Die Geister, die ich rief: Tagebuch einer Verlorenen von G.W. Pabst

Geister der Vergangenheit, Phantome der Filmgeschichte. Wenn Filme miteinander in Dialog treten ist das immer eine spannende Sache. Während im Zeughauskino weiter die Autorinnen der 60er das Sagen haben, zeigte das Arsenal Kino Sonntagabend Georg Wilhelm Pabsts Tagebuch einer Verlorenen. Pabst ist natürlich keine Frau, sondern ein Mann, aber Thymian Henning (Louise Brooks in eine ihrer größten Rollen), die titelgebende Verlorene, ist eine Figur, die in vielerlei Hinsicht den Frauenfiguren der Autorinnen rund vierzig Jahre später voranschreitet.

Zunächst scheint Thymians Welt noch von Männern und der patriarchalischen Gesellschaft bestimmt. Sie wird vom Angestellten ihres Vaters vergewaltigt und geschwängert. Dieser will sie nicht heiraten und so schiebt sie der Familienrat ins Reformhaus ab. Ja die Familienehre, die muss um jeden Preis hochgehalten werden. Die naive Thymian wächst in der Erziehungsanstalt zur Heldin heran. Sie will raus aus diesen ungastlichen Mauern, zurück in die Welt, zurück zu ihrem Kind und etwas aus ihrem Leben machen. Der Schlafsaal wird schließlich zum Ort der Rebellion (wie bei Jean Vigo, einem anderen großer Virtuosen des harmonischen, fließenden Lichtspiels). Zusammen mit ihrer Freundin Erika büxt sie aus und landet schließlich im Bordell. Ein paar tragische Todesfälle später und Thymian kehrt als Gräfin an den Schauplatz ihres Erwachens zurück. In einer letzten großen Geste, der endgültige Triumph: Ihre Freundin Erika ist wieder in dieser menschenverachtenden Erziehungsanstalt gelandet. Thymian will die Heuchlerei der adeligen Damen, die sie in ihren Weltverbessererverein aufgenommen haben nicht mitmachen, stellt sich schützend vor Erika und nimmt sie einfach mit, denn „auch ich war einmal, was sie jetzt ist“.

Anders als die Heldinnen der Autorinnenfilme der 60er Jahre, behält Thymian die Oberhand. Obwohl sie zunächst den Männern hilflos ausgeliefert ist, folgt ein umso radikaleres Erwachen, das in Revolte gegen Scheinheiligkeit und Bourgeoisie endet. Thymian ist Klassenkämpferin und Suffragette und nimmt sich schließlich eiskalt was sie braucht, indem sie das Mitleid und die Schuldgefühle des alten Grafen, der sie aufnimmt zu ihrem Vorteil nutzt. Zwar bleibt sie dadurch abhängig von dessen finanziellen Mitteln (auch Thymians Emanzipation ist nicht vollständig), doch ihr Handeln ist kompromisslos. Anders als die Belle Starr aus Lina Wertmüllers Il mio corpo per un poker gibt sie nicht ihren Gefühlen für einen Mann nach. Anders als die Eva in O něčem jiném bleibt sie nicht in der Maschinerie gefangen, die ihr selbst das Leben vermiest hat. Anders als die Antigone in Liliana Cavanis I cannibali, muss sie ihren Aufstand nicht mit dem Leben bezahlen. Und anders als Nelly Kaplans Marie in La fiancée du pirate, muss sie ihre Freiheit nicht mit ihrem Körper erkaufen.

Tagebuch einer Verlorenen von G.W. Pabst

In einem entscheidenden Punkt bleibt Thymian jedoch hinter all jenen späteren Figuren zurück: Sie ist keine Frau, sondern eine Traumgestalt. Selbst in der Tristesse der Beziehungsanstalt behält sie ihr gestyltes Äußeres, nachdem sie die Schwierigkeiten ihres Lebens einmal überwunden hat, fällt ihr alles ganz einfach zu. In Büchse der Pandora ließ er Brooks‘ Figur noch elendiglich zugrunde gehen, nun bleibt sie Siegerin – ist das Inkonsequenz oder passt diese Wendung des Schicksals in das Gesamtbild des Films, dieses märchenhafte Konstrukt? Tagebuch einer Verlorenen ist ein doppelter Schwanengesang: 1929 als die Weltwirtschaftskrise das Ende der Roaring Twenties einläutete und die Filmemacher die (Stumm-) Filmkunst perfektioniert hatten, findet die gleitende, über alle Zweifel erhabene Montagekunst Pabsts ihr Ende. Die Einführung des Tonfilms sorgte für neue Herausforderungen, die zu einem neuen, sehr spannenden Stück Filmgeschichte führen. Auch inhaltlich scheint eine Geschichte wie jene von Thymian in den frühen 30ern undenkbar (ein Schicksal, dass sie mit Harold Lloyd teilt); die Zeit der Märchen war bis auf weiteres vorbei.

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