穿制服的女孩

从Henry & June（改编自阿娜依斯·宁的日记，有公映Mädchen in Uniform的片段）追溯到本片。很惊喜30年代的电影能把女性之间的爱慕表达得如此优美、自然。Manuella在旋梯上与同学初次见面，被善意地提醒不要爱上Miss Bernberg。可以想见，她们所在的教会女校，对女教师的爱情虽不可张扬却再寻常不过。
少女们在威权教育的指缝里焕发着不可抑制的生机，她们激烈的感情唯有在Bernburg小姐那里得到理解和抚慰。她以爱引导学生，希望她们拥有壮健的人格，不沦入恐惧和孱弱。她执行纪律和抗辩命令的方式令人敬服。近乎理想的形象。Miss Bernberg所言说与践行的“爱”是多义的。既可能是上帝之爱，也可能是母性之爱、浪漫之爱，没有清晰的边界。这种暧昧颇可玩味。我很愿意想象，当女教师说“我爱你们每个人”时，同时也在吐露对少女们的柔情。
演出结束后，贵妇们围坐在女校长周围闲谈，对《唐·卡洛斯》中的自由表达略有微词。席勒的戏剧作为德意志文学的经典被允许阅读和演出，但其中深蕴的个性解放的精神，却能够引起魏玛共和国权力阶层的不适。校长在表白现场的盛怒，所聚焦的也是公开表达了虔诚之外的激情。惩罚者与反抗者的主要对立在于：做上帝和民族的好臣仆还是做一个有个人感情的人。蔑视泪水还是珍视泪水。女教师和她的女学生们，更像是浪漫主义者的后人。
教会学校的日程排满了各种仪式，为上帝歌唱，为权威列队。唯有其中之一是爱的仪式：Bernberg小姐的睡前吻。女孩儿们穿好睡袍，跪在床头等待属于自己的那一吻。它使人感到即将过去的一天是值得的。

*合唱中*

黑短发女孩乱入："每个人都竭力大喊 我们什么时候开饭呀?"

——"你知道你住哪间宿舍吗?" ——"马加尔说我住冯·伯恩伯格夫人的宿舍" ——"当心别坠入爱河！因为所有的女孩都对伯恩伯格夫人一见钟情"

女校长："我们普鲁士人不懂得饥饿 她们是士兵的孩子 若能如愿 也将成为士兵的母亲！通过纪律和挨饿 我们才能重返光荣 否则根本不可能"

姨母："军官的女儿居然还哭！"

——"…我想到等我再长大些就得离开这学校 每天晚上您也会亲吻其他女孩…" ——"你都在想些什么啊" ——"我太爱您了！"

——"妈妈说我不能太柔弱 祖国需要钢铁一般的人民" ——"我妈妈也在这里待过四年 她难道忘了这里环境多糟么?"

女教师："我不会放不下我的岗位 我知道我不能再留在这里 我不能站在一旁看着孩子们成为被恐吓的无助的动物"

非常棒的片子。虽然我看到的是录影带版，拷贝本身已经斑驳了，再加上录影带的效果，更加不敢恭维。但是能看清楚人物面部的表情非常生动，细腻，纯真热烈中带有一种青春的迷惘。好多介绍和评论都标榜和强调了里面的女同主题。但是我觉得青春期对同性的依恋和依赖是每个人都经过的阶段，只不过有些人明显一些有些人不太明显，根据以后的成长发展，不一定都会变成同性恋的。应该从老师和学生两个角度来考虑这个问题。从影片整体上面来看，除了女学生对老师的依恋，更多的是从教育问题出发吧，女老师不使用棍棒教学法，赢得了爱戴，最后也是女老师和女学生一起去救的马努埃拉。这也是对当时社会教育方式方法的一个反论。我比较反感一些评论和介绍总是死磕女同，也太没什么眼光了。

