following text is based on its research in the three film magazines "The Filmbote", "Cinema Journal" and "The film world, whose vintages from 1921 to 1924, partly to 1925, I attending a seminar paper on movie reviews on Jewish 've seen movies in Vienna of the 20's.
Sidney M. Goldin, was the findings of a publication Ronny Loewy in the journal of the Austrian Film Archive show (1 ), was on 28 Born in Odessa in March 1877. Other sources, he wrote, would call while in 1880, but the sources are the remains, unfortunately, in secret. Goldin who now actually, I do not intend to explain in more detail. This can be found where I already all (at least most - now and then I update it too) in Wikipedia have collected information on the web searchable. I will here only some new aspects Sidney Goldin, bring in the big, probably the greatest directors of the (early) Yiddish film - particularly in relation to Austria, where about Goldin has produced several films for years. My access to
Before I spread here now supposedly new evidence, I would like briefly to the state of research, so I know how he is received. As for Austrian publications on Yiddish and Jewish film (silent) film, the thing seems to be relatively manageable. If the jüdisch-/jiddische films (ie films set in the Jewish community) are addressed in an Austrian film, literature, said the data are essentially limited always to the inclusion of the Sidney Goldin produced films in Vienna. They may also be mentioned that there is a relation to the Yiddish theater in Vienna were, and that other persons and companies had made in Vienna Yiddish / Jewish films. More specifically, these data which it has contributed the theater researcher Brigitte Dalinger including "The City Without Jews" (published by the Austrian Film Archive, 2000) and Armin A. Wallas' "Jewish identity in Central Europe (Niemayer, 2002), however.
Other German-language publications on Yiddish / Jewish Film in Austria are not known to me. There are Armin Loacker "Vienna, City of the Jews" (Zsolnay, 2004) a very well-researched article on Jewish film producers in Vienna, but no further information on films playing in the Jewish milieu. Then, there are still publications of the Austrian Film Archive, which I unfortunately only know a part, and only a few to find online there, as well as various festival catalogs and programs that call including sources such German books and German magazines from the 80s and 90s, mainly from Frankfurt am Main. For this I have not (yet) have no access.
My state of research is therefore based solely on books in Austrian libraries and Internet sources, which my knowledge on this issue certainly limited. So now when I write something that I think it is new, so it is only new to people living in Austria and weakly or not at all in German or other foreign libraries research - that is, it is new for all non-film studies, but also new to all interested students who just have not had a chance to read German books and magazines on the subject, or American books on the Yiddish film (in Austria very sparse to read). This included even myself. And what foreign publications can probably not be taken into account (possibly German), the Austrian film magazines lying about in various Viennese libraries. So that extent I am playing very well publish the idea, at least in detail some news about Sidney M. Goldin to. The fact that the internet in English can be found not even the exact date of birth (not even on pages that are specialized in Yiddish film or film biographies, although Goldin for the Yiddish film at least the importance of a Fritz Lang film of the German 20's and 30's) has, however, speaks against it, that Goldin's biography, at least in the English language (especially of course I mean the USA) a long mystery would be decrypted.
In German speaking countries, where screening of films on the occasion of his biography Goldin often remains limited to one sentence, his biography might in any case be less well known, Ronny Loewy said there apparently knows more and probably has already published somewhere, sometime, or knows of relevant publications. They would have to investigate any hold times, is just the start for me no more in this semester:)
Sidney Goldin Austria
Now I want but let's be specific. Sidney Goldin appeared apparently the first time in early 1921 (released around the end of May because of the report in issue No. 10 (no date), the biweekly magazine "The film world") in Vienna on , at least it is likely the first Vienna have been Goldin's visit, which took place on business and is perceived in the film industry was. Wrote the Viennese actor Franz Höbling, as determined by the excited actress Magda Sonja by telephone from the shooting Sidney Goldin in Vienna Astoria studio (March Straße 18, Brigittenau, see listing in the almanac of the film and cinema industry in 1920, Vienna 1919; shown in: Electric Shadows, 1999, p. 67 ) found out where he should come visit now, since "everything is there, everything will look, nobody is allowed inside, all packed with new lamps, mercury, outrageous decorations, the whole night turned "" Here I stood before the gate, and I must say I was quite festive mood was not because I been to a movie (although, unusually, should take place at night), could only watch, but it took me a strange feeling as I hasten to forward to the street people to the studio and in the faces of excitement and commotion, saw the shape in every mouth into a question: 'I am curious what will make the Americans! " The American, because that was Mr. Sidney Goldin, the first American director who works in a studio in Vienna with Viennese artists to show in dollars the country can see that we are use to poor German Austrians still something (American film director. Von Franz Höbling and Magda Sonja. "The film world, born in 1921, No. 10, p. 3 f.)
