Sündig und süß is a messy, fun Anny Ondra showcase

If you are looking for a deep, life-changing experience, you should probably look elsewhere. But if you want to see why people in the late twenties were obsessed with Anny Ondra, this is a pretty good place to start.

Is it worth watching today? Honestly, yes, but only if you have a soft spot for silent films that don't take themselves seriously at all. 🍿

You’ll love this if you like physical comedy and actresses who can tell a whole story just by widening their eyes. You will probably hate it if you need a plot that actually makes sense or if you can't stand the frantic energy of old-school slapstick.

The title translates to 'Sinful and Sweet,' which is a bit of a lie because there is almost nothing sinful about it. It’s mostly just sweet and a little bit chaotic.

I found myself watching Anny Ondra’s face more than the actual subtitles. She has this way of moving that feels like she’s about to vibrate off the screen.

There’s a scene early on where she’s trying to be 'proper' and it fails miserably. It reminded me a bit of the vibe in The Girl, Glory, but way more hyperactive.

The plot is one of those thin excuses to get everyone in the same room for a misunderstanding. It involves some romance and some grumpy older men, like Paul Rehkopf and Hans Junkermann, who mostly exist to look confused.

Speaking of the men, Paul Morgan is in this too. He’s got that specific 1920s comedian face where everything looks like a joke even when he’s standing still.

There is this one moment in a cafe where the camera lingers on a plate of food for a second too long. I’m not sure if it was supposed to be a joke or if the cameraman just liked the look of the cake, but it made me hungry.

The movie gets way better once it stops trying to set up the romance and just lets the actors run around. The middle section has some bits that feel like they were made up on the spot, which I actually prefer over the scripted stuff.

It’s not as polished as something like The Silent Barrier. In fact, some of the cuts are really jarring, like the editor was in a rush to get to lunch.

I noticed that the interior sets look a bit flimsy. Like, if someone slammed a door too hard, the whole 'apartment' would probably fall over. 🏠

It has that weirdly empty feeling in the background sometimes. You’ll see a scene that’s supposed to be a busy street, but there are only like three people walking back and forth in a loop.

One reaction shot of Adolphe Engers goes on for so long it actually becomes funny. He just stares. And stares. And then the scene finally ends.

I kept thinking about Oh, Daddy! while watching this, mostly because of the family dynamics. But Sündig und süß is much more about the 'It-girl' energy than the dad character.

The writing by Henry Koster (before he was the famous Hollywood Henry Koster) is pretty snappy for a silent. You can tell he already had a knack for the kind of light comedy that would make him big later on.

There’s a bit of a tangent where a character goes on about their clothes that felt like it belonged in a different movie. It didn't add anything, but it was kind of charming in its own messy way.

Sometimes the music (if you’re watching a version with a score) doesn’t match the mood at all. I watched a print where the piano player sounded like they were playing for a funeral during a chase scene.

It’s a bit like More Pay - Less Work in how it handles the 'working class' vibe. It’s all very theatrical and not at all realistic, but who cares?

The ending feels very abrupt. It’s like the producers realized they were out of film and just decided to stop right there.

I wish there was more of Eugen Rex in this. He has a few moments where he almost steals the spotlight from Ondra, but then he just disappears for twenty minutes.

The costume design is great, though. Lots of ridiculous hats. Anny Ondra wears one that looks like a collapsed cake and she still manages to look cool.

If you enjoy seeing how comedy evolved right before sound took over, this is a neat little time capsule. It doesn't have the 'prestige' of the big German Expressionist films, but it feels more human.

It’s a movie that really, really wants you to like it. And for the most part, it works because it’s just so earnest about being silly.

Don't expect much from the supporting cast. They are mostly there to react to whatever Anny is doing at any given moment.

The lighting in the final scene is actually pretty nice, though. It’s one of the few times the movie looks expensive. ✨

I’ll probably forget most of the plot by next week, but I’ll remember the way Anny Ondra tripped over that rug. It looked like a genuine accident that they just kept in the film.

Overall, it’s just a decent, fun time. Not a masterpiece, but a solid 'Saturday afternoon with a coffee' kind of watch.