Source: Extract from Joseph Roth (trans. Michael Hofmann), ‘A Cinema in the Harbour’, in Report from a Parisian Paradise: Essays from France 1925-1939 (New York: W.W. Norton, 2004), pp. 64-66 . Originally published in German in Frankfurter Zeitung, 4 November 1925
Text: The cinema faces the ships. From out at sea a man who has long lived without the pleasures of terra firma can take out his binoculars and make out the large, colourful posters. The cinema goes by the modest name “Cosmos.” Today, it is showing the film called Red Wolves.
The Red Wolves are a band of robbers in the Abruzzi. They have kidnapped the beautiful Margot and hidden her in a high tower miles from anywhere. Ah, but what is miles from anywhere, how high is high? A brave young man by the name of Cesare joins the Red Wolves, but only for appearances: What he really wants is to free Margot.
You probably imagine joining a band of robbers is a simple matter? Let me tell you! It’s incredibly difficult.You need to take a battery of tests, in wrestling, in knife fighting, and in arm wrestling. This series of tests takes up most of the film. Cesare comes through them and gains the applause not only of the Red Wolves but of the audience here, who dream of being robbers in the Abruzzi.
The film about the Red Wolves is screened eight times a day, from ten in the morning until midnight. Cesare passes his tests eight times a day, and eight times the audience gets enraptured, a third of them spending the entire day in the cinema. This one-third are women and children. By day it’s cooler in the dark cinema than it is in their own cramped apartments and in the even more cramped streets. So the women go there to cool off. Children get in for nothing. Every adult visitor brings at least four children with her. She pays for one seat and occupies five.
In the evening the men, dockworkers in the harbour, come along. They eat, they wash, and they go to the cinema. They watched and cheered Cesare’s deeds yesterday and the day before yesterday. But it’s not possible to see enough of such heroism, if you are nothing more than a dockworker – with the dream in your heart of being a robber in the Abruzzi.
Even more romantic than a harbour is the robbers’ cave in the Abruzzi. The day labourer who is today a fisherman, tomorrow gets taken on as a seaman, and the day after finds himself in a distant port watching the film about the Red Wolves finds his life insufficiently romantic.
I like to imagine the robbers in the Abruzzi going to the cinema to see a film about the sea dogs of Marseilles. The robbers in the mountain envy the men of the port. The robber treats his calling as a humdrum job, and dreams of something romantic and exotic elsewhere. It is these reciprocal yearnings that make the film industry tick.
And yet the men in the harbour have roughly the same traits as the men of the mountains. The dockers stab with Corsican knives; they are passionate arm wrestlers with their friends, a stage wrestling matches with their colleagues. They are pleased to see that these same recreations are also popular in the Abruzzi. While still sitting in the cinema, they pull out their knives, and, not taking their eyes off the screen, give their neighbour a playful little stab.
The neighbour, who doesn’t stand for this sort of nonsense, challenges his friend to step up in front of the screen and make like Cesare.
So in the cinema, you don’t just see the deeds of men of the Abruzzi but also those of the men of Marseilles.
Meanwhile the pianist keeps banging out La Fille du Régiment. No wonder the viewers are getting restive. They want a different tune. The pianist gets up, walks out, and the film continues without music.
A little later I see a large, angry-looking man. He’s not putting up with the piano-player’s rudeness. One knows what it means when a very large, very broad man, with a broad red belt slung around his hips, with about one inch of forehead and with hands like iron shovels, won’t stand for the impertinence of a tiny piano player in evening dress and umbrella.
Five minutes later the pianist is wriggling in the iron grip of the irate cinemagoer, the lights go on, and everyone laughs. The giant waves to the crowd with his left hand, plunks the pianist down in front of his instrument, and decrees the tune desired by the majority.
And the film carries on. …
Comments: Joseph Roth (1894-1939) was an Austrian journalist and novelist, best known for his novel Radetzky March. I have not been able to identify any film of this period called ‘The Red Wolves’ (or a translation of this) or which features a robber band called by that name.