This is probably first, or at least one of the first reports in Austrian media of Sidney Goldin, it is already mehrerlei, by background knowledge of the Austrian film of the 20-year-roofed derived:
1) The cheap production conditions for the high inflation and the weak Austrian currency , the crown, in postwar Austria, in any case likely a role for the choice of Vienna have played as a production country. That in a studio in Vienna "all full of new light bulbs" and "outrageous decoration" is likely to have at least Höbling Franz left a certain impression. Goldin, who came from the "dollar country", had, at least at the rate of exchange obviously not a problem, let the equipment and technology cost something (Goldin was also named his own Goldin Production active in Vienna ( Filmhimmel Austria, No. 42 , 2006).
2) The equally large interest of the Austrian film magazines in Goldin (both The Filmbote and Cinema Journal and The film world reported over the years repeatedly about Goldin new plans, new movies, on his arrival in and departure from Vienna, his marriage and even his "heart condition" - the latter two, detailed information, especially from the "movie world" originate) is probably explained by the fact Goldin that as an American film producer balm on the troubled by inferiority complexes Austrian soul, the soul of the film makers was. When an American in Vienna films produced, moreover, with Viennese actors and crew members, this can be understood only as a great compliment to the Austrian film, although the financial factor may be decisive for the choice of Vienna was, because of that the quality of the Viennese film-makers and infrastructure. Goldin, the film leaves have, however, already produced in London, Paris and Prague films (as the Filmbote, No. 22, 1924) .
The film, Goldin 1921 in Astoria in a studio with Magda Sonja Main role has turned, your past is . In No. 24 of the film world of 1921, finally, the completion was announced. The film launch took place on 6 January 1922 in the Red Tower Cinema. (film heaven, No. 42)
East and West and Yizkor
After the completion of the East and West Goldin traveled along with the film to New York where he presented the film and a has devoted half a year the "study of the latest advances in film technology" . (Cinema Journal, No. 720, May 17, 1924) generally had the film in the U.S. went well (and also sold in some other countries have), then the film world, and in general would find "Jewish films in the U.S. ready market. After the stay in the USA Goldin returned to Vienna to begin preparations for Yizkor : "[...] these days from New York arrived back in Vienna and will begin soon with work on a historical Film of the 18th century 'buried alive'. Then follows the modern film 'Broken heart'. " (film world No 20, 1924) "buried alive" was the originally planned title of "Yizkor", "Broken Heart" again became loud IMDB (under the title "Broken Hearts" / "Di gebrokhene Hertser") under the U.S. directed by Maurice Schwartz (Who was involved with the Yiddish Art Group in some of the Viennese Goldin-movies, including in "Yizkor") produced. 
However, the cinema-Journal reported two movies, should restore the Goldin to East and West in Vienna, and called this "Libin" as the author of the substance and Betty Gardner and the theater group to Maurice Schwartz as a performer, with This statement could be merely based on the former film. I had so far been no evidence that Goldin to Yizkor again in Vienna would have worked. In any case, report every three film magazines of Goldin's return from New York, including the "film expert Mr. Goldberg," and the intention in Vienna environment and produce two movies, "a historical and a modern" just "Yizkor" ("Buried Alive") and "Broken Hearts". But obviously broken heart was ultimately produced in New York by Maurice Schwartz. Whether it had come to Vienna to problems? The production had opposed the plans are suddenly moved to New York? Or was the production of "broken heart" to Zeiptunkt reporting in May 1924 just is not such a foregone conclusion, as it was presented? That Yizkor Goldin last production was in Vienna, would go well in conformity with the development of the Austrian film industry. As Goldin came to Vienna in 1921, was booming due to the production the weak currency just enormous. This boom subsided with the inflation in 1923, 1924 and ultimately resulted in a devastating crisis, leaving only a few film producers in Austria left. Due to the poor exchange rate, Vienna was not a cheap production site more.
