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www.titlovi.com

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THE NEW ERA

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THE END AT WEIMAR

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Can I come in?

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Yeah, yeah. Come in.

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I read the files,
the accusation was indeed ridiculous.

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I told you.

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This is �26.

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That's Josef Albers,
he was already married to Anni,

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Marcel Breuer, Gunta
St�lzl, Oskar Schlemmer.

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When we had to leave Weimar, many
students became teachers in Dessau.

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And D�rte wanted to become a teacher too.

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Why didn't she go to
Dessau with all of you?

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Ach. Nobody wanted to
go to Dessau at first.

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There was nothing.

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Only Junkers and his planes.

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No, we fought for Weimar.

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We fought for the republic.

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In 1923 France occupied parts of Germany.

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The Versailles contract
made peace almost impossible.

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Germans reacted with
sabotaged terror and strikes.

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This battle for the center of Germany's
industry only ruined the economy.

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The result was
hyperinflation and famine.

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And while you're having to pay millions
of Reichsmark for a single loaf of bread,

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and still go hungry,

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an elite group of foreigners,
Jews and self-proclaimed artists,

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sit in their Bauhaus
only about half a mile from here

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splattering paint on canvases and whatnot.

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And who's paying for this nonsense?

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We!

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You and I.

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And I'm saying,

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I'm fed up with these charlatans
and all their degenerate art.

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A little too radical for my liking,

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but better than nothing.

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When the DVP forms the government
after the next elections,

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I'll cut the Bauhaus budget straight away.

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Then they can see
who's paying for their nonsense.

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I've seen enough.

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Really?

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I'm taking his campaign seriously.

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Leutheu�er wants my post.

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You must show the public
your students' work.

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It's simply too early for an exhibition.

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What are you waiting for?

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For him to close your school?

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And have art
which follows in the tradition

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of our national and nativist culture.

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German People's Party,
German People's Party...

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It's futile to discuss
the pros and cons at this stage.

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This happens to be the situation.

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Minister Greil officially
justified our funding to parliament

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on a new exhibition, that's a fact.

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But I find this kind of culture politics
utterly repulsive.

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Your fear of culture politics...

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No, we all know the school
isn't ready for an exhibition yet.

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My course is ready.

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Lyonel's right, we have nothing to show.

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Please speak for yourself, Master Marcks.

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The weaving department might be doing well,

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but we have no joint work
to illustrate our overall concept.

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An exhibition now would make us look
like a standard Arts and Crafts college,

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where everyone does their own thing
without an overarching idea.

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That's exactly the point.

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Fine, I've heard all the arguments.

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If we have to do it,
we'll just do it properly.

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We produce what we set out to do
and bring all the arts together.

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We'll build a new house
on our plot in "Am Horn".

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And may I ask how we'll finance this?

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Art...
- There's a space here.

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And technology, a new unity.

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Art and technology.

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Technology doesn't need art,

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but art definitely needs technology.

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It becomes clear
by looking at the building.

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We must adapt our aims
to suit the requirements.

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Let me therefore briefly explain
this new direction,

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the unity of art and technology,

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combining our crafts with the possibilities
of industrial mass production.

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Not everyone immediately
understood what that meant.

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But D�rte did.

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She knew, that was a huge change. You know,

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D�rte often accused me of being a
conformist or a hypocrite

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but that was not true,
it was not a strategic move.

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It was my conviction that functionalism
was the great idea of modernity.

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And my success later proved I
was right.

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I was right.

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Well, the romantic times at
the Bauhaus were finally over.

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Thank you for listening.

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Director, sorry to trouble you.

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You mentioned functional tests.

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We discussed it,
but aren't sure what this means.

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Well, to create a functioning object,

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you need to explore its essence

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according to the laws of mechanics,
acoustics, structure and proportion.

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So we subordinate all our personal
creative vision to this objective element?

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We must always objectify the personal
to avoid being pretentious.

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Master Itten taught us differently.
- Excuse me?

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Master Itten taught us not to reproduce
an object's outward function,

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but its essence and meaning to us.

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I don't see a contradiction.

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You're putting a factual function
analysis before any decision.

