:58

Images © 1949 London Film Productions/British Lion Film Corporation

37
 The Red Danube (1949)

LOCATI O N Aspang Train Station, 3rd District

it’s 1945. british colonel nicobar (Walter Pidgeon) and his staff
receive an order to assist the Russian allies by handing over for repatriation
war refugees, or Displaced Persons, living in the British zone, who are former
citizens of the Soviet Union. A suicide by a Russian physicist, who chooses
death over Moscow, and the broken heart of his Major McPhimister (Peter
Lawford) show Colonel Nicobar that the Russians and the British are not
paddling in the same direction. Life is not merry movement when movement
is not a choice but a compulsion. Vienna is a place of arrival and departure.
Colonel Nicobar must hand Maria Bühlen (Janet Leigh), a Volga German
and the love object of Major McPhimister, over to the Russians. Time passes.
It is late Christmas Eve. Billeted in a convent, Colonel Nicobar debates with
the Reverend Mother Auxilia (Ethel Barrymore) the relevance of God and
church in a war-addled world. The telephone rings. The Russians have
delivered a trainload of refugees to Aspang Train Station in the British zone
to which the Colonel must attend. Among the refugees is Maria Bühlen, who
has escaped and returned. It is an arrival that cannot help but recall a series
of fateful late-night Vienna departures only a few years before. Beginning
in February 1941, the first of 45 trains, altogether carrying roughly 50,000
Jewish citizens, left Aspang Train Station for incarceration, suffering and
death. Decommissioned in 1971, a gesture that tacitly acknowledged its place
in Viennese history, Aspang Train Station is, in 2012, an urban ruin that
awaits redevelopment. A small memorial designates the site as the ‘Place of
the Victims of Deportation’. ✒Michael Burri

38 World Film Locations | Vienna

Exploring the Variety of Random
Documents with Different Content
 with Sophia “the youngest of the aeons” within the Pleroma
and cannot again issue forth.

376. Hippolytus, op. cit. c. 32: ἔδοξεν αὐτοῖς μὴ μόνον κατὰ

συζυγίαν δεδοξακέναι τὸν υἵον, δοξάσαι [δὲ] καὶ διὰ
προσφορᾶς καρπῶν πρεπόντων τῷ Πατρί. “It seemed good
to them [the aeons of the Pleroma] not only to magnify the
Son by conjunction, but also by an offering of pleasing fruits to
the Father.” So in the mysteries of Isis, Osiris is called the fruit
of the vine Dionysos. See Athenagoras, Legatid. c. XXII.
Plainly Bythos and Nous or Monogenes are here represented
as Father and Son as in the Ophite myth. The new projection
is necessary to accord with the text about the whole Pleroma
dwelling together bodily in Jesus. Cf. Colossians i. 19.

377. The expression ὁ ἀρχιερεὺς ὁ μέγας is repeated by Clement

of Alexandria, Protrept. c. XII., possibly with reference to this
passage. It may be noticed, however, that Jesus is here also
made the Messenger or Ambassador of the Light as with the
Ophites. It will be seen later that he occupies the same place
with the Manichaeans. Cf. Chapter XIII, infra.

378. Hippolytus, op. cit. Bk VI. c. 32, p. 289, Cruice.

379. Ibid. p. 290, Cruice. Κατὰ τοῦτο τοίνυν τὸ μέρος, θνητή τις
ἐστὶν ἡ ψυχή, μεσότης τις οὖσα· ἔστι γὰρ Ἑβδομὰς καὶ
Κατάπαυσις. “According to this, therefore,” [he has just said
that fire has a twofold power, for there is a fire which devours
everything and which cannot be extinguished] “part (of the
Demiurge) is a certain soul which is subject to death, and a
certain substance which occupies a middle place. For it is a
Hebdomad and a laying to rest.” The passage is not easy, but
seems to mean that some of the souls made by the Demiurge
are mortal, while others are susceptible of salvation. Cf. n. 1,
p. 109, infra. The name Hebdomad evidently refers to the
seven astronomical heavens under the rule of the Demiurge,
and the title “Ancient of Days” identifies him, like the
Jaldabaoth of the Ophites, with the God of the Jews.
380. Called Ogdoadas or eighth, because it is next above the
seven heavens; but Sophia, the 28th, was the last of the
aeons. We see, therefore, that Valentinus, like the Ophites of
the diagram, is reckoning forwards and backwards in the most
confusing way.

381. So Irenaeus, Bk I. c. 1, § 9, pp. 44, 45, Harvey, says that they

[the Valentinians] say that the seven heavens are endowed
with intelligence (νοητούς) and that they suppose them to be
angels, and that the Demiurge is himself an angel like God.
Also that Paradise is a heaven above the third, and that a
fourth angel rules (?) there, and that from him Adam took
somewhat while talking to him. Whatever this story may
mean, it is curious to see how readily the Gnostics identified
in name a heavenly place with its ruler, as in the titles of kings
and peers.

