To New Shores (1937) User Reviews

At New Shores

[marcin_kukuczka · 8/10 · 20 May 2013]

The 1930s was an altogether interesting yet stormy period. Cinema saw that contradiction, too. With 1933, not only did the Hays Code strongly influence the American film industry but so did the Nazi regime in Germany, the country where Expressionism was actually born. With Ufa studios as the center, one had to be correct with the regime's demands and, at the same time, by using some skills and clever methods, one could deliver something powerful enough to absorb a variety of audiences. This movie, the meaningful title of which can be translated as "At New Shores" is a clear manifestation of such an attempt. Made by Detlef Sierck (better known to Americans as Douglas Sirk, a master of Hollywood Melodrama just to name IMITATION OF LIFE), AT NEW SHORES is not only a wonderful mixture of comedy, drama and musical but, foremost, a vehicle for an eminent actress, the name that aroused certain 'discomforts' even for monstrous Goebbels himself, Zarah Leander.

Most aspects appear to be authentic here and delivered in a fragile manner by the cast but there are actually, to this day, two people who make their portrayals worth deeper analysis: Willi Birgel as Sir Albert and Zarah Leander as Gloria Vane. Let me make some points about them before I move to the artistic aspect of the movie.

As a matter of fact, this is a movie which made the Swedish actress a star at Ufa Studios after her first German film PREMIERE (which was not at Ufa). A debut at the studio and a true ZARAH LEANDER film at first sight. As a newcomer at the time (1937), she makes her entrance as an artistic personality, a character capable of loving and waiting, a suffering 'product to identify with' for female audiences bringing to light certain mechanisms of social hypocrites (mind you that the story is not set in Germany in order not to evoke some controversial interpretations or misunderstanding but... in England and, foremost, in Australia – the safest choice of locale seen as a 'new land'). She is a character of a typical woman of her films, echoes certain features widespread at the time bringing everything to pinnacle of melancholy. The Paramatta sequence as well as the trial accurately address the social conventions and question their morality. It is, however, foremost afflicted and influenced by women's emancipation, women's rights - a handkerchief for sensitive female viewers necessary. Here, Zarah's Gloria Vane draws parallels to many femme fatales of the time, including ROMANZE IN MOLL or DER WEG INS FREIE (Way To Freedom) which clearly draws parallels to this film along with its title. More to say, the camera seems to celebrate her face (as it was in case of Garbo at Hollywood). And yet...Zarah is twice an artist: with her deep voice, she does not play so memorably as she sings memorably (I will develop this aspect with music of the film).

It is, however, not the woman who suffers most and jerks our tears to the very end. It is Sir Albert, a seemingly noble man of prospects in life, of promising marriage with beautiful Mary and, despite everything, a character of strong personal conflicts, destructive torments. Willi Birgel, being Zarah's favorite co-star, delivers a unique portrayal of shadowed character never remaining in the shadow of our attention. Although we mostly see him from her pretentious perspective, the actor manages to draw a vibrant personality. Now let me move to general artistic merits of the film.

Great cinematography supplies a viewer with exceptional visual experience. Wolfgang Paul in Der Tagesspiegel (1974) and Thomas Kramer in Reclams Lexikon Des Deutschen Films (1995) observe certain details on that point. The cinematography, strongly influenced by German Expressionism, makes a lot of scenes memorably echo haunting whispers within the screen art introduced by Murnau or Pabst. Mind you the shadows at Alfred's tragic night or his leave for Australia and Zarah's image at the harbor, practically the iconic image of the movie's content. Two more aspects, actually, serve undeniable aid in evoking the film's mood: MUSIC and RAIN.

Music is in the hands of Zarah Leander, she delivers her lines in singing, her songs aid the melancholy of the whole atmosphere as well as provoke contradictions. Additionally, the costumes deliver visual taste. Mind you two songs end with an almost religious reference to Alleluia and Amen. The song the film is probably most famous for, "Yes Sir" clearly delivers the sentiments of the time (the 1930s) rather than the 19th century when the action of the film is set. But...no need for historical accuracy in a movie like this. And rain...something typical for romantic sorrows, tear-jerking sentimentality, soap opera-like impressions. In one of her songs, she sings about standing in the rain drawing a clear metaphor to tormented states of mind and heart. That bears resemblance with the storytelling of many of her films, not only this one.