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I'm saying we follow our feelings
if we don't know how to decide.

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An artist's creative process works
like any other decision in life, Miss Helm.

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An individual chooses between two options
based on their personal feelings.

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What if they choose wrongly?

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Then the object to be created
simply won't function.

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I find your new direction tough
compared to Master Itten's.

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We always considered the person.

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Functionalism will prevail.

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Things must function first and foremost.

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If you'll excuse me now.

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To functionalism.

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Another.

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So what's with you and Gropius?

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Officially? Nothing.

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Cheers.

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Why is he so strict with you?

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Because the court of honour
arrived at this conclusion.

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There was never a relationship
and there never will be.

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What if the exhibition isn't great?

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Just get elected to the commission.

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That's even worse,
then I'm partly to blame.

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Who's actually designing Haus am Horn?

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Gropius. Who else?

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But why? There could be an open tender.

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You want to become an architect,
and Farkas Moln�r has great ideas.

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That's not going to happen.
Gropius will do the design.

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And we'll do the interiors.

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You will understand that, in my opinion,

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the new unity of art and technology
is the only possible direction.

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It's the future, and we cannot ignore it.

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I myself won't stand
for the commission, please.

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But I want to tell you

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I'm planning to curate
a series of films for Bauhaus Week.

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What could be more forward-looking

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than the film experiments
currently happening on our screens?

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Thank you.

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This concludes the speeches.

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I'm now asking students and masters

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to elect the commission
to curate our exhibition.

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Excuse me?
- Miss Helm?

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I'd like to stand as a commissioner too,
sorry to leave it late.

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Fine.

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Please.

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Thank you.

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I haven't prepared a rousing speech,

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so I'll just tell you
why I want to be on this commission.

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It's for one particular reason.

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If Haus am Horn is to combine everything
we've learned and invented at this school,

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if we're to amalgamate all the elements

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according to
Director Gropius's founding principle,

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which we've all supported ever since,

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shouldn't the design of the house

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be determined by all of us
as part of an open tender?

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If you elect me to the commission,
I'll make sure

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we have an architecture competition
everyone can enter,

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regardless of whether
they're a master or student.

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Good evening.

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Congratulations
on being elected to the commission.

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It's now up to us
to prepare this exhibition.

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Please, take a seat.

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Mr Kurz will point out
our precarious financial situation, but...

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I think we can do it.

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I'd now like to focus on your suggestion,
Miss Helm, the architecture competition.

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We can't afford a house...
- One moment, please.

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You mustn't see this
as questioning your authority, Director.

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The students respect and admire you...

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It's not about admiration.

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And it's not about self-adulation.

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It's about the survival of our school.

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The survival of the concept of modernity.

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The People's Party want to destroy us,
and if this exhibition fails,

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if we can't get the public's attention
and get them to acknowledge

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that we're inventing the future
here at Weimar,

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that we are the future,

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then we're history.

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I know this, Director.

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I'm fully aware
our survival depends on this exhibition.

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But to create a really strong exhibition,
we need to mobilise all our efforts.

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Every single student and master
must do their very best from now on.

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And nothing will inspire them more

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than the feeling of being part
of the creative process.

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Nothing will motivate us more

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than your original concept
of a community forming here at the Bauhaus.

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You inspired us with your community idea.

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Now prove we can believe in it.

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We'll have to set guidelines
for the competition.

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The students will be thrilled.
- We can't afford it.

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For the exhibition I developed
what I call "The Wohnmaschine".

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The
Idea was to build a series of houses

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constructed of prefabricated elements,

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modules to fit
variations in use.

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The red cube house by Farkas Molnar.
Very interesting.

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Yeah.

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But the winner was Muche.

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This is the design for a model house

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for a young family.

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Everything centres around the living space
where the family congregates.

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Students, all in love.

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And they all wanted to
live in Muche's house.

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And I had to pay for it.

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This is Mr Sommerfeld.

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Hello.
- Hi.

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Haus am Horn
will be the exhibition's central building.

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It'll be the first Bauhaus Gesamtkunstwerk.

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I thought my house in Berlin
was the first Gesamtkunstwerk.

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Yes, it is. And then again it isn't.