382. Irenaeus, Bk I. c. 1, § 10, pp. 47, 48, Harvey, says that the
Devil or Cosmocrator and all the spiritual things of evil (τὰ
πνευματικὰ τῆς πονηρίας) were made out of the pain (λύπη)
of Sophia, and that he is the creation of the Demiurge, but
knows what is above him, because he is a spirit, while his
creator is ignorant that there is anything higher than himself,
because he is only ruler of animal things (ψυχικὰ ὑπάρχοντα).
In this, which is probably the teaching of Ptolemy, Valentinus’
successor is seen to be reverting to the Ophite ideas.
Hippolytus, who here probably gives us Valentinus’ own
doctrine, says on the other hand (op. cit. Bk VI. c. 33, pp. 290,
291, Cruice): Ὥσπερ οὖν τῆς ψυχικῆς οὐσίας ἡ πρώτη καὶ
μεγίστη δύναμις γέγονεν εἰκὼν [the text is here restored by
Cruice: τοῦ μονογενοῦς υἱοῦ, οὕτω τῆς ὑλικῆς οὐσίας δύναμις]
διάβολος, ὁ ἄρχων τοῦ κόσμον τούτου· τῆς δὲ τῶν δαιμόνων
οὐσίας, ἤτις ἐστὶν ἐκ τῆς ἀπορίας, ὁ Βεελζεβούδ. “As therefore
the first and greatest power of the animal substance (the
Demiurge) came into being as the image of the unique son
(Nous), so the power of the material substance is the Devil,
the Ruler of this world: and Beelzebud [the power] of the
 substance of demons which came into being from the
perplexity” (of Sophia). It has been shown elsewhere
(P.S.B.A. 1901, pp. 48, 49) that this Beelzebud or Beelzebuth
is written in the Magic Papyri Jabezebuth or Yahweh Sabaoth,
probably in pursuance of the parallelism which gives every
god or superior power his correspondent personality in the
inferior or evil world. In all magic, mediaeval or otherwise,
Beelzebuth is carefully distinguished from Satan.

383. Matthew x. 25, xii. 24, 27; Mark iii. 22; Luke xi. 15, have
βεελξεβούλ, while the Peshitto writes the more familiar
Beelzebub. See P.S.B.A. quoted in last note.

384. Called also the Heavenly Jerusalem. Hippolytus, op. cit. Bk VI.
c. 32, p. 290, Cruice.

385. Irenaeus, Bk I. c. 1, § 10, p. 49, Harvey: Δημιουργήσαντα δὴ

τὸν κόσμον, πεποιηκέναι καὶ τὸν ἄνθρωπον τὸν χοϊκόν· οὐκ
ἀπὸ ταύτης δὲ τῆς ξηρᾶς γῆς, ἀλλ’ ἀπὸ τῆς ἀοράτου οὐσίας,
ἀπὸ τοῦ κεχυμένου καὶ ῥευστοῦ τῆς ὕλης λαβόντα· καὶ εἰς
τοῦτον ἐμφυσῆσαι τὸν ψυχικὸν διορίζονται. “Having indeed
fashioned the world, he (the Demiurge) made material man;
not taking him out of this dry earth, but from the unseen
substance, from the poured forth and liquid matter, and into
him, they declare, he breathed that which is of the soul.”
Although this might be taken for a Ptolemaic elaboration or
embroidery of Valentinus’ own doctrine, it is repeated in
almost identical words in the Excerpta Theodoti of Clement of
Alexandria, which represent the teaching of the Oriental
School, and it is therefore possibly the statement of
Valentinus himself. Hippolytus, op. cit. Bk VI. c. 34, p. 293,
Cruice, is quite in accord with this. Irenaeus says later (Bk I. c.
1, § 11) with reference to the body of Jesus: καὶ ὑλικὸν δὲ οὐδ’
ὁτιοῦν εἰληφέναι λέγουσιν αὐτόν· μὴ γὰρ εἶναι τὴν ὕλην
δεκτικὴν σωτηρίας. “And they say that He took on Himself
nothing whatever of matter; for matter is not susceptible of
 salvation.” From which it is to be inferred that Valentinus
rejected the resurrection of the body.

386. Irenaeus, Bk I. c. 1, § 4, p. 23, Harvey, says that when Jesus,

the Joint Fruit of the Pleroma, was projected, Angels of the
same kind as himself (ὁμογενεῖς) were projected with him as a
guard of honour. That these are the spiritual spouses of the
souls of men is confirmed by Hippolytus, op. cit. Bk VI. c. 34,
p. 292, according to Cruice’s emendation: Ὑποδιῄρηται δὲ καὶ
τὰ ἐν τῇ Ὀγδοάδι, καὶ προβεβήκασιν ἡ Σοφία, ἥτις ἐστὶ μήτηρ
πάντων τῶν ζώντων κατ’ αὐτούς, καὶ ὁ κοινὸς τοῦ
Πληρώματος καρπὸς ὁ Λόγος, [καὶ] οἵτινες εἰσὶν ἄγγελοι
ἐπουράνιοι, πολιτευόμενοι ἐν Ἰερουσαλὴμ τῇ ἄνω, τῇ ἐν
οὐρανοῖς. “The things which are in the Ogdoad also are
subdivided, and there proceed (from it) Sophia who is,
according to them, the Mother of All Living, and the Joint Fruit
of the Pleroma, the Logos, and there are certain heavenly
angels who are citizens of the Jerusalem which is above, that
which is in the heavens.” So later (ibid. p. 293, Cruice) ...
οἵτινές εἰσι λόγοι ἄνωθεν κατεσπαρμένοι ἀπὸ τοῦ κοινοῦ τοῦ
Πληρώματος καρποῦ καὶ τῆς Σοφίας εἰς τοῦτον τὸν κόσμον,
κατοικοῦντες ἐν [σώμα]τι χοϊκῷ μετὰ ψυχῆς, ὅταν δαίμονες μὴ
συνοικῶσι τῇ ψύχῃ. “There are certain Logoi sown from above
in the world by the Joint Fruit of the Pleroma and Sophia,
which dwell in the material body with the soul, when there are
no demons dwelling with it.” Clement of Alexandria, in Strom.
Bk V. c. 14, points out that the notion of demons dwelling with
the soul is to be found in Plato, and quotes the passage from
the Vision of Er (Rep. Bk X. c. 15) about the souls of men
between births each receiving from the hand of Lachesis a
demon as their guides through life. It is more likely, however,
to have been derived from the Zoroastrian belief in the
Fravashis or Ferouers, celestial spirits who live with Ahura
Mazda and the powers of light, until they are sent on earth to
be joined with the souls of men, and to combat the powers of
Ahriman (see L. C. Casartelli, La Philosophie Religieuse du
 Mazdéisme, Paris, 1884, pp. 76-80, for references). Cf. Hope
Moulton, op. cit. c. VIII. passim.