All in all, an interesting film to see, an important work of art from the historical and dramatic standpoint. The hidden meaning within the name 'Gloria' along with the surprising and jubilant conclusion at the finale still lead the viewer towards the new shores of classical movie viewing and its interpretation.

Not a film by Douglas Sirk but by Detlef Sierck

[frankde-jong · 8/10 · 22 October 2020]

Douglas Sirk (original name Hans Detlef Sierck) is mostly remembered for his American films, and even these ones were long viewed as cheap commercial successes.

But he also made some (largely forgotten) films in Germany. I don't know why his German films are seldom seen. Is it because one suspects a Nazi flavour? This is not realy the case. Sierck left Nazi Germany relatively late (1937) but his second wife was Jewish and politically he was certainly no supporter of National Socialism. Is it because his German films are real melodrama's? Could be. In his American films beneath the melodrama there is a second layer with hidden criticism on bourgeois moralism. This second layer is absent in his German films if only because they do not play in bourgeois circles but more often in aristocratic circles with their own codes of honor.

This is not to say that his German films are not worth watching. His two films with the Swedish star Zarah Leander ("Habanera" and "Zu neuen Ufern", both of 1937) are certainly entertaining. Of this two films I prefer "Zu neuen Ufern", in which Zarah Leander plays a tragic woman who seems to fall for the wrong man. The film does have a touch of Brecht in it, and this is not by chance because a few years earlier Sierck directed "The threepenny opera" for stage.

A quality effort from German director Douglas Sirk prior to his arrival in America

[agboone7 · 7/10 · 27 August 2015]

Douglas Sirk isn't a director I've explored much. Having only seen a few of his '50s American melodramas, and knowing he had roots as a German filmmaker, I wanted to go back and get a feel for that part of his career. I'd also never seen any films (by any director) made in Germany during the reign of the Nazi regime (i.e. 1933 to 1945), other than "Triumph of the Will", the infamous mega-propaganda documentary by Leni Riefenstahl. So this film had a lot of historical interest for me. What I did not expect, however, was a quality film in its own right. And interestingly, that's exactly what it turned out to be.

"To New Shores" was a 1937 film directed by Sirk when he was still known by his real name, Detlef Sierck. He had directed seven features and three shorts prior to this film, all for the famous German film studio Universum Film AG (or UFA, for short). The history of UFA is dark and controversial, as they became deeply entrenched in the Nazi machine. Prior to the rise of National Socialism in Germany in 1933, UFA had produced some great films, namely the films of Fritz Lang, such as "Dr. Mabuse: The Gambler", "Die Nibelungen", and "Metropolis". When the Nazis came into power, UFA benefited heavily from it. The Nazis' fascist modus operandi extended to the film industry as well, where they essentially made UFA the official film studio of Nazi Germany (UFA churned out the country's propaganda films, including "Triumph of the Will" in 1935), and forced out the other film studios, leaving UFA with little to no competition in the German film industry. Additionally, the Germans' conquering and occupation of so many other countries across Europe was opening new markets to UFA. In a country under German occupation, the influx of cultural materials, such as films, was heavily regulated by the occupying government, so the Nazis could control exactly what films were available to the people of an occupied nation. And, of course, they made sure that UFA's films were everywhere. Put simply, UFA profited immensely from the Nazis' tyranny in Europe during those years. So, naturally, there's often a sense of moral corruption associated with this particular film studio in terms of its complicity with the Nazis during this part of history.