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It was my design,
executed with the help of the students.

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But this here is completely different.
- I understand.

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And this is your design?

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Yes. There was a competition.

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How generous of you, Walter.

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The world is watching
and you let students pick?

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The school is based
on the idea of community, Adolf.

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Yes.

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And the roof is flat?

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Correct.
It's basically a cube inside another one.

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Yes...

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It reminds me of...

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well, oriental huts.

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That's what our conservative critics wrote,

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as if this was a negative thing.

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Yes, it's nonsense of course.

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Miss Helm, Mr Muche,
would you excuse us for a minute?

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They're sending the kids out to talk money.

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Please don't cause any trouble.

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Why aren't you building
your "Wohnmaschine"?

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Nothing against the house, but your design
is a different thing altogether.

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Thank you, but we're represented
as a community here.

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It's not about me,
it's about an idea supported by everyone.

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And they want to build this house.

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But it won't be possible without your help.

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We need a guarantor.

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With each second of us talking here,
my money is worth less.

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Of course I'll give you what you need
to build the house.

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Thank you.

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Thank you, Adolf.

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Mr Muche?
- Yes?

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The planned interiors will be of interest
to our new investor.

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Our investor...

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Mr Sommerfeld, come.
I'll show you everything.

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I'm delighted you came.

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We'll build it?
- We will.

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We'll build the house?
- We will.

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I can't quite believe it yet.

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This is all that matters now.

248
00:18:42,611 --> 00:18:44,872
The following weeks were crazy.

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They all worked and worked.

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Laszlo Moholy-Nagy curated the program of the
most avant-garde and experimental films.

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Oskar
Schlemmer directed a ballet.

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00:19:03,360 --> 00:19:04,720
And the Turk.

253
00:19:05,840 --> 00:19:07,600
The sphere... the diver.

254
00:19:07,760 --> 00:19:10,000
And... go.

255
00:19:20,359 --> 00:19:23,305
And I tried to combine
all crafts in one room.

256
00:19:24,164 --> 00:19:28,679
Metal workshop,
weavery, woodwork.

257
00:19:28,867 --> 00:19:32,882
Inspired by Wassily Kandinsky
and designed by myself.

258
00:19:32,914 --> 00:19:35,015
They all worked on a new office.

259
00:19:39,109 --> 00:19:40,460
An office for who?

260
00:19:41,242 --> 00:19:42,507
For me, of course.

261
00:19:45,093 --> 00:19:49,960
The weeks of preparation were fantastic.
But I had to travel a lot to raise money.

262
00:20:03,040 --> 00:20:05,440
I'm speaking to you
in this venerable old city

263
00:20:05,600 --> 00:20:07,040
to gain your attention.

264
00:20:07,800 --> 00:20:10,160
I want to gain your attention for the new,

265
00:20:10,320 --> 00:20:13,680
emanating from our arts college,
the state-run Bauhaus.

266
00:20:13,840 --> 00:20:16,040
The new can be confusing,

267
00:20:16,720 --> 00:20:19,520
sometimes unnerving,
and occasionally painful,

268
00:20:19,680 --> 00:20:21,400
but there is no alternative.

269
00:20:21,560 --> 00:20:26,200
If we don't seek new paths in art,
as in life, we're already dead.

270
00:20:27,450 --> 00:20:28,450
Interesting?

271
00:20:30,400 --> 00:20:31,400
Yes.

272
00:20:33,140 --> 00:20:36,780
Let me briefly explain to you

273
00:20:36,994 --> 00:20:38,514
what the Bauhaus is.

274
00:21:13,600 --> 00:21:16,880
Was the new so unnerving
no-one wants to speak to you?

275
00:21:17,640 --> 00:21:21,920
Either that, or word got around
I'm looking for backers for my school.

276
00:21:22,520 --> 00:21:23,520
So you're a beggar?

277
00:21:23,545 --> 00:21:24,625
A man in need.

278
00:21:25,800 --> 00:21:26,960
What do you need most?

279
00:21:27,080 --> 00:21:28,120
Everything.

280
00:21:29,240 --> 00:21:30,920
Everything. Money...