387. Irenaeus, Bk I. c. 1, § 12, p. 59, Harvey: Τοὺς δὲ πνευματικοὺς

ἀποδυσαμένους τὰς ψυχὰς καὶ πνεύματα νοερὰ γενομένους,
ἀκρατήτως καὶ ἀοράτως ἐντὸς πληρώματος εἰσελθόντας
νύμφας ἀποδοθήσεσθαι τοῖς περὶ τὸν Σωτῆρα ἀγγέλοις. “And
the Spirituals, or Pneumatis, doffing their souls and becoming
intelligent spirits, shall enter unperceived and unseen within
the Pleroma, and shall be given as brides to the angels about
the Saviour.” This suggestion, which completely shocked the
modesty of Tertullian, may be connected with the Zoroastrian
idea of the virgin who appears to the believer as his conductor
at the bridge Chinvat. See Chapter XII, infra.

388. This appears in the Excerpta Theodoti, fr. 63, Migne’s Patrol.
Graeci, t. IX. col. 689: Ἡ μὲν οὖν πνευματικῶν ἀνάπαυσις ἐν
Κυριακῇ ἐν Ὀγδοάδι ἡ Κυριακὴ ὀνομάζεται· παρὰ τῇ μητρὶ
ἔχοντα τὰς ψυχὰς τὰ ἐνδύματα ἄχρι συντελείας· αἱ δὲ ἄλλαι
πισταὶ ψυχαὶ παρὰ τῷ Δημιονυργῷ· περὶ δὲ τὴν συντέλειαν
ἀναχώρουσι καὶ αὐτοὶ εἰς Ὀγδοάδας. Εἶτα τὸ δεῖπνον τὸν
γάμον κοινὸν πάντων τῶν σωζωθέντων, ἄχρις ἂν ἀπισωθῇ
πάντα καὶ ἄλληλα γνωρίσῃ. “Therefore the repose of the
Spirituals in [the dwelling] of the Lord, that is, in the Ogdoad,
is called the Lord’s rest” (cf. Irenaeus, Bk I. cc. 1, 9, p. 46,
Harvey): “the garments [i.e. natures] containing the souls [will
remain] with the Mother until the Consummation. And the
other faithful souls (will remain) with the Demiurge; and at the
Consummation they will withdraw, and they also will go into
the Ogdoad. Then will be the Wedding Feast of all those who
are saved until all things shall be made equal and all things
mutually made known.” This heavenly banquet, of which we
may be quite sure Valentinus made the Marriage in Cana a
type, will be met with again in the worship of Mithras (Chapter
XII, infra). But it was also well known to the Orphics (see
Abel’s Orphica, Frag. 227, etc.), and the question repeats
 itself: Did the Orphics borrow the idea from the Persians, or
the Mithraists from the Orphics?

389. Valentinus may have found this doctrine in Egypt, where as

Maspero points out (Ét. Égyptol. I. p. 398) only the rich and
noble were thought to enjoy the life beyond the grave.

390. Valentinus’ remark about the Cosmocrator being superior in

knowledge to the Demiurge because he is a spirit (see n. 1, p.
108 supra) much complicates the problem, and brings us
pretty near to the Dualism of the Avesta. That all matter was
in Valentinus’ opinion transitory appears from Irenaeus, Bk I.
c. 1, § 13, where it is said that when all the seed scattered by
Sophia in the world, i.e. the souls of the Pneumatici, is
gathered in, the fire which is within the Cosmos shall blaze
forth and after destroying all matter shall be extinguished with
it.

391. Clem. Alex., Strom. Bk II. c. 8, quotes an epistle of Valentinus

in which he speaks of the terror of the angels at the sight of
man because of the things which he spoke: διὰ τὸν ἀοράτως
ἐν αὐτῷ σπέρμα δεδωκότα τῆς ἄνωθεν οὐσίας, καὶ
παρρησιαζόμενον “because of that within him which yielded a
germ of the substance on high, and spoke freely.” So
Irenaeus, Bk I. c. 1, § 10, p. 51, Harvey: Ἔλαθεν οὖν, ὡς
φασί, τὸν Δημιουργὸν ὁ συγκατασπαρεὶς τῷ ἐμφυσήματι
αὐτοῦ ὑπὸ τῆς Σοφίας πνευματικὸς ἀνθρώπων [ἄνθρωπος]
ἀρρήτῳ [adj. δυνάμει καὶ] προνοίᾳ. “It escaped the Demiurge,
therefore, as they say, that the man whom he had formed by
his breath was at the same time made spiritual by Sophia with
unspeakable power and foresight.” So that, as Irenaeus says
a few lines later, man has his soul from the Demiurge, his
body from Chaos, his fleshly part (τὸ σαρκικὸν) from matter,
and his spiritual man from the Mother, Achamoth [i.e. ‫חכמת‬
“Wisdom”].

