Although, as I’ve written above, homosexuality was looked upon as a rather benign thing in the Weimar Republic, it was still illegal, according to Paragraph 175 of the German statues, and one could not only be imprisoned for such acts but might surely be ostracized from the society at large. Bollack again threatens blackmail, and Körner, to protect himself and his younger lover, pays; but when Bollack demands more, he refuses, and a trial ensues. The judge gives Bollack three years and Körner only a week in prison. Yet the violinist’s career is ruined, and eventually, in a fit of despair, he takes poison and dies, his young student, rushing to his side, poised to also commit suicide.
as teaching aids. Today, restored by the Outfest-UCLA Legacy Project, many of the most remarkable scenes of the film no longer can be found, including a cameo by Oscar Wilde. Yet the film specialists at UCLA have, through documents and reviews of the day, pieced together much of the original filling things in with literate intertitles and even speeches by co-writer Magnus Hirschfeld, which helps to give us a large sense of the amazing excitement of this text. And the film does provide us with some of the first documentary scenes of gay and lesbian bar-dancing of the day, along with some fairly sensual if not sexually revealing scenes.