281
00:21:31,080 --> 00:21:33,880
affection... champagne...

282
00:21:35,720 --> 00:21:37,720
I think I can help with everything.

283
00:21:37,880 --> 00:21:38,880
With everything?

284
00:21:40,400 --> 00:21:41,600
Champagne.

285
00:21:43,160 --> 00:21:46,080
You gained my affection
with your inspiring speech.

286
00:21:46,200 --> 00:21:47,200
Thank you.

287
00:21:47,360 --> 00:21:49,280
I can get money because I know people.

288
00:21:49,440 --> 00:21:51,680
Cheers, Mr Gropius.
- To your health, Mrs...

289
00:21:51,840 --> 00:21:53,360
Miss. Miss Frank.

290
00:21:53,520 --> 00:21:55,280
But you can call me Ilse.

291
00:21:56,360 --> 00:21:58,000
Ise suits you better.

292
00:21:58,760 --> 00:22:00,160
It's more modern.

293
00:22:00,320 --> 00:22:01,320
Ise?

294
00:22:02,440 --> 00:22:05,120
Fine. If you say so...

295
00:22:13,040 --> 00:22:14,040
My fianc�.

296
00:22:15,040 --> 00:22:17,560
Oh... You're newly in love?

297
00:22:18,160 --> 00:22:19,920
No, it's not really like that.

298
00:22:20,080 --> 00:22:23,080
He's my cousin.
We've known each other from birth.

299
00:22:23,240 --> 00:22:24,840
You're marrying your cousin?

300
00:22:25,000 --> 00:22:27,440
Yes. It makes economic sense.

301
00:22:27,516 --> 00:22:30,202
Ise came from a well-known family.

302
00:22:30,921 --> 00:22:33,836
And she introduced me to
powerful and wealthy people.

303
00:22:33,953 --> 00:22:37,211
And none of them could believe that
we had such problems in Weimar.

304
00:22:38,375 --> 00:22:44,046
Let me show you some pictures from
this great exhibition in 23. Yeah?

305
00:23:23,800 --> 00:23:25,120
Hello, Mr Gropius.

306
00:23:43,560 --> 00:23:44,560
Director.

307
00:23:47,520 --> 00:23:48,520
Miss Helm.

308
00:23:51,920 --> 00:23:53,760
You've been away for a long time.

309
00:23:54,560 --> 00:23:55,680
Yes.

310
00:23:55,800 --> 00:23:57,640
You've received news of my success?

311
00:23:57,800 --> 00:23:59,880
We spent every penny you sent us.

312
00:24:01,560 --> 00:24:03,200
That was the idea.

313
00:24:04,960 --> 00:24:06,640
May I show you our house?

314
00:24:07,560 --> 00:24:09,200
With pleasure.

315
00:24:09,360 --> 00:24:10,840
Then follow me.

316
00:26:24,322 --> 00:26:25,882
What do you say?

317
00:26:26,011 --> 00:26:27,571
It's fantastic.

318
00:26:29,560 --> 00:26:31,040
It's perfect.

319
00:26:32,800 --> 00:26:34,360
Yes.

320
00:26:38,200 --> 00:26:41,840
I've been wanting to tell you for months,
but didn't know how...

321
00:26:42,000 --> 00:26:44,440
Not here, what if anyone sees us?

322
00:26:44,600 --> 00:26:47,360
No, don't worry, they've all gone home.

323
00:26:52,484 --> 00:26:56,164
I didn't want to be pressured into
marrying you by the court of honour.

324
00:26:56,520 --> 00:27:01,720
I didn't want for this decision
to be forced upon us by others.

325
00:27:01,745 --> 00:27:04,305
But now that all this time has passed...

326
00:27:08,120 --> 00:27:10,600
I want to ask you if you'll be my husband.

327
00:27:13,360 --> 00:27:14,360
What...

328
00:27:16,320 --> 00:27:17,720
You're asking me?

329
00:27:20,080 --> 00:27:21,560
I love you.

330
00:27:23,160 --> 00:27:25,320
I love you, I can't stop thinking about you

331
00:27:25,480 --> 00:27:28,280
and I want to spend
the rest of my life with you.