392. Clem. Alex. Strom. Bk IV. c. 13, quoting “a certain homily” (τις
ὁμιλία) of Valentinus: Ἀπ’ ἀρχῆς ἀθανατοί ἐστε, καὶ τέκνα ζωῆς
 ἐστε αἰωνίας καὶ τὸν θάνατον ἠθέλετε μερίσασθαι εἰς ἑαυτούς,
ἵνα δαπανήσητε αὐτὸν καὶ ἀναλώσητε καὶ ἀποθάνῃ ὁ θάνατος
ἐν ὑμῖν καὶ δι’ ὑμῶν. Ὅταν γὰρ τὸν μὲν κόσμον λύητε, ὑμεῖς δὲ
καταλύησθε, κυριεύετε τῆς κτίσεως καὶ τῆς φθορᾶς ἁπάσης.
“You were deathless from the beginning and the children of
life everlasting, and you wish to share out death among you,
in order that you may dissipate and destroy it and that death
may die in and by you; for when you put an end to the world
and are yourselves put an end to, you have rule over creation
and all corruption.” So one of the documents of the Pistis
Sophia speaks of this world being finally consumed by the fire
“which the perfect wield.” It was doubtless such predictions
which gave colour to the charge of incendiarism made by the
Roman authorities against the Christians generally. For the
translation of the pneumatics to the Ogdoad see next note.

393. Hippolytus, op. cit. Bk VI. c. 31, p. 290, Cruice: Ἐὰν ἐξομοιωθῇ
τοῖς ἄνω ἐν Ὀγδοάδι, ἀθάνατος ἐγένετο καὶ ἦλθεν εἰς τὴν
Ὀγδοάδα ἥτις ἐστί, φησίν, Ἰερουσαλὴμ ἐπουράνιος· ἐὰν δὲ
ἐξομοιωθῇ τῇ ὕλῃ, τουτέστι τοῖς πάθεσι τοῖς ὑλικοῖς, φθαρτή
ἐστι καὶ ἀπώλετο. “If [the soul] be of the likeness of those on
high in the Ogdoad, it is born deathless and goes to the
Ogdoad which is, he says, the heavenly Jerusalem; but if it be
of the likeness of matter, that is, if it belongs to the material
passions, it is corruptible and is utterly destroyed.”

394. ψυχικὸς ἄνθρωπος translated in the A.V. by “natural man”

evidently means in the Valentinian sense those who are
animated or have had breathed into them the breath of life
merely. It has nothing to do with soul as we understand the
term.

395. Amélineau, Gnost. Ég. p. 225.

396. Hippolytus, op. cit. Bk VI. c. 36, pp. 297, 298, Cruice: Ἔδει οὖν
διορθωμένων τῶν ἄνω κατὰ τὴν αὐτὴν ἀκολουθίαν καὶ τὰ
ἐνθάδε τυχεῖν διωρθώσεως. “Wherefore when things on high
 had been put straight, it had to be according to the law of
sequences that those here below should be put straight also.”

397. Hippolytus, op. cit. p. 297, Cruice: ἐδιδάχθη γὰρ ὑπὸ τῆς
Σοφίας ὁ Δημιουργός, ὅτι οὐκ ἔστιν αὐτὸς Θεὸς μόνος ὡς
ἐνόμιζε, καὶ πλὴν αὐτοῦ ἕτερος (οὐκ) ἔστιν· ἀλλ’ ἔγνω
διδαχθεὶς ὑπὸ τῆς Σοφίας τὸν κρείττονα· κατηχήθη γὰρ ὑπ’
αὐτῆς, καὶ ἐμυήθη καὶ ἐδιδάχθη τὸ μέγα τοῦ Πατρὸς καὶ τῶν
Αἰώνων μυστήριον, καὶ ἐξεῖπεν αὐτὸ οὐδενί, κ.τ.λ. “For the
Demiurge had been taught by Sophia that he was not the only
God and that beside him there was none other, as he had
thought; but through Sophia’s teaching he knew better. For he
had been instructed and initiated by Sophia, and had been
taught the great mystery of the Father and of the Aeons, and
had declared it to none”—in support of which the statement in
Exodus (vi. 2, 3) about being the God of Abraham, Isaac, and
Jacob, but “by my name Jehovah was I not known unto them”
is quoted. The identification by Valentinus of the Demiurge
with the God of the Jews is therefore complete.

398. σφάλματα “stumblings,” Hippolytus, loc. cit.

399. Hippolytus, op. cit. Bk vi. c. 35, p. 295, Cruice. I have taken
what seems on comparison to be the original form of
Valentinus’ teaching. In the same chapter, Hippolytus tells us
that his followers were divided on the question of the
composition of the body of Jesus—the Italic School led by
Heracleon and Ptolemy averring that it was psychic and that
at His baptism only the πνεῦμα came upon Him as a dove,
while the Oriental School of Axionicus and Bardesanes
maintained that it was pneumatic from the first. Cf. n. 2, p. 116
infra.

400. Amélineau, Gnost. Ég. p. 226. The Excerpta Theodoti, on

which he relies, says (fr. 78): Μέχρι τοῦ βαπτίσματος οὖν ἡ
εἱμαρμένη, φασίν, ἀληθής· μετὰ δὲ τοῦτο οὐκ ἔτι ἀληθεύουσιν
οἱ ἀστρολόγοι. Ἔστι δὲ οὐ τὸ λουτρὸν μόνον τὸ ἐλευθεροῦν,
ἀλλὰ καὶ ἡ γνῶσις τίνες ἦμεν, τί γεγόναμεν, ποῦ ἦμεν, ἢ ποῦ
 ἐνεβλήθημεν, ποῦ σπεύδομεν, πόθεν λυτρούμεθα, τί γέννησις
τί ἀναγέννησις. “Until baptism then, they say the destiny [he is
talking of that which is foretold by the stars] holds good; but
thereafter the astrologers’ predictions are no longer unerring.
For the [baptismal] font not only sets us free, but is also the
Gnosis which teaches us what we are, why we have come
into being, where we are, or whither we have been cast up,
whither we are hastening, from what we have been
redeemed, why there is birth, and why re-birth.” For baptism
was to the Valentinian initiation, and a mystagogue of Eleusis
would have expressed himself no differently.

