Rudolf Forster, Carola Neher, Reinhold Schünzel

In London at the turn of the century, the bandit Mack the Knife marries Polly without the knowledge of her father, Peachum, the 'king of the beggars'.

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82% liked it

381 ratings

Unrated, 1 hr. 50 min.

Directed by: Georg Wilhelm Pabst

Release Date: December 31, 1931

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DVD Release Date: March 29, 2005

Stats: 45 reviews

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Flixster Reviews (45)


  • July 4, 2008
    won recognition as a best foreign film by NBR
  • March 19, 2008
    An amazingly allegorical film that is heavily layered with meaning. I was fascinated by the tale of the thieve, the chief of police and the poorest man of London. The film has a very cheap thetrical, dance-hall feel to it, very base, but its artistry and its theatricality shined ...( read more)through the film, with heavy allusion to society that is relevant now and yet highly enjoyable amidst this farce. Definitely an odd film to see.
  • March 9, 2008
    Movie adaption of the best play that there is, though minor changes were made.
  • January 12, 2008
    I really feel like I shouldn't review this one. Every time I see a Bertolt Brecht piece, the first time I hate it, but the subsequent times I see it, that becomes my favorite piece of theatre ever. But you know what? Brecht hated this adaptation, so maybe I'm justified to have...( read more) qualms with it. I watched the backstory behind his qualms and I'm not sure if they are valid. I really should see the stage production and review this movie again.

    But here are my first impressions, regardless. If I'm wrong, I'll rewrite this review later. I haven't seen a lot of the early talkies. I love silent film and I love talkies. Really, film in general is pretty good. But I do have problems with this early talkie because, clearly, the medium wasn't quite developed yet. It is funny that I already start off with a complaint because I love Georg Wilhelm Pabst's Pandora's Box, you you think I'd be losing my sh*t at this one. Yeah, it was good in terms of cinematography and story, but OH-MY-GOD does this movie need to be spiced up a bit.

    Here's the main problem. The use of actual sound was great, but it was very sparse. Every line was as short as it could be, with the exception of songs. But lavish scores swept throughout silent film. The Threepenny Opera is completely silent when people aren't talking. The acting, also, reminds me of silent acting, only with talking. I can see why the transition was so awkward. Mack doesn't come off as charming (although the text supports that he should), but just as this huge dick that I don't want to see succeed, but does. I wish that if the social commentary was to be played through, it was one or the other. It's either that Mack really is a killer and rapist who is an ass and that shows the greediness of the middle class, or there is no social commentary and Mack is charming. Don't give him a script where he's friends with everyone and laughs, but treats everyone like an asshat.

    Again, Brecht was a genius. He's one of my favorite playwrights. But it takes me a while to warm up to each piece and what it is suppost to mean. Also, Threepenny Opera really is a fantastic classic, but it is a classic with faults. Most of this because of the liminal period that film was going through. Finally, I'd like to state about the difference between "musicals" now and what could be loosely classified as a musical then. I have seen silent pics with crazy motion and crazy dance. Watch the short films of Jean Renoir (while ignoring some very dated racism) and you'll see that it's not hard to have an actor moving all over the stage. Not a damn thing in Threepenny Opera and I have to wonder about that choice. Anytime someone broke out into song, that song was sung absolutely still. I think my problem is that I have been spoiled and haven't seen enough early talkies to know what I'm really driving on about. Again, if you see this review again in far more positive terms, it means I've done more research and/or watched this movie again. It seems like something that'd be right up my alley, but just alienated me.

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