Lemke's Widow: A Quiet Glimpse into Old Times, Still Kinda Resonates

Look, if you’re not already into really old films, and I mean *really* old films, this one — Lemkes sel. Witwe — isn’t going to magically change your mind. It’s for folks who dig silent cinema, who appreciate the *feel* of a film from nearly a century ago. Casual viewers will likely find it slow, maybe even a bit confusing without a lot of context. But for us weirdos who enjoy digging into the past? Yeah, there's definitely something here worth a look. 🎞️

The whole thing centers around a widow, played by Lissy Arna, and her life post-husband. Arna has this lovely, almost melancholic presence. You can see the weight of things in her eyes, even with all the dramatic gesturing typical of the era.

Josefine Dora as the stern aunt figure is a classic. She’s all pursed lips and disapproving glances, you know the type. Every scene she’s in, you just feel that unspoken judgment hanging in the air.

The plot, such as it is, revolves a bit around the will and some inheritance stuff. It’s a bit convoluted, honestly. Lots of people looking stressed and pointing emphatically, but the specifics kinda get lost in translation, or maybe just lost to time.

There's this one scene, super brief, with a cat just wandering through the background. It almost steals the whole moment. Why was that even there? No idea, but it was charming. 🐈

The way people communicate, all those exaggerated expressions and hand movements, it’s kinda fascinating to watch. At first, it's charming, then it can feel like a bit much. You get used to it though, mostly.

Gustav Rickelt is perfectly cast as this bumbling suitor, always looking a bit lost. He’s forever bumping into furniture or dropping things. You actually feel a little bad for him, even when he’s being clumsy.

The sets are simple, sure, but they feel lived in. Like someone's actual parlour, with proper, heavy drapes and not just a stage painted to look like a room. The way the light hits that antique lamp in the background? You almost miss it, but it adds something, makes it feel a bit more real.

And the pacing… oh boy, it just ambles along sometimes. Then suddenly, it's a flurry of activity, someone bursts into a room, and everyone starts doing dramatic things. It’s not exactly even, you know?

There's a moment when the widow finally manages a genuine smile, not just a polite one. It’s a small thing, but you really wait for it. That payoff feels earned.

I kept thinking about The Cheat while watching this. Not because of any shared plot, but just the sheer *intensity* some of these silent actors could bring to their roles. It’s a different kind of acting, for sure.

Fritz Kampers, he's got this perfect sneer that really sells his character as the antagonist, or at least the mildly annoying relative who’s always got an opinion. His face just *screams* disapproval.

Is it a forgotten masterpiece? Nah, probably not. But is it an *experience*? Absolutely. It’s like peeking into someone's old photo album, finding faces and moments that tell a story without words. The little quirks, the sometimes-awkward cuts… it all makes it more human.

The ending felt a little… abrupt. Like they maybe ran out of film stock or something. It just kinda, wraps up, without a big flourish. Makes you wonder if there was more to tell. 🤔

Quick Takes & Head Scratchers:

• That one long shot of a bird in a cage just flapping its wings. What was that for?
• Someone kept walking in front of the camera, a little bit, in one scene.
• The way Gustav Rickelt falls off that chair? Perfectly timed physical comedy.
• The close-ups on the letters people were reading felt very modern, almost.
• Lots of dramatic hand-wringing. Like, *a lot*.
• Did anyone else notice the subtle costume changes for Lissy Arna? Very understated but effective.