401. Irenaeus, Bk I. c. 1, § 13, pp. 60-62, Harvey; Amélineau,

Gnost. Ég. p. 226, and Excerpta Theodoti there quoted.

402. Hippolytus, op. cit. Bk VI. c. 35, pp. 295, 296, Cruice: Ὁ δὲ
Ἰησοῦς, ὁ καινὸς ἄνθρωπος, ἀπὸ Πνεύματος Ἁγίου [καὶ τοῦ
Ὑψίστου], τουτέστι τῆς Σοφίας καὶ τοῦ Δημιουργοῦ, ἵνα τὴν
μὲν πλάσιν καὶ κατασκευὴν τοῦ σώματος αὐτοῦ ὁ Δημιουργὸς
καταρτίσῃ, τὴν δὲ οὐσίαν αὐτοῦ τὸ Πνεῦμα παράσχῃ τὸ Ἅγιον,
καὶ γένηται Λόγος ἐπουράνιος ἀπὸ τῆς Ὀγδοάδος γεννηθεὶς
διὰ Μαρίας. “But Jesus, the new man, [has come into being]
by the Holy Spirit and by the Highest, that is by Sophia and
the Demiurge, so that the Demiurge might put together the
mould and constitution of His body and that the Holy Spirit
might provide its substance; and that He might become the
Heavenly Logos ... when born of Mary.” According to this, the
body of Jesus was a “psychic” or animal one; yet Hippolytus
says immediately afterwards (p. 296, Cruice), that it was on
this that there was a division between the Italic and the
Oriental Schools of Valentinians, the former with Heracleon
and Ptolemy saying that the body of Jesus was an animal
one, the Holy Spirit coming on Him as a dove at His baptism,
while the Orientals with Axionicus and Bardesanes
maintained that the body of the Saviour was pneumatic or
spiritual, “the Holy Spirit or Sophia and the power of the
Highest or Demiurgic art having come upon Mary, in order
 that what was given to Mary might be put into form.”
Apparently Valentinus was willing to call the God of the Jews
Ὕψιστος or “Highest,” which M. Cumont thinks was his name
in Asia Minor.

403. With the exception of that of St John, since the part of the
Pistis Sophia which it is suggested is by Valentinus does not
quote it. His followers, however, knew of it, as in the Excerpta
Theodoti the opening verse τὸ ἐν ἀρχῇ ἦν ὁ Λόγος καὶ ὁ
Λόγος ἦν παρὰ τὸν Θεὸν, καὶ Θεὸς ἦν ὁ λόγος is quoted with
the comments of οἱ ἀπὸ τοῦ Οὐαλεντίνου on it. Cf. Amélineau,
Gnost. Ég. p. 209, where the passage is given in n. 4.

404. Irenaeus, Bk I. c. 1, § 13, pp. 60-62, Harvey: Εἰσὶ δὲ οἱ

λέγοντες... Ἔπαθε δὲ λοιπὸν κατ’ αὐτοὺς ὁ ψυχικὸς Χριστός,
καὶ ὁ ἐκ τῆς οἰκονομίας κατεσκευασμένος μυστηριωδῶς, ἵν’
ἐπιδείξῃ [δι’] αὐτοῦ ἡ μήτηρ τοῦ ἄνω Χριστοῦ, ἐκείνου τοῦ
ἐπεκταθέντος τῷ Σταυρῷ, καὶ μορφώσαντος τὴν Ἀχαμὼθ
μόρφωσιν τὴν κατ’ οὐσίαν· πάντα γὰρ ταῦτα τύπους ἐκείνων
εἶναι λέγουσι. “And there are some” (probably the Anatolic or
Oriental School is meant) “who say.... And further the animal
Christ, He who had been mysteriously formed by
dispensation, suffered so that the Mother might show forth
through Him the type of the Christ on high, of him who is
extended by Stauros, and gave shape to Achamoth as
regards substance: for they say that all things here are the
types of others there.”

405. Tertullian, adv. Valentinianos, c. IV.

406. That is, not a martyr, but one who had suffered for the faith
without losing his life.

407. Irenaeus, Bk III. c. 4, § 1, vol. II. p. 17, Harvey; Eusebius, Hist.

Eccl. Bk IV. c. 11. Cf. Amélineau, Gnost. Ég. p. 170.

408. Tertullian, de Praescpt. c. XXX. Amélineau, Gnost. Ég. p. 175,

objects to this.
409. Amélineau, Gnost. Ég. p. 172, n. 1; ibid. p. 175.

410. Epiphanius, Pan., Haer. XXXI. c. 2.

411. Hippolytus, op. cit. Bk VI. c. 35, p. 296, Cruice.

412. Irenaeus, Bk I. c. 1, § 2, p. 13, Harvey.

413. See n. 2, p. 116 supra.

414. Irenaeus, Prooem. p. 4, Harvey.

415. Clem. Alex. Strom. Bk IV. c. 9.

416. Hippolytus, op. cit. Bk VI. c. 38, p. 302, Cruice. So Irenaeus,

Bk I. c. 5, § 2, p. 101, Harvey. This appears to be hyperbole
rather than dualism.

417. Amélineau, Gnost. Ég. p. 189.

418. Hippolytus, op. cit. Bk VI. c. 35, p. 296, Cruice.

419. Albîrûnî, Chronology of Ancient Nations, ed. Sachau, 1879,

pp. 27, 189.

420. De Faye, Intro. etc. p. 105, n. 1; Tertullian, de Carne Christi, c.

XVI.

421. See Hort, Bardaisan, in Dict. Christian Biog.

422. Eusebius, Hist. Eccl. Bk IV. c. 30, says that Bar Daisan was
first a Valentinian and afterwards recanted, “but did not
entirely wipe away the filth of his old heresy.”