332
00:27:32,040 --> 00:27:33,560
Walter?

333
00:27:40,356 --> 00:27:41,876
Walter, where are you?

334
00:27:46,040 --> 00:27:48,600
Where...
- I'm in the house, Ise.

335
00:27:55,240 --> 00:27:57,400
This is incredible.

336
00:27:57,560 --> 00:28:00,360
It's... it's wonderful.

337
00:28:02,080 --> 00:28:03,640
I want to move in here, Walter.

338
00:28:03,800 --> 00:28:05,040
Can we move in here?

339
00:28:05,960 --> 00:28:07,200
It's fantastic.

340
00:28:09,080 --> 00:28:10,320
Fantastic!

341
00:28:40,600 --> 00:28:42,080
Hello.

342
00:28:44,680 --> 00:28:46,160
Please, sit down.

343
00:28:49,960 --> 00:28:53,720
Most of you have already met Ise Frank.

344
00:28:53,880 --> 00:28:58,600
She'll assist me over the coming weeks
and will work with us in the long term.

345
00:28:58,760 --> 00:29:00,680
Master Muche,

346
00:29:00,840 --> 00:29:02,760
congratulations on Haus am Horn.

347
00:29:02,920 --> 00:29:06,800
To realise this kind of building project
in only four weeks...

348
00:29:08,960 --> 00:29:11,440
Miss Frank, have you seen our house yet?

349
00:29:11,600 --> 00:29:14,080
I have, and I agree with my fianc�.

350
00:29:15,080 --> 00:29:18,160
Great.
We need to advertise the Bauhaus Week,

351
00:29:18,320 --> 00:29:20,280
a lot depends on visitor numbers.

352
00:29:20,440 --> 00:29:23,480
D�rte and I had an idea,

353
00:29:23,640 --> 00:29:25,800
it's an unusual form of advertising,

354
00:29:26,200 --> 00:29:28,240
but I'm not sure it's appropriate.

355
00:29:32,280 --> 00:29:34,160
You want to post this to people?

356
00:29:35,880 --> 00:29:38,000
Advertising in their letterboxes?

357
00:29:38,160 --> 00:29:39,640
I'm not sure myself.

358
00:29:39,800 --> 00:29:43,480
Well, I am sure.
I'm sure it's against any decency.

359
00:29:46,120 --> 00:29:48,720
People's letterboxes
would flow over in future.

360
00:29:52,920 --> 00:29:53,920
Yes...

361
00:29:55,800 --> 00:29:56,920
It's a balancing act.

362
00:29:57,040 --> 00:30:00,920
Of course it's brash and controversial,

363
00:30:01,080 --> 00:30:04,480
but on the other hand...
- It's about victory or defeat.

364
00:30:05,040 --> 00:30:06,160
What do you think, Ise?

365
00:30:06,320 --> 00:30:08,080
Yes. What do you think?

366
00:30:11,120 --> 00:30:13,280
I think it's a brilliant idea.

367
00:30:14,400 --> 00:30:15,480
Advertising by mail.

368
00:30:17,480 --> 00:30:20,120
Thanks. Maybe your fianc� agrees with you?

369
00:30:25,800 --> 00:30:26,800
Yes...

370
00:30:27,520 --> 00:30:29,880
Fine, so how do we reach these people?

371
00:30:31,040 --> 00:30:33,280
We'll get their addresses from friends.

372
00:30:33,440 --> 00:30:35,440
And from friends of friends.

373
00:30:43,040 --> 00:30:45,600
What are you playing at? War?

374
00:30:46,240 --> 00:30:49,200
You think a display of jealousy
is a good idea?

375
00:30:52,200 --> 00:30:54,600
No, I agree with you, Director.

376
00:31:05,640 --> 00:31:08,200
You didn't want to marry me, remember?

377
00:31:09,160 --> 00:31:11,360
And now you're feeling hurt?

378
00:31:11,520 --> 00:31:13,280
Now it's all my fault?

379
00:31:14,000 --> 00:31:15,200
Fault?

380
00:31:16,360 --> 00:31:18,240
Whose fault and for what?

