LIDA BAAROVA

Czech Republic, 2016, 106 minutes, Colour.

Tatiana Pauhofova, Karl Markovics, Gedeon Burkhard, Simona Stasova, Martin Huba, Pavel Kriz, Zdenka Prochazkova.

Directed by Filip Renc.

Lida Baarova was a prominent, perhaps the prominent, actress in cinema in Czechoslovakia in the early 1930s. However, she had a very ambitious mother who wanted her daughter to audition in Berlin to become an even greater star. The early part of the film shows Lida at home with her family, a gentle and cautious father, the dominating mother, the more delicate younger sister who is trying her talent in the theatre.

For those who do not know her story, the development is not what would have been expected. However, the screenplay offers a framework where the elderly Lida, living in Salzburg in the 1990s, is being interviewed by the Jewish journalist. In a manner, reminiscent of some of Vanessa Redgrave’s performances, this grande dame recollects her life, makes comment on it – and remarks that in storytelling some truths are told, some not.

Lida is not an immediate success in Berlin because of her Czech accent. But, because of her beauty, her co-star, Gustav Frolich (who appeared in Fritz Lang’s Metropolis) insists on her casting. With some coaching, she succeeds with her accent. However, Hitler and Goebbels visit the set one day and Hitler is charmed, inviting her to afternoon tea, telling her that she reminds him of someone he was devoted to in the past.

However, Goebbels, in charge of German cinema and propaganda, married with six children, has an eye for women and, gradually, Lida falls out of love with Frohlich and in love with Goebbels, offered an opportunity to escape Nazi Germany to MGM in the US but declining. She is also able to influence Goebbels in retaining a Jewish actress in the cast and supplying more money for the film’s budget.

However, Magda Goebbels, makes attempts at friendship with Lida but also plots against her with Hitler with the result that Lida has to return to Czechoslovakia, live with her parents to the utter disappointment of her mother, filming in Czechoslovakia and Italy but, at the end of the war, interned for a year, about to be executed but saved through the intercession of her father.

Her later career was in some films in Italy, including Fellini’s I Vitelloni, but she retired to the stage, living in Salzburg until her death in her 80s.

For those interested in the Nazi era, well worth seeing even if Karl Markovics (so good in The Counterfeiter) does not quite resemble Goebbels.

1. Audience knowledge of Lida Baarova? Czech cinema in the 1930s? German cinema in the 1930s and 40s? The role of Joseph Goebbels and the German film industry?
2. The background of the 1930s, an era of fascism, the place of Czechoslovakia vis-a-vis Germany, national socialism, the elections of 1933, the leadership of Hitler, the SS, is advisers, the response of Europe to the Third Reich and the impending war?
3. The opening, clubs in Prague, 1934, leader, her life, friends, aspiring to success, her work in the Czech film industry? Her family, her serious father and his concerns, the younger sister acting in theatre, fragile emotions, her mother, dominating, taking her to interviews, coaching, successful auditions, going to Berlin? Her hopes, ambitions, leading men?
4. The framework of the journalist interviewing Lida in Salzburg in 2000? The elderly grande dame, her apartment, smoking, drinking, her memories, moods, declarations of love for Goebbels, her career, saying that something is left in, somethings left out? The journalist and her grandparents dead in the concentration camps? The motivations? Lida and the end, with her memories?
5. The initial experiences in Berlin, the accent, unable to pronounce with German pronunciation, the film-makers and their exasperation, wanting to sack her, Gustav Frohlich and his interventions, support, her screen presence and beauty? The dialogue coach? The hard lessons? The audition, speaking, speaking quickly, singing and dancing, accepted?
6. The leading man, the substitution of Gustav Frohlich, his attraction to Lida, her attraction, flirting, behaviour, his marital situation, Hungarian Jewish wife in Budapest, talking about divorce, not acting on it, their living together, outings, premiers, the publicity?
7. Hitler’s visit to the studio, his attraction to Lida, Goebbels’ presence, the invitation to afternoon tea at the Reichstag, Hitler saying she reminded him of someone he loved, his promoting her career, inviting her to be leading German actress, German citizenship?
8. Goebbels, his attentions, his reputation, Magda Goebbels and the children, continual contact with Lida, the visit to the house and the tour, the invitation to the party, Magda’s reaction to Lida? Continued meetings, travels and bouquets of flowers, cards and letters, Lida accepting?
9. The break with Frolich, his travel to London to see his daughter, the return, the fights, his exasperation, her leaving, Goebbels collecting her in the car?
10. The relationship with Goebbels, her successful career, her going to Goebbels to keep the Jewish actress, further funds for the film? The sexual relationship? Her falling in love? The meeting with Magda, the swimming experience, Magda and tea, each by their name, the proposal for a truce?
11. Magda, going to Hitler, poisoning Hitler’s mind, Hitler ousting Lida?
12. The agent from MGM, the discussions, the ticket, the plane, the decision not to go?
13. Her admirers, Hans, his advice, the car, the boarder, his dream of touching her, fulfilled, her going back home?
14. Her father’s reaction, the previous visit and the money for building the Villa, at the Villa, her sister, criticising her for the Goebbels’ connection, her mother fussing, interested in money, position, reputation?
15. The war years, some films in Czechoslovakia, the continued support of Milos, in Italy, the collage of posters?
16. Her the end of the wall, her arrest, internment for year, her sister’s depression, sacked, jumping from the building? Her father in hospital, the amputation of his foot, going to plead for his daughter? The mother, interrogated, bullied, refused the drink of water, her collapse and death? The brusque telling Lida of her mother’s death?
17. The gallows, the women lined up, the message from the Ministry, her reprieve and release?
18. The aftermath, films, stage, retirement in Salzburg, dying in 2000?