7.3/10
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11 user 4 critic

Ghosts Before Breakfast (1928)

Vormittagsspuk (original title)
Hans Richter, noted for his abstract shorts, has everyday objects rebelling against their daily routine.

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Director: Hans Richter
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Cast

Credited cast:
Werner Graeff
Walter Gronostay
Paul Hindemith
Darius Milhaud
Madeleine Milhaud
Jean Oser
Willi Pferdekamp
Hans Richter
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Storyline

This film embraces the ideals of Dadism, as it shows a series of nonsensical images tied together by four floating bowler hats, which often transform into something else, and a clock ticking down the time. Some of the images include a man's bow-tie with a life of its own, a shooting range whose target continually changes from its standard concentric rings to a man's revolving head, a geometric pattern of guns, a group of men seemingly looking for something, a spool of a water hose, opening and closing windows, a group of people effectively hiding behind a narrow pole, a budding branch, the changing views of men's faces and the back of women's heads, human male legs in various movements, men fighting, and rotting smiles. All of this happens before men sit down for breakfast, when the bowlers find their final resting places. Written by Huggo

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Short

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Details

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Release Date:

14 July 1928 (Germany)  »

Also Known As:

Ghosts Before Breakfast  »

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Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

This film was banned by the Nazi Party in Germany for its experimental nature and critique of the regimentation of daily life. The Nazis destroyed several copies of the film in hopes of eradicating it. See more »

Crazy Credits

In the English version, the opening title card states: "The Nazis destroyed the sound version of this film as 'degenerate art'. It shows that even objects revolt against regimentation." See more »

Connections

Featured in Cabaret-Berlin, la scène sauvage (2010) See more »

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User Reviews

Bizarre Little Piece
19 July 2011 | by (United States) – See all my reviews

Hans Richter, noted for his abstract shorts, has everyday objects rebelling against their daily routine.

This film was apparently destroyed by the Nazis, with only some copies escaping without sound. And what a strange film it is. Maybe not the sensually decadent picture the Nazis thought it was, but weird. I can see Dali or Lynch finding a compatriot in Richter.

Is there a message here? I do not know. Looks more like just a man having fun with his actors and a camera, but what do I know? I do know one thing: I have to look more into the films of Hans Richter, because they are just my style.


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