The intersection of movie stars and Nazi Germany creates a compelling backdrop for Daniel Kehlmann’s engaging new novel, "The Director," which delves into the intertwined lives of the renowned Austrian filmmaker G.W. Pabst and the era’s political forces. Notably, figures like Greta Garbo and Joseph Goebbels appear closely connected in this intricate narrative.
Alongside Fritz Lang and F.W. Murnau, Pabst (1885-1967) stood as one of the leading lights of Weimar cinema, known for his cosmopolitan outlook and political engagement. Seen as a left-leaning artist, Pabst earned acclaim for his socially aware and candid silent films such as “Secrets of a Soul” (1926), which explored Freudian themes, and “Pandora’s Box” (1929), which launched Louise Brooks into stardom as a captivating flapper figure.
Early in his career, nicknamed “Red Pabst,” he transitioned adeptly to sound films with works like the antiwar “Westfront 1918” (1930) and the adaptation of “The Threepenny Opera” (1931). However, his move to Hollywood proved difficult due to language barriers, arriving via France after the Nazis took control. Returning to Austria, now part of the Reich, possibly to see his ailing mother, Pabst found himself trapped by the war’s outbreak. During this period, he produced several apolitical prestige films under the Nazi regime, a choice that ultimately tainted his legacy.
Film scholar Eric Rentschler describes Pabst as "a meticulous and demanding artist" who was intensely private and guarded about his inner thoughts. Kehlmann’s portrayal captures this duality: a masterful director skilled in guiding actors yet unable to steer the course of his own troubled life.
The novel’s original German title, "Lichtspiel" (meaning "light play," a term for movies), reflects its dreamlike, layered storytelling. Opening with a scene where Pabst’s fictional assistant director is coerced into a disastrous television interview, the narrative flows through a series of nightmarish vignettes — some absurd, others darkly humorous, and many increasingly harrowing as Pabst and his family return to Nazi-controlled territory.
The question at the heart of the story is whether Pabst was an opportunist, a victim of his circumstances, a cowardly conformist, or a self-absorbed compromiser. Though he struggled to find his footing in Hollywood, he quickly learned to navigate the Reich’s propaganda machinery, represented in the novel by the ominous and commanding figure of the “Minister,” a veiled depiction of Goebbels who expertly manipulates the director.