381
00:31:19,360 --> 00:31:22,760
We won't get married because
we don't belong together, that's it.

382
00:31:24,440 --> 00:31:26,440
I won't make a scene.

383
00:31:28,560 --> 00:31:31,600
I love you and you'll marry and be happy.

384
00:31:34,320 --> 00:31:35,760
Things are the way they are.

385
00:31:35,920 --> 00:31:38,520
No-one's at fault and no-one will be happy.

386
00:31:45,520 --> 00:31:49,920
Actually, I will be happy,
with Ise by my side.

387
00:31:51,960 --> 00:31:54,120
She wants to share my happiness.

388
00:31:54,280 --> 00:31:58,120
She'll develop the school with me,
and support my vision, you understand?

389
00:31:58,280 --> 00:32:00,600
It won't be about her all the time.

390
00:32:01,960 --> 00:32:04,240
You think all this was about myself?

391
00:32:04,400 --> 00:32:06,640
Well, it certainly wasn't about me.

392
00:32:09,560 --> 00:32:11,200
No, that's true.

393
00:32:14,120 --> 00:32:16,440
I always thought it was about us.

394
00:32:19,480 --> 00:32:20,813
Is everything okay?

395
00:32:22,184 --> 00:32:25,691
Mmh? Yeah, yeah. Sure, sure. Just...

396
00:32:26,426 --> 00:32:28,277
brings up old memories.

397
00:32:31,074 --> 00:32:33,832
Where's Ise, is she not around?

398
00:32:34,918 --> 00:32:39,385
Oh no, she's gone for the weekend,
running away from all the fuzz.

399
00:32:40,051 --> 00:32:41,964
- Send her my regards.
- I will.

400
00:32:44,559 --> 00:32:48,066
The exhibition was a great
success, people came from all over.

401
00:32:48,113 --> 00:32:49,785
Igor Strawinsky,

402
00:32:49,918 --> 00:32:54,292
Ludwig mies van der Rohe, Le Corbusier.
They came all the way, they were curious.

403
00:32:55,199 --> 00:32:57,504
Ah, my opening speech.

404
00:32:57,675 --> 00:33:00,661
You see, this is Kandinsky,

405
00:33:00,754 --> 00:33:03,418
this is the minister of education
Max Greil.

406
00:33:04,004 --> 00:33:05,668
Here is Lyonel Feininger.

407
00:33:06,426 --> 00:33:07,507
All this didn't help.

408
00:33:07,621 --> 00:33:12,355
Our enemies won the election and Richard
Leutheu�er immediately cut the budget,

409
00:33:12,676 --> 00:33:14,972
so the Bauhaus had to leave Weimar.

410
00:33:18,973 --> 00:33:20,652
So we threw our final party.

411
00:34:08,920 --> 00:34:10,720
EXIT - CATASTROPHE

412
00:34:10,880 --> 00:34:14,160
EMOTION - PASSION - PAUSE

413
00:34:21,163 --> 00:34:23,963
Those were the early days of the Bauhaus.

414
00:34:28,668 --> 00:34:30,668
So how did you get to Dessau?

415
00:34:32,199 --> 00:34:34,895
Ah. Another time, Stine.

416
00:34:34,920 --> 00:34:39,261
I have a few other appointments in the
afternoon and I really need to rest.

417
00:34:41,410 --> 00:34:42,410
Okay.

418
00:34:44,301 --> 00:34:45,513
But, Stine.

419
00:34:47,551 --> 00:34:52,238
Please do me a favor and don't
write that I lowered women.

420
00:34:53,473 --> 00:34:55,006
It's simply not true.

421
00:34:56,737 --> 00:34:58,403
: Just one more thing.

422
00:34:58,824 --> 00:35:00,958
Why didn't D�rte move to Dessau?

423
00:35:01,144 --> 00:35:04,285
Oh, I asked her. She was so talented and

424
00:35:04,379 --> 00:35:08,512
she wanted to become a
teacher as you know, so I begged her.

425
00:35:08,640 --> 00:35:10,280
Miss Helm for you.

426
00:35:13,155 --> 00:35:14,995
Yes, fine. Show her in.