Douglas Sirk, too, could be criticized for his contributions to the Nazi machine. Filmmakers like Fritz Lang and Billy Wilder (a screenwriter at the time) bailed out of Germany upon Hitler's rise to power, while directors like Ernst Lubitsch and F.W. Murnau were already working in America. But Sirk didn't leave, at least not right away. For a time he stayed and worked for UFA and, by extension, for the Nazis. That being said, in 1937 (after this film and one more), he finally left Germany, supposedly because of political sentiments and because of his Jewish wife. It's also worth noting that, when he got to America, he made "Hitler's Madman", and overtly anti-Nazi film.

"To New Shores" stars Zarah Leander, a Swedish singer who apparently was Germany's biggest star actress during the Nazi years, and this, her first film with UFA, was evidently the film that propelled her to stardom (along with Sirk's next film, "La Habanera", which also starred Leander). Admittedly, it's a strong performance. She does quite well.

Interestingly, the propaganda in this film is actually minimal, all things considered. I found myself surprised that the Nazi government let a film be produced with so little propaganda value. Of course, it was 1937, and the war hadn't begun yet, but still, there's not much here in terms of propaganda. The film is a criticism of social injustice, like much of Sirk's work seems to be ("All That Heaven Allows" is the main example that comes to mind, though, as I said, I haven't seen many of his films). Presumably in order to get the film past the censors, Sirk had to set the film in England, and so all the characters are English, despite speaking German. As a result, the social injustice and cultural decadence depicted in the film can be seen as a criticism of English society specifically, which I'm sure is what the censors were counting on when they passed the film. I do not think, however, that this is how Sirk intended the film to be interpreted. I think Sirk was concerned with social injustice in general and, if anything, in Germany specifically, although he could obviously never convey that kind of message under the strict regulation of the Nazi censors. Nevertheless, much of the cultural criticism in the film has far more implications for Germany than it does for England, and the prison camp to which the female protagonist is sent will inevitably evoke associations with Nazi concentration camps during the war.

Watching "To New Shores", I was reminded very much of Roberto Rossellini's 1942 film "A Pilot Returns". Both films were made in collaboration with the fascist government that ran their respective countries. Furthermore, the films are very similar in style and tone. "To New Shores" has much less in common with the German cinema of the '20s and even early '30s than it does with, for instance, the concurrent French poetic realism films by directors like Marcel Carné, Jean Renoir, and Julien Duvivier.

Overall, it's a quality film with solid entertainment value and a fairly engaging narrative. I never expected that UFA would have churned out a real film like this in the years just before the war. In comparison to Sirk's later work in Hollywood, "To New Shores" lacks both the stylized aesthetic and the intense melodrama that marked those films. It's definitely a melodrama, but it's more subtle and understated than films like "All That Heaven Allows" and "Magnificent Obsession". It's not great cinema, but it's a respectable effort that is probably well worth the watch.

RATING: 6.67 out of 10 stars

Zarah Leander at her heart-rending best

[wlkrrch · 1 December 2004]

Nobody in German cinema ever did melodramatic suffering quite like Zarah Leander, and this - her debut film for UFA in 1937 - shows her at the peak of her allure. She plays a glamorous stage diva, and we first see her on stage in London singing her flirtatious number 'Yes, Sir'. She then takes the wrap for a fraud committed by her British officer lover (played by Willy Birgel) who is on the verge of sailing for Australia, and for her pains she is transported to Australia herself, as a convict.

In prison, accompanied by her fellow female inmates, she sings a beautiful, sad song directed to her rascally lover: 'I have such a deep longing for you'. She is released from Paramatta prison in order to marry a handsome farmer (played by Viktor Staal) - but she runs away from him, only to discover that the Birgel character is on the verge of marrying the governor's daughter.

Heartbroken, she tries to return to prison, then to the stage, but is booed by the Australian audience for her gloomy act - a real irony this, since the song she's singing, 'I'm standing in the Rain' is a real beauty, haunting and melancholy, making full use of Leander's lovely contralto voice. Zu Neuen Ufern is a very emotionally involving film, a pointer to the films Detlev Sierck would later make in the US under his anglicised name, Douglas Sirk. Perfect for a rainy Sunday, and proof of the star power of Zarah Leander.

