Classic cinema culture in Cologne

Emelka Cinemas in Cologne

1926 Grand opening of the Emelka Theater in the Cologne Hansa-Hochhaus (Hansa-high-rise)

The Emelka (M.L.K, acronym for „Münchener Lichtspielkunst*“, [Munich Cinematic Arts]) A.G., was founded in 1919 by Peter Ostermayr.

Before it went bankrupt in 1932 the Emelka group operated four theaters in Cologne.

*“Lichtspiele“ (Light theatrics) is a quaint German term for a cinema. It dates back to the early days of cinematography when the light of the projecting device seemed to mysteriously conjure up living pictures on a screen.

1929 Grand opening of the Capitol Emelka Theater

Here we present a preserved opening program from our collection.

Enclosed in the opening program we found typewriter-, handwritten as well as (partly by Gebr. Wolffsohn G.m.b.H.(Lichtbildbühne) Publishers edited) musical arrangements by Schmidt-Boelke. We present these in the excursus I. The arrangement of the premiere film „Die Büchse der Pandora“ (Pandora's Box) is missing. Whether this program emerged from the Schmidt-Boelcke estate or belonged to one of the musicians remains unsolved.

The next page features a print of the portrait of „Der Tenor Leonardo Aramesco“, from the series, Face of our time/people of the 20th century ca. 1928/29, by the Cologne Photographer August Sander. The original Photograph was sidewise cut to reduce it from a knee-length to a bust-length portrait. Beneath it the reference: Photo: Sander

The imprint „Bachemdruck Köln“ at the lower margin of this page ends the programm part.

Following: a copy of the „Illustrierten Film-Kuriers“, Nr.1079 11.Jahrgang 1929, „Die Büchse der Pandora (Lulu)“; with scenes of the film and texts about Wedekind. Introduced by Julius Kapp with his biography of Wedekind, analyse die Beiträge von Tilly (Newes) Wedekind, actress, widow Wedekinds („Die Lulu von Frank Wedekind“), Karl Ritter, graphic designer with the Südfilm/UFA who failed later with his own realisation of the play, („Lulu and her grand entourage“) the characters of the play. Daneben sind Erich Mühsam and Eugen R. Schlesinger are represented with retrospective texts about Wedekinds time in the Schwabing Bohème vertreten. Mühsam (portrayed by Sander as prototype of the revolutionary) reports in „The fight for Lulu“ of his opposition against a Chief of police, who, on the occasion of the premiere of the play in May 1913, acted as censor. Schlesinger (presumably the director of UFA s theater management division) reminds in „Frank Wedekind, the executioner“ of Wedekinds membership in the satirical cabaret troupe Die elf Scharfrichter (The eleven executioners).

1932 Emelka Bankruptcy

The perspective distortion of the closed rows of houses (Hamburger Straße) restricts the view to the tower of the Hansa-highrise in the background.

The Emelka A.G. hat sich an der aquisition of the Phoebus cinemas (in Cologne z.B.the „Schauburg“ and the „Moderne Theater“) verhoben. Sie verfügte lacks the necessary capital, to handle the introduction of the sound film and merged into its successor „Bavaria Filmkunst A.G.“. The signature/letters on the tower is demounted, only the framework which once held it remains dimly visible.

The intersecting street „Im Glockenring“serves as a stage for the play of youthful actors in front.

Following the look/glance/gaze of a child on the left side, the attention is caught by a ray of sunlight. Separating fore- and background midway, it runs through another intersecting street/thoroughfare (Gereonswall), breaking through the shadowy hustle in the dusky urban canyon, captures a busy walker with baby carriage/perambulator, until it runs in a 90° angle up the opposite walls. As incidentally it touches the flag, in which name Leonardo Aramesco, 1st. Tenor of the Westdeutscher Rundfunk (Westgerman Broadcast), lost his appointment and was forced to leave the country and Erich Mühsam, the revolutionary, by the successors of the Ungeister, which he had fought successfully in 1913, was tortured to death.