下载可以到土豆网上。有人好心分四部分上传了。大概是目前唯一可以找到的源了。但也不排除有人网盘上有。希望有线索的同学提供一下下哦！谢谢！


下面有剧透介绍。

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下面是从土豆网上找来的电影介绍：

英文字幕 德语原声「穿*的女孩」是第一部女同性恋电影，故事背景是一所女校，里面的学生都是军官的女儿，恋情发生在学生玛努拉和老师弗劳蕾之间。玛努拉刚刚死了母亲，她象所有的同学一样崇拜老师弗劳蕾？？因她是所有教师中唯一不相信棍棒教育的人。但是不久她们便彼此感到异样的吸引，虽然老师不愿承认这一点。一次，在学校的戏剧节上，玛努拉领衔主演了席勒的「唐·卡洛斯」并大获成功。在其后的庆祝会上，当所有的女孩都喝得有点醉晃晃时，玛努拉向弗劳蕾表白了她的爱情。但是不巧校长听到了炽烈的尾声，遂把玛努拉送进了医务室。但是，玛努拉却在校长和弗劳蕾谈话时，从医务室逃出来，爬到了学校楼梯井顶端，打算跳下去，这时，其他的同学和弗劳蕾都赶出来救她。而远处的校长只有一个人慢慢走向走廊的阴影处。
　　这部德国电影自上映开始，就好评如潮，票房颇佳，而且，没有在任何一个地方被禁，和第一部男同性恋电影的命运截然不同，虽然里面也有女孩一起沐浴的镜头，只是灯影斑驳，拍得非常抒情。不过影片中有一个细节却是影片的真正*：弗劳蕾到宿舍去和女孩们说晚安，她在每个人的额头上吻一下，轮到玛努拉时，女孩很兴奋地勾住了老师的脖子，弗劳蕾轻轻地把她的手移开，但在接下来的一个漫长特写中，弗劳蕾很不寻常地吻了玛努拉，吻在她的嘴上。所以，玛努拉才会在酒后大声表白："她给了我一个礼物，一件衬裙。我真幸福因为我确信，确信她在乎我、、、、、、"而扮演玛努拉的赫莎（Hertha Thiele）自影片公映后，也源源不断地收到求爱信，有男人写来的，也有很多女人写来的。

Junes filles en uniforme met en scène l'amour de Manuela pour sa professeure Mademoiselle de Bernburg au sein d'une institution à la discipline rigoureuse réservée aux filles de la haute société. C'est l'un des tous premiers films de l'histoire du cinéma à prendre pour sujet une histoire d'amour lesbien. Après un baiser furtivement échangé dans le dortoir, l'enseignante offre une chemise de corps à la jeune femme, qui lui confesse alors son affection et sa tourmente. Censuré par le régime nazi, ce drame emblématique de la République de Weimar distille une critique de la société patriarcale à l'aube des régimes totalitaires.

Double features time! German female filmmaker Leontine Sagan’s MÄDCHEN IN UNIFORM is a vanguard of queer cinema made in 1931, and William Wyler’s THESE THREE, arrived 5 years later, is based on Lilian Hellman’s sapphic play The Children’s Hour, but lesbianism is completely effaced due to the Hays Code, and Wyler would later remake a “veritable” version in 1961 starring Audrey Hepburn, Shirley MacLaine and James Garner.

MÄDCHEN IN UNIFORM is adapted from Christa Winsloe’s play and old hand Carl Froelich is credited as the artistic director to lend a helping hand to Sagan’s first feature. Corralling an all-female cast, the story is exclusively confined in an all-girl boarding school in the dog end of the Weimar Republic.

Governed by a prim and property headmistress (Unda, an exemplary schoolmarm adorned by a pair of pince-nez), the school aims to groom young daughters from military families to be child-bearers of future soldiers, the headmistress exclaims that they should be raised on hunger and discipline. But where there is oppression, there is revolt, not all the girls are toeing the line, especially the vivacious Ilse von Westhagen (Schwanneke), a mischief-maker whose misdeed (smuggling letter to her parents for more money because them girls are always hungry, even in Sundays), doesn’t deteriorate only because the caring intervention of Fraülein von Bernburg (Wieck), the judicious, tender governess who doesn’t see eye to eye with headmistress’ imperious command.

Fraülein von Bernburg is the star teacher that every girl admires and adores, and her goodnight kiss is a ritual of utter bliss. For a 14-year-old Manuela (Thiele), her attachment to Fraülein von Bernburg is more intense, unlike others, their goodnight kiss is on the lips, and she falls in love with her (she can barely speak in front of Fraülein von Bernburg, a fool-proof sign of infatuation), but as an adult, Fraülein von Bernburg knows better not to spoil this fragile bond and overstep the boundary. When Manuela is the worse for drink after a successful school play, she lets slip her secret in a fit of euphoria, and its repercussions are resoundingly pathos-stricken, yet, the film is anything but a misery porn, after flags up its anti-Fascist message, it propitiously brings down the curtains and leaves the denouement in ambiguity rather than anything more concrete. That said, its "love is love" affirmation ought not to be eclipsed by its vehement political opprobrium.

Wieck has a very peculiar presence of mind and impassive mien which suggests charisma, mystery and indissolubility, and Thiele possesses that photogenic and expressive visage of innocuousness, youthfulness and vulnerability, it is very hard to credit they have the same age, both were born in 1908. Kudos to the casting process! Then, speaking of Sagan’s directorial endeavor, it is to her credit that we do not feel constrained in a single location, her camera never feels plodding, her sense of composition is overall felicitous, like the vertiginous shot which foreshadows where a tragedy might occur, or the remarkable close-ups foregrounded in soft focus. Moreover, her female identity also helps to reassure the young female cast and elicit most spontaneous reactions and outburst from them, not to mention the jubilant solidarity. Sagan’s proficiency can contend with those from any member of the other sex, yet she only made three movies in her entire life, which makes MÄDCHEN IN UNIFORM such a puissant hue and cry to redress the inequality in the director’s chair, and individually, it is an endearingly stirring film completed with true grits and pluperfect tact.