423. Rather a suspect name for a hymn writer.

424. Ephrem Syrus’ own date is given as 370 A.D., in Dict. Christian
Biog. s.h.n.
425. See n. 3, p. 117 supra.

426. Irenaeus, Bk I. c. 5, § 1, p. 98, Harvey.

427. See n. 2, p. 118 supra.

428. This may have been due either to their Egyptian extraction, or
to the necessity of putting the matter in a way that would be
intelligible to their Egyptian disciples. Cf. Naville, Old Egyptian
Faith, 1909, where he says that the Egyptian way of
expressing abstract ideas is by metaphors. Their ancestors,
the Egyptians of the early Dynasties, when they wanted to
describe how gods of both sexes came forth from one single
male deity, did so by means of a very coarse image. See
Budge, Papyrus of Nesi-Amsu, Archaeologia, vol. LII. (1890),
pp. 440, 441. Cf. same author, Hieratic Papyri in B.M.

429. Courdaveaux, R.H.R. Jan.-Fev. 1892, p. 293 and n. 7. Mgr

Duchesne, op. cit. pp. 244, 245, agrees that Clement looked
upon the Son as a creature only. Nor does there seem much
difference between Valentinus’ view of the relation between
the Demiurge and the Unknown Father, and Clement’s
remarks about the Son whom he calls timeless and
unbegotten and says that it is from Him that we must learn the
“remote cause the Father of the Universe”: Strom. Bk VII. c. 1.
Cf. Justin Martyr, c. Trypho. c. 56.

430. R.H.R. Jan.-Fev. 1891, p. 27. Tertullian’s own heresy was of

course Montanism. Harnack, Hist. of Dogma, Eng. ed., II. pp.
257, 258, says indeed that Hippolytus’ own views of the Trinity
coincide with those of Valentinus and are a relic of polytheism.

431. Hippolytus, op. cit. Bk VI. c. 29, pp. 280, 281, Cruice.

432. 2 John iv. 16. So Ἀγάπη “Love” is made the summit of the
universe in the Ophite Diagram. See Chap. VIII supra.

433. Neander, Ch. Hist. vol. II. p. 90.

434. Heracleon, quoted by Origen in Commentaries on St John, Bk
X. c. 19.

435. Hippolytus, op. cit. Bk VI. c. 36, pp. 297, 298, Cruice.

436. Ibid. loc. cit. p. 298, Cruice.

437. Clem. Alex. Strom. Bk II. c. 20.

438. Amélineau, Gnost. Ég. p. 230; Neander, Ch. Hist. vol. II. p. 94.

439. Neander, op. et loc. cit. p. 150 and note, says Clement of
Alexandria declares that while Marcion wished to found a
Church, the other Gnostics endeavoured to found schools
(διατριβαί) only. Clem. Alex. Strom. Bk VII. c. 15, seems to be
the passage referred to; but in the present state of the text it
may be doubted whether it will bear the construction Neander
puts upon it.

440. Irenaeus, Bk I. Prooem. p. 4, Harvey.

441. Cf. Renan, L’Église Chrétienne, p. 165. The manner in which

the Valentinians tried to make converts to their doctrines
within the Church is described by Irenaeus, Bk III. c. 15, § 2,
pp. 78, 80, Harvey, and Tertullian, adv. Valentinianos, c. 1.

442. Renan, L’Église Chrétienne, pp. 152, 153, for references.

443. Tertullian, de Pudicitia, and Pseudo Cyprian, de Glor. Martyr.

passim.

444. See Chap. VII, n. 1, p. 8 supra.

445. Tertullian, Scorpiace, c. 1.

446. Gibbon, Decline and Fall, Bury’s ed. vol. II. p. 13. Cf. what
Irenaeus, Βk I. c. 1, § 8, p. 36, Harvey, says as to the high
price charged by the Valentinians for their teaching.
447. Hippolytus, op. cit. Bk IV. c. 4, §§ 1-15.

448. Irenaeus, Bk I. cc. 7-8 passim, pp. 114-156, Harvey.

449. Thus he says that the Dove signifies Alpha and Omega, the
first and the last, because Α and Ω, like περιστερά “dove,”
have the numerical value of 801.

450. A similar miracle is performed by the risen Jesus in the Bruce

Papyrus. See Chap. X infra.

451. Verse:

a.

Φῶς πατρικὸν ποθέουσα, σύναιμε, σύνευνε, σοφή

μου,
λούτροις χρεισαμένη Χ(ρειστο)ῦ μύρον ἄφθιτον, ἁγνὸν,
Αἰώνων ἔσπευσας ἀθρ[ῆ]σαι θεῖα πρόσωπα,
βουλῆς τῆς μεγάλης μέγαν ἄγγελον, υἱὸν ἀληθῆ,
[εἰς ν]υμφῶνα μολοῦσα καὶ εἰς [κόλπ]ους ἀνόρουσα[?]
[Αἰώνων πα]τρικοὺς κ[αὶ]....

b.

Οὐκ ἔσχεν κοινὸν βιότου [τ]έλος ἥδε θανοῦσα·

κάτθανε καὶ ζώει καὶ ὁρᾷ φάος ἄφθιτον ὄντως·
ζώει μὲν ζωοῖσι, θανὲν δὲ θανοῦσιν ἀληθῶς.
γαῖα, τί θαυμάζεις νέκυος γένος; ὴ πεφόβηται;

(Boeckh’s) C. I. G. 9595a, t. I. and p. 594.