427
00:35:28,720 --> 00:35:30,720
I'm here because I'd like to...
- Please...

428
00:35:30,880 --> 00:35:32,320
have a seat.

429
00:35:43,240 --> 00:35:45,920
I want to come to Dessau
as a junior master.

430
00:35:47,720 --> 00:35:49,280
I'll see what I can do.

431
00:35:50,640 --> 00:35:53,600
I could study murals,
Schlemmer wants me to join.

432
00:35:53,760 --> 00:35:55,560
Or I could do stage sets.

433
00:35:57,240 --> 00:35:58,800
I'll see what I can do.

434
00:36:00,720 --> 00:36:04,040
I'd even be happy to work
in the weaving department

435
00:36:04,200 --> 00:36:06,040
or in the print workshop.

436
00:36:13,960 --> 00:36:15,840
Marcel Breuer is to be junior master

437
00:36:16,000 --> 00:36:19,040
and Josef Albers
is to teach the preliminary course.

438
00:36:19,200 --> 00:36:21,400
Gunta will run the weaving department.

439
00:36:23,320 --> 00:36:26,600
I'm the only one
you didn't offer a position.

440
00:36:30,600 --> 00:36:32,160
I'll see what I can do.

441
00:36:38,480 --> 00:36:40,160
It's a pity you're scared of me.

442
00:36:50,800 --> 00:36:52,360
I'll see what I can do.

443
00:36:57,887 --> 00:37:00,202
It's such a pity, that she didn't join us.

444
00:37:01,473 --> 00:37:04,543
But she insisted to become an
independent artist

445
00:37:04,793 --> 00:37:07,092
so what can one do?

446
00:37:09,536 --> 00:37:12,481
She moved back to her parents to Rostock.

447
00:37:13,293 --> 00:37:18,692
She was half Jewish so when the Nazis
came, she lost permission to work.

448
00:37:20,020 --> 00:37:24,441
I think she died in '41 from
some infection.

449
00:37:24,911 --> 00:37:26,082
Yeah, the daughter told me.

450
00:37:26,107 --> 00:37:27,574
Yeah, that's tragic.

451
00:37:28,512 --> 00:37:30,730
Did she become an important artist?

452
00:37:30,755 --> 00:37:34,160
No, no, no, no.
Teaching would have been something.

453
00:37:34,161 --> 00:37:38,006
You know Gunta St�lzl and many others
became very influential in Dessau.

454
00:37:39,075 --> 00:37:42,309
A pity she was not with us
anymore.

455
00:37:44,864 --> 00:37:45,864
Stine.

456
00:37:48,161 --> 00:37:49,294
Goodbye, Walter.

457
00:38:50,820 --> 00:38:52,202
Why did you lie to me?

458
00:38:53,523 --> 00:38:54,723
What do you mean?

459
00:38:54,757 --> 00:38:56,656
D�rte wanted to become a teacher.

460
00:38:56,734 --> 00:38:59,433
Why should she go back to her
patronizing father?

461
00:39:00,373 --> 00:39:01,930
What happened, Walter?

462
00:39:06,156 --> 00:39:07,562
You were in love with her.

463
00:39:08,171 --> 00:39:10,679
But you could not
possess her, so you send her away.

464
00:39:10,960 --> 00:39:12,124
That's what I think.

465
00:39:12,149 --> 00:39:15,171
You can think whatever you like,
but can only write what I told you.

466
00:39:15,196 --> 00:39:16,257
Come on.

467
00:39:16,585 --> 00:39:18,796
You're practically dead,
why not confess now?

468
00:39:18,821 --> 00:39:19,821
Goodbye, Stine.

469
00:39:22,764 --> 00:39:24,296
Just amongst us.

470
00:39:25,370 --> 00:39:26,729
I won't write it.

471
00:39:28,550 --> 00:39:29,550
Okay?

472
00:39:32,175 --> 00:39:34,057
Where you in love with
D�rte Helm?

473
00:39:42,995 --> 00:39:45,120
Well, then die with your secret.

474
00:39:50,737 --> 00:39:51,803
Goodbye, Walter.

475
00:39:54,803 --> 00:39:58,803
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