Detlev Sierck miles away from Douglas Sirk

[maerte · 6/10 · 10 February 2000]

Shortly before his emigration to the US Detlev Sierck made this movie. For those who love his later American movies it will be a little bit disappointing.

The story is very melodramatic but not very convincing. A man makes bad use of his fathers money for the sake of a Vaudeville singer. She is therefore sent to Australia for imprisonment. The man joins the army and they meet again...

Nevertheless you will recognize some elements of Sirk's later cinematography also in this movie, like the frequent use of mirrors an element which was later adapted by his great admirer Fassbinder). A ridiculous element of Nazi censorship is the fact that the dancing girls are forced to dance to a mock version of Offenbach's Can-Can.

Moving, and almost a timeless piece of art.

[Wolfi-10 · 9/10 · 27 February 2003]

This film was a sensation when it appeared in 1937; and 65 years later, one can still see why, and one is still moved by it. Despite some technical imperfections of picture and sound of those times, and despite the - initially unsettling - fact that it plays in London and Sydney while its characters and language are clearly German, it comes as close to a real work of art as a movie can. Both the tragic core of the story and its upbeat ending are entirely believable; the major characters appear human and differentiated; the sceneries and lighting are convincing; and Ralph Benatzky's songs have become treasured German folk music. Their presentation by Zarah Leander are the high points of the movie, when time stops and the here and now are forgotten. It is just a little sad that Leander's Gloria Vane was prevented from wearing a really shoulder-free evening gown, as those loud-mouthed boors accused her of. What some claimed to be immoral in England of 1846 was decreed immoral in Germany of 1937. One wonders if the '37 viewers caught on to it.

Queen of Nazi Germany's Cinema in her best-remembered role

[mdm-11 · 9/10 · 16 September 2006]

Zarah Leander, Swedish Import to the German Cinema of the 1930s & 40s, is best known for her stunning beauty and her deep singing voice, both of which would light up a movie screen. Often cast in the role of a suffering, unappreciated woman, this film could be her lifetime signature performance.

Mistreated by her lover, she nonetheless takes the blame for his criminal activity, accepting a prison sentence, in dim hopes of reuniting with the scoundrel years later. A twist of fate allows her to leave prison, but of course at a price. The predictable plot moves along, including 2 memorable songs, the heartbreaking "Ich steh' I'm Regen" and the up-tempo "Yes, Sir!", both becoming Leander trademarks.

Like Joan Crawford, Marlene Dietrich, Bette Davis and other Classic Cinema Divas, Zarah Leander has achieved cult status. "Zu neuen Ufern" would be the first film to be mentioned by any fan. Enjoy the drama, and enjoy the queen...the Drama Queen of Old German Cinema at her best!

Not particularly interesting

[Horst_In_Translation · 4/10 · 26 April 2016]

"Life Begins Anew" or "Zu neuen Ufern" is a German black-and-white sound film made by Ufa from the 1930s. Looking at how this was made in Germany of the 1930s, I personally found it a bit surprising that there was really pretty much no propaganda content in this movie here, especially as director Douglas Sirk and Swedish lead actress Zarah Leander have worked on other occasions on films that clearly only had one intention, namely make a political impression in the mind of the German people. Unfortunately, the fact that this is missing here completely or was just too subtle for me to see also takes away a reason to watch this film. I find political propaganda fascinating and I don't mean I would agree with it in anyway, absolutely not, but it is very interesting how film was (ab)used back in the day for vile intentions. Now with that approach out of the picture, all we have is a fairly uninteresting period piece without great acting or a great story. I also cannot say I cared particularly for any of the characters whatsoever. All in all, as you probably know by now, i found this a fairly underwhelming watch and give it a thumbs down. Not recommended.