“Longing for the light of the Father, partner of my blood,

partner of my bed, O my wise one!
Anointed at the font with the incorruptible and pure
myrrh of Christ,
Thou hast hastened to behold the divine faces of the
Aeons, [and]
 The Great Angel of the Great Council, the true Son.
Thou hast gone to the nuptial couch and hast hurried
to the fatherly bosoms of the Aeons
And....
Though dying, she has not suffered the common end of
life,
She is dead, and yet lives and actually beholds the
light incorruptible,
To the living she is alive, and dead only to those really
dead.
O Earth, why dost thou wonder at this new kind of
shade? or dost thou fear it?”

This was engraved on a cippus of white marble found about

three miles from Rome in the Via Latina and is now in the
Kircher Museum. Renan’s translation is given in Marc Aurèle,
p. 147. That the lady’s name was Flavia seems evident from
the acrostic contained in the first verse. She must also have
been a pneumatic or spiritual from her husband’s confident
expectation that she would be raised to the Heavenly
Jerusalem and by his assertion of her deathlessness. Hence it
may be inferred that Valentinus’ disciples even when of the
highest spiritual rank were allowed to marry. Cf. Clem. Alex.
Strom. Bk III. c. 17. The name “Angel of the Great Council” is
applied to Christ by Justin Martyr (c. Tryph. c. 126) who says
that He is so called by Ezekiel. The passage does not appear
in the Canon.

452. Matter, Hist. du Gnosticisme, t. II. p. 126, quoting St Jerome.

453. Epiphanius, Haer. XXXIII. c. 3, pp. 401-413, Oehler. Cf. “the

Elect Lady” to whom 2 John is addressed.

454. It should be remembered that Valentinus had been dead

some 50 years when Irenaeus and Hippolytus wrote.

455. Amélineau, Gnost. Ég. Chap. V., pp. 281-320 passim.

456. Julian, Ep. 43, tells Hecebolius that the Arians of Edessa,
“puffed up by their riches,” have maltreated the Valentinians,
and that he has therefore ordered the confiscation of the
estates and treasure of the Church of Edessa. It is doubtful
whether the edict can have been enforced before the
emperor’s death abrogated it.

457. We get at a sort of minimum date for its persistence from the
career of St Ambrose, who had been a Valentinian in his
youth (see Eusebius, Hist. Eccl. Bk VI. c. 18), and was made
bishop of Milan in 374 A.D., he being then 34 years old. The
sect therefore had adherents in Italy about 360 A.D.

458. It may be news to some that an attempt has lately been made
to revive in Paris the heresy of Valentinus. See the
Contemporary Review for May, 1897, or Jules Bois’ Les Petits
Religions de Paris, where a full account of the services and
hymns of “L’Église Gnostique” is given. Its founder, Jules
Doinel, was reconverted to Catholicism some time before his
death. Its present head is M. Fabre des Essarts.

459. The chapter on Marcion and his doctrines should perhaps in

strict chronological order follow on here, as Marcion’s
teaching was either contemporary with, or at most, but a few
years later than, that of Valentinus. Cf. Salmon in Dict.
Christian Biog. s.v. Marcion, Valentinus. But the earliest
documents in the Pistis Sophia are, as will be seen, possibly
by Valentinus himself, and, as all of them are closely
connected with his doctrine, it seemed a pity to postpone their
consideration.
460. W. E. Crum, Catalogue of the Coptic MS. in the Brit. Mus.,
1905, p. 173, n. 2, says that it was bought at the sale of
Askew’s effects for £10. 10s. 0d., and that Askew himself
bought it from a bookseller.

461. H. Hyvernat, Album de Paléographie Copte, Paris, 1888.

462. Matter, Hist. du Gnost. t. II. pp. 39-43, 347-348, and t. III. pp.
368-371.

463. See the present writer’s article “Some Heretic Gospels” in the
Scottish Review for July, 1893, where the MSS. treated of in
this chapter and their divisions are described in detail.
Schmidt, Koptisch-gnostische Schriften, Bd I. p. 14, speaks of
this “Codex Askewianus” as “eine Miszellenhandschrift.”

464. Except where otherwise specified, subsequent references

here to Pistis Sophia (in Italics) are to the first 253 pages of
the Coptic MS. only.

465. Cf. the ἐσώτερον τοῦ καταπετάσματος “within the veil” of Heb.
vi. 19. For other instances of its use in this sense see Crum,
Cat. of the Coptic MSS. in the Brit. Mus. p. 255, n. 1; and
Clem. Alex. Strom. Bk V. c. 6. For the dove, Mr F. C.
Conybeare, in a paper on the subject read before the Society
of Historical Theology in Dec. 1892 (see Academy of 3rd Dec.
1892), said that the dove was “the recognised symbol of the
Holy Spirit or Logos in the allegorizing theology of the
Alexandrine Jews at the beginning of the 1st century A.D.,” and
quoted several passages from Philo in support. Cf. Origen,
cont. Cels. Bk I. c. 31. But it was also the emblem, perhaps
the totem-animal, of the great Asiatic goddess who, under the
name of Astarte or Aphrodite, was worshipped as the Mater
viventium or “Mother of all Living,” with whose worship the
serpent was also connected. It was doubtless to this that the
text “Be ye wise as serpents, harmless as doves” refers. Both
serpents and doves figure largely in the Mycenaean and
 Cretan worship of the goddess. See Ronald Burrows,
Discoveries in Crete, 1907, pp. 137, 138, and Index for
references. In later Greek symbolism the dove was sacred to
the infernal Aphrodite or Persephone whose name of
Φερρεφάττα or Φερσεφάττα has been rendered “she who
bears the dove.” See de Chanot, “Statues Iconiques de
Chypre” in Gazette Archéologique, 1878, p. 109.