THESE THREE, on the other hand, except for being marred for its inborn cop-out, is almost identical with THE CHILDREN’S HOUR (1961), Hellman’s dialogue remains largely intact even if the central Uranian affection is debased to a heteronormative love triangle. Two best-friends-cum-school-teachers, Martha Dobie (Hopkins) and Karen Wright (Oberon), both attract to the wholesomely handsome doctor Joseph Cardin (McCrea), but he takes the shine to Karen, so Martha has to hide her feelings.

But a vicious lie from one of their care, the bratty, self-serving, manipulative Mary Tilford (Granville) will shatter the fabric of their school and relationships, as simple as that. However, poetic justice might arrive belatedly, it is never absent. But by that point, audience might be too despondent and benumbed to toss a care. Most afterthought can be aptly copied from my review of THE CHILDREN’S HOUR (1961), but there are some divergence.

For one thing, Granville’s Oscar-nominated performance of an obnoxious bad seed is so extreme and single-minded (Patty McCormack gives a more superior impression of spill-chilling apathy in Mervyn LeRoy’s THE BAD SEED, 1956), a sense of awe actually transpires when she finally gets a whack in the face, in the hands of none other than the fearsome Margaret Hamilton, how satisfactory it is! And in the realm of prodigious child actors, Marcia Mae Jones’ extraordinary embodiment of the patsy Rosalie Wells is every bit as stupendous if not more. Tellingly, those young girls' copious theatrics may betray the difference whether they are handled by a man or a woman.

While THESE THREE is unexceptionable in its narratology and stock soundstage artificiality, no one should deny Hellman’s script is a fertile land for its actresses, Catherine Doucet’s highfalutin and exceedingly self-serving Auntie Mortar (a role played by Hopkins in the 1961 remake) might be bracketed as one of the most odious characters ever on the screen (with Granville’s Mary hot on her heels), yet her unrepentant carriage and locution is fabulous to gape. As a different kind of irritant, Amelia Tilford, Mary’s doting grandmother, stage thespian Alma Kruger, in her very first screen role, presides over with utter composure and later, registers a dignified pang of guilt and pain that comes to save the day.

Among the three leads, McCrea ekes out just adequate charm to convince us he is a catcher, he has more fun throwing sideswipes at Auntie Mortar than spouting sweet-nothings; and Oberon, right in her prime and is game enough to be chipper but also has that essential demureness as a classic Hollywood diva, almost virtuous to a fault. So, we can only rely on Hopkins to ginger up a semblance of perversion that goes missing in the revamped story, and she is there does what she does best, adding layers and layers of pent-up emotions (both to Joseph and her aunt) even there is nothing happens exteriorly. Why her Martha shouldn’t have a darling of her own? There must be a man for her in Vienna too, perhaps a woman even? In THESE THREE’s gynophobic backwater, Martha is an echt heroine and the film fails her cravenly.

referential entries: Wyler’s THE CHILDREN’S HOUR (1961, 7.3/10); Josef von Sternberg’s THE BLUE ANGEL (1930, 7.4/10).

Title: Mädchen in Uniform

Year: 1931

Country: Germany

Language: German, French, English

Genre: Drama, Romance

Director: Leontine Sagan

Screenwriters: Christa Winsloe, Friedrich Dammann

based on the play by Christa Winsloe

Music: Hanson Milde-Meissner

Cinematography: Reimer Kuntze, Franz Weihmayr

Editing: Oswald Hafenrichter

Cast:

Hertha Thiele

Dorothea Wieck

Emilia Unda

Hedy Krilla

Ellen Schwanneke

Gertrud de Lalsky

Erika Mann

Annemarie von Rochhausen

Else Ehser

Rating: 8.1/10

Title: These Three

Year: 1936

Country: USA

Language: English

Genre: Drama, Romance

Director: William Wyler

Screenwriter: Lillian Hellman

Music: Alfred Newman

Cinematography: Gregg Toland

Editing: Daniel Mandell

Cast:

Miriam Hopkins

Merle Oberon

Joel McCrea

Catherine Doucet

Bonita Granville

Alma Kruger

Marcia Mae Jones

Carmencita Johnson

Walter Brennan

Margaret Hamilton

Rating: 6.7/10

主演的女老师 Dorothea Wieck 是三十年代非常有名的德国女演员，她的海报在上海的天蟾剧院还曾经出现过！她当时主演的爱情片什么的在上海也曾经放映过。

这个影片主要讲德国的女子学院的故事，女老师非常爱护学生，学生们也都很尊重女老师。每天晚上她们互道晚安的时候，女老师都要挨个给学生们一个亲吻。渐渐的逐渐进入青春期的女学生们都被充满魅力的女老师所吸引了，她们都争着当女老师最心爱的学生……引发了一连串的故事……

相当前卫的影片，黑白光影，缓慢的镜头，晦涩的情节，很明显的女同情节又带有一种青涩美好的青春期的令人心痛的感觉……相当有味道，有意思的老电影！

女老师的声线真是美极了……