One of the best Zarah pictures and her first in the dictatorship

[cynthiahost · 9/10 · 6 February 2010]

Very ironically ,even after the Third Reich take over, certain amount of non propaganda films were continued to be distributed in the united states even without subtitles and dubbing.I don't know how those films made money in the United States without that. It proved that there were more Hollywood type productions than propaganda even after the cut off in 40. Zarah Leander had an American fan following cause her earlier films did come to the United. Zu Neuen Ufzern.It was directed by Douglas Sirk who would later leave for the united states and produce films like magnificent obsession and imitation of life, I think.He was trying to make Dorothy Malone another Zarah But Malone was different in personality.It seems that no matter how much Zarah suffers in this picture she remains glamorous unlike her friend in prison ,played by Lissy Arna,who not glamorous. Nore is the prison maiden, played by Lina Lossen, she looks like a witch.Poor Zarah, who plays Gloria,is a successful singer and stage actress in France and the prudes complain about her, Her boy friend Sir Abert Finesbury, played by Willy Birgel, expressed as Villy, has taken advantage of her and pit his Dept's he owes on her . She takes his responsibility while he escapes and ends up in a womens prison in Australia, The German actors used certain English words and there are black German actors who play bushman .She offered freedom from prison if she marries one of the farmers. Victor Skaal offers her freedom. But as soon as they are on the way home she runs away to find Willy or Villy and she does only to discover that he is engaged to the Governor Jones daughter Mary,played by Carola Hohn.He's now a notorious womanizer even Victors sister, played by squared jawed Hilda Von Stolz is interested in him.So she runs off and he starts to search for her .He finds her in a cabaret singing a ballad and he ends up messing it up for her. She rejects him now and doesn't want to come back, Mady Rahl show up in a small part in the cabaret with a 1937 hair do in the 1830 something setting. Feeling bad about screwing her life up Albert kills himself only to be found dead by Victors uncle who's the local doctor. She ends up marrying victor in a double wedding with her friend marrying Ernest Legal.This was a good German classic made under the third Reich dictatorship before it got super worst The U. S. A. would have to wait till after the war to see some of the Zarah movie. available at warfilms.com

All that Heaven did not allow

[dbdumonteil · 15 April 2009]

With this movie,Detlef Sierck enters the path of glory.Combining the melodramatic side of "Das Mädchen von Moorhof" and the social comment of " Stützen def Gesellshaft" ,he brings it all back home and makes his second major work (after "La Habanera" ).Since it's his last movie in Nazi Germany,it's all the more precious .

Gloria Vane is a scandalous singer in Victorian times;even if she had not been (unfairly ) accused of forgery ,they would have had her performance censored anyway.Gloria Vane is too much and the brilliant scene on stage (yes sir,no sir) shows Zarah Leander at her best ,easily equaling Marlene Dietrich singing "falling in love again" .Later ,when Sierck worked in the US ,he would search around for another Zarah Leander and Dorothy Malone ("Written on the wind" and "tarnished angels") would be some kind of replacement.

Crazy situations abound: the show in London;the parade of the fiancées which looks more like a cattle fair;the romantic suicide;the bride all in white ,waiting for her groom;and the final scene ,which continues the refinement already sketched out in " das Mädchen von Moorhof" ,a scene Sirk would carry to perfection in the grandiose finale of his final achievement "imitation of life" : the choir of altar boys who breaks into "Gloria (sic) In Exelcis Deo" predates Mahalia Jackson and choir singing "trouble in the world" by twenty years.Christian faith (which would emerge again in the Hollywood years with such works as "the first legion" "thunder on the hill" "magnificent obsession" or "imitation of life" ) is oddly absent during the whole movie but is essential to the happy ending.

Sirk does not forget his sense of humor : while the males are looking for their spouses in Paramata ,one of them complains about heat while another one thinks young men are degenerate people for they do not appreciate fat women; the cuckold's wife's attitude when she learns Finsbury's death;and last but not least ,do not forget to buy "brooms made in Paramata" by our female convicts.

"Zu neuen Ufern" compares favorably with Max Ophuls' works of the thirties ,particularly "liebelei" (there are many similarities between the two stories) and "Sans Lendemain".