466. Pistis Sophia, p. 152, Copt. This metaphor is first met with in
Philo, Quaest. in Genesim, Bk I. c. 53, who declares that the
“coats of skin” of Gen. iii, 21 are the natural bodies with which
the souls of the protoplasts were clothed. It was a favourite
figure of speech with the Alexandrian Jewish writers. So in the
Ascensio Isaiae, c. IV. 16, 17: “But the saints will come with
the Lord with their garments which are now stored up on high
in the seventh heaven: with the Lord will they come, whose
spirits are clothed.... And afterwards they will turn themselves
upward in their garments, and their body will be left in this
world.” Cf. Charles, Ascension of Isaiah, pp. 34, 35, and
Eschatology (Jowett Lectures), pp. 399 sqq., where he says
that this was also the teaching of St Paul.

467. The word Σωτήρ, which here as elsewhere in the book

appears without any Coptic equivalent, evidently had a
peculiar signification to the Valentinian Gnostics. Irenaeus, Bk
I. c. 1, § 1, p. 12, Harvey, says that it was the name they gave
to Jesus oὐδὲ γὰρ κύριον ὀνομάζειν αὐτὸν θέλουσι “for they
do not choose to call Him Lord.” In the later part of the book,
the document called Mέρoς τευχῶν Σωτῆρος (p. 253, Copt.)
says that “he is saviour and ὰχώρητος (i.e. not to be confined
in space), who finds the words of the mysteries and the words
of the Third Receptacle which is within (i.e. the inmost of the
three) and excelleth them all.” From which it would appear
that the chief qualification of a saviour in the eyes of the later
Valentinians was that he was not restricted to his special
place in the universe, but could visit at will the worlds below
him. We seem therefore to be already getting near the
 Manichaean idea of Burkhans (messengers or Buddhas) who
are sent into the world for its salvation. Cf. Chapter XIII infra.

468. So that Judas Iscariot received a super-excellent soul as well

as the other eleven, unless we are to suppose that his
successor and substitute Matthias was one of those chosen
from the beginning. It is curious that neither in this nor in any
other Valentinian document is there any allusion to the
treason of Judas. The phrase “Archons of the aeons” means,
as will be seen later, the rulers of the twelve signs of the
Zodiac.

469. The “Sphere,” here as elsewhere in the book, means the

sphere of the visible firmament, which is below that of
Heimarmene or Destiny.

470. Τhis παρθένος τοῦ φωτός or Virgin of Light appears here, I

think, for the first time in any Gnostic document, although she
may have been known to the Valentinians. See Irenaeus, Bk
II. c. 47, § 2, p. 368, Harvey. She is, perhaps, a lower
analogue of Sophia Without, and is represented as seated in
or near the material sun which is said to give its light in its
“true form” only in her τόπος or place, which is 10,000 times
more luminous than that of the Great Propator or Forefather
mentioned later (Pistis Sophia, p. 194, Copt.). Her function
seems to be the “judging” of the souls of the dead, which does
not apparently involve any weighing of evidence, but merely
the examination of them to see what “mysteries” they have
received in previous incarnations, which will determine the
bodies in which they are reincarnated or their translation to
higher spheres (ibid. pp. 239, 292). She also places in the
soul a power which returns to her, according to the Μέρος
τευχῶν Σωτῆρος, on the death of its possessor (ibid. p. 284,
Copt.), thereby discharging the functions assigned in the last
book of Plato’s Republic to Lachesis. She is also on the same
authority (i.e. the Μ. τ. Σ.) one of the rulers of the disk of the
sun and of that of the moon (ibid. pp. 340-341, Copt.), and her
 place is one of the “places of the Middle” and is opposite to
the kingdom of Adamas, which is called the “head of the
aeons” (ibid. p. 236, Copt.). She reappears in Manichaeism
and it is said in the Acta Archelai that at the destruction of the
world she will pass into “the ship” of the moon along with
Jesus and other powers where she will remain until the whole
earth is burnt up (c. XIII. p. 21 of Hegemonius, Acta Archelai,
Beeson’s ed., Leipzig, 1906, p. 21). In the Turfan texts (F. W.
K. Müller, Handschriften-Reste in Estrangelo Schrift aus
Turfan, III. Teil, Berlin, 1904, p. 77) appears a fragment of a
prayer in which is invoked yîšô kanîgrôšanâ which Dr Müller
translates Ἰησοῦς παρθένος τοῦ φωτός, “Jesus, Virgin of
Light”; but it is possible that there is some mistake in the
reading.

471. Barbelo is a name very frequently met with in the earlier

heresiologists. Irenaeus, Bk I. c. 26, §§ 1, 2, pp. 221-226,
Harvey, declares that there was a sect of Simonians called
Barbeliotae “or Naassenes” who suppose “a certain
indestructible (the Latin version says ‘never-ageing’) Aeon in
a living virgin spirit whom they call Barbelo (masc.),” and
gives an account of a string of other aeons issuing not from,
but at the prayer of, this Barbelo, which is far from clear in the
present state of the text. The sect appears, from what can be
made out of his description, to have resembled the Ophites, of
which it may have been a branch. Hippolytus, however, says
nothing of them, and the account of Epiphanius (Haer. XXV.
and XXVI., Vol. II, pt 1, pp. 160, 184), Oehler, is untrustworthy,
inasmuch as he assigns the worship of Barbelo to two sects,
one of which he calls Nicolaitans and the other Gnostics
simply. To both of them he attributes after his manner
unimaginably filthy rites, and it is plain from his making
Barbelo the mother of Jaldabaoth and giving her a seat in the
eighth heaven that he confuses her wilfully or otherwise with
the Sophia of the Ophites. Her place in the system of the
Pistis Sophia will be described in the text. The name is said
by Harvey to be derived from the Syriac Barba elo, the Deity
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