The Einstein of Sex

The film had early on one of the wittiest lines I have recently encountered: M. Hirschfield, barely into adulthood, and discussing with his uncle and aunt what his academic aspirations are, has his aunt give arguably the best line in the film. "M. do you promise to live?" (That is long enough because his father was a disappointment in that department...) "Yes aunt, I do." "You have to promise, you know, because that is a lot of money that will go to your studies." Well, it was more wittingly put in the film, than I have rephrased it. If that is not Lady Bracknell (from O. Wilde's "The importance of being Earnest") converted into Judaism, I do not know what is! Some of the fun aside, I really think this is an epitome of Jewishness: you have to promise not to die, because, you know, you are giving your promise to the law, that is studying, that is in the Name of the Father. And life, my dear, is completely insignificant in matters of the law.

Too bad the film does not pay attention to its clues. This could have made terrific comedy, but the effect is literal: young Hirschfeld looks anxious, to the wrong direction, missing all the fun, and spoiling ours for the rest of his on screen time. He seems preoccupied in all the wrong ways, along with the script I'm afraid. And when the film shifts gears with his older self, the actor chosen is visibly of a quite different sensibility, so that we miss all the insightful change from his formative to his twilight years. And this, too, courts disaster, for a film concerning an important personality must put that to the test, and be put to the test trying it. None of this happens, and the effect is that of being cheated into cheap editing.

The camera work takes some decisions that run counter to what distance we may want to take from the film, or not, literally or not so. It is one of these instances that the film-maker seems confused in thinking out the film in visual terms, so he picks up the middle way of almost constantly occupying the middle field. This blurs the characters and their initiatives.

Or, to put it in another way, don't you feel cheated, when you put to yourself the question "how much of this was devised, and how much derives from books and archives and true research?" For me at least, when you seriously (and not wonderingly) ask yourself that, the film has failed dramatically.

For the "Einstein of Sex" part, this film has little relativity, even less organizing theory, or Einstein's famous humor. As for the sex, well, the film does not introduce us into such bold matters...

Earlier reviewers loved this movie, and if you like what their reviews said about it you'll hate mine.

This movie reminded me of the short educational films they used to show us in primary school in the 1950s, in which the topic was dramatized barely well enough that children could understand it, but not well enough that any adult would want to watch it.

The one I remember most clearly said, in effect, that you'll get tuberculosis if you kiss your grandmother on the lips. I remember that one probably because my grandmother (the only person who loved me) dropped dead (of a stroke, not TB) two weeks after my eighth birthday, and the pain and loss were so great that I'd gladly have joined her.

This movie has the same simplistic, pedantic, preachy tone as those films, and even lower production values. The acting was better in the granny-may-have-TB film. Rosa von Praunheim seems to care about the message only, not about any other aspect of movie-making (like entertainment).

Halfway through the movie, the actor playing Hirschfeld abruptly changes, from hunky Kai Schumann (listed far down in the credits, and not even mentioned on Amazon and other sales or rental sites, even though he dominates the first half of the movie and it's him on the cover) to doughy Friedel von Wangenheim, with this voice-over during the scene change: "My craving for sweets had certain effects on my appearance." That may be either an attempt at humor or a plea to ignore the startling actor switch.

I suspect that Schumann (who has gone on to a fairly successful acting career) cut and ran mid-filming when something better came along. Why else doesn't he share top billing with von Wangenheim? Each played Hirschfeld for half of the movie, and Schumann makes a far stronger impression.

Anyway, if for some reason you want to know about Magnus Hirschfeld and can't be bothered to read, then you may appreciate this move. I had known about it for years before I finally got so desperate for something new to watch that I broke down and rented it. The stupid title and the extraordinarily unappealing black-and-orange cover put me off, and I can't say I'm sorry. I'd be just fine if I'd never seen it.

This film plays like community theatre on over-lit digital video. Don't you hate it when a worthy topic is wasted on a bad film? Overacting, a trite script, distracting voice-over, two dimensional characters and editing out of Film 101. It was a struggle to watch through to the end.

If you still want to rent this you can watch the documentary on the DVD where you will meet the director Rosa van Praunheim who will tell you how famous, wise, and intellectually and sexually experienced he is. And he's serious.

That said it is an important true story of the first sexologist who fought for the rights of what is now called the queer community.

This film, which has the look & feel of a docu-drama with authentic sets, scenery & standout costumes [when needed ;)], strives & succeeds in addressing two areas of socio-political history: human sexuality in general and a full rendering of gay & lesbian characters in popular culture and historic contexts. Rosa von Praunheim presents his characters with seriousness, gentleness & humor in THE EINSTEIN OF SEX, so that we get the idea that "darkness" in life can be confronted in as many hues and shades as comedy, romance & adventure genres. And that darkness is not necessarily a bad thing.

Modern society lacks a serious study of human sexuality, so Dr. Magnus Hirschfeld's story should be a cue for a movement in that direction. Some of the humor in the film is around this very fact - that we giggle at the sight of beautifully crafted male genital adornments from aboriginal cultures, yet we still find it difficult to approach the complexity of our sexual selves with the courage & empathy that Hirschfeld's character does. We will never know the lost segments of his writings & life events, but the fleshed out remnants in this film are an indication that we will not know ourselves truly until we know ourselves wholly and in diversity. THE EINSTEIN OF SEX is also an important work in terms of gay & lesbian visibility on film. Though set in a different time & setting than PRIEST, it will have a similar strong impact on viewers. For anyone who might want to learn more about the distressing effects of oppression on human beings, this is the kind of film I'd recommend and encourage more of from Hollywood-washed artists.

This is the worst movie I've seen this year so far. The story is about doctor Hirschfeld that struggled at the end of the 19th century for homo-sexuality and trans-sexuality. So far so good. The theme is allright, and the brave man deserves a good biography. Nevertheless, the way this biopic was made, was like the copywriter litterally copied some lines from the encyclopedia. The acting was done by a bunch of amateur playwright actors: you could see them thinking: there is an audience watching at me. And to top things, there was not a single scene that was either witty or exciting. Oh, well, just don't waste your time on this kitsch movie, especially if you are interested in the life in Hirschfeld.