Luise Kolm-Fleck staged a number of melodramas and Heimat films with her husband in Germany and Austria before they fled together to Shanghai ahead of rising fascism. The Filmarchiv Austria has restored several films by this previously forgotten film pioneer which demonstrate her impressive directorial skill and astonishing commitment to the treatment of societal and social problems. The focus of CRUCIFIED GIRL is a young woman whose carefree life changes when she is the victim of rape.
Our eyes are red from crying, our handkerchiefs are wet – this Hegewald film has done its part like the others. When a film pleases the public, it's a sure sign that production management has calculated accurately. The plot is human-interest, and Ludwig Fritsch is responsible. It might have been developed into an artistic film. Even assuming this could have been accomplished without the typical German tedium, it's doubtful it would have been a financial success. Thus the husband-and-wife team of the Flecks was hired, to work in the Hegewald style. And success ensued.
Of what does this Hegewald style consist this time? We see it in the profuse emotion of the titles, the consistent black-and-white depictions of all characters, the clunky, calculated workman-like effects, the failure to notice unnecessary hyperbole. The only thing that will disturb the Hegewald audience is the serious illogicality in many places.
Technically the film is very respectable. The photography by N. Farkas shines and sparkles; his inconspicuously devised effects have a pleasing effect. His outdoor scenes are also accomplished.
Georg Herzberg, in: Film-Kurier, No. 203, 8/27/1929