Yizkor itself was in any event, composed of "of sixteen persons existing [n] ensemble of American Art Theatre under the artistic direction of Morris Black, which is currently in Paris Performances" but "in the very near future also in Vienna arrive [will ] to participate in the two films, Mr. Goldin "in the Schönbrunn studios and "in the neighborhood of Vienna, mainly due to an old castle" is produced. (The Filmbote, No. 22, May 31, 1924)
After Yizkor, which on 26 October 1924 Vienna cinema had its premiere, Goldin apparently turned for a while in Vienna and left the city finally to Warsaw (Movie World, No. 32, 1924 - or about the end of December) - a different, probably (according to the tenor of the film and Theatre Studies) major center of Yiddish culture - and probably cheaper than New York and Vienna, but just as culturally very rich.
marriage and departure
little later reported the film world for the last time a message from Sidney Goldin, namely that he "last Monday" (apparently sometime in December, it was in the film world-edition No. 34, 1924) "Miss Betty gardener, the main character of his recently in Vienna twisted comedy 'Moyshe Pipik, the Count, "married" has . So there is, and I was afraid, even films that were never mentioned in a movie magazine. A kind of "underground" production Yiddish films that have been mentioned of focusing on Yiddish-speaking audience not only in the Austrian media, and in any case primarily for Yiddish audiences that primarily elsewhere in the world, such as Warsaw and New York, lived, was intended. I hope not to be right, scientists have finally managed to film it always kind to complete filmography largely, and there were also in Vienna for several print Jewish public, which can probably also find evidence of Yiddish films with this fear. Of a film by the name "Moyshe Pipik" however, was associated with Goldin so far in the film magazines or German-language film literature never mentioned. Goldin privately in Vienna
Also, personal habits and views wanted interested Austrian film magazines then elicit Sidney Goldin. The employee the film world, Rosa Wachtel, had in the spring of 1922, the ", at the 'Goldi table' (for that is, his regular table in the Café Payr) with the director, who is in the personal transport is a very kind and humorous person to chat for an hour. " (Movie World, 1922, No. 8) completed the interview, a portrait photograph almost the entire page, but unfortunately it was me with the microfiche scans never possible to get halfway useful add scans of the images. That would probably happen in times of originals of the National Library, after all, there were surprisingly often portraits and other pictures of Goldin in Vienna film magazines to see.
Café Payr where to have Goldin, which I think in a non-Wiener quite remarkable, had his own family table, is one of Vienna about three cafes, where assembled the film world in the 20's to forge for business or leisure, or to discuss.
that Goldin, who created within four years, at least five films in Vienna, between them but again and again for a long time in New York, Warsaw and elsewhere, stayed a family table established in a movie cafe, you can be also a a proof of the messenger in the film brought representation see that "Mr. Goldin" of Vienna "honestly delighted" is. "He has this many friends and he takes great pleasure to be able to work in Vienna. He admitted frankly that when he returned the last time from Vienna to America, he is at the essence of the Americans and the tempo working with what is over there, slowly at first had to get used again. He intends to remain too long in diesemal Vienna and expects a lot from his two new films [...]" ("Conversation with Sidney M. Goldin," The Filmbote, No. 22, May 31, 1924)
In No. 16, 1923, reported the film world in a short message that "suffering serious heart condition" Sidney Goldin is a . An evil Ohmen when you consider that Goldin 1937 in a New York hospital died of a "heart condition".
Goldin's early work
About Goldin beginnings in the film he told the film messengers that he "for about 20 years working in the film industry, including eight years at the world famous company Universal in America. He called for this reason even be as a pioneer of the film "said This requires that the meeting report on 31 May 1924 would have appeared, Goldin's film starts to find his words about around 1904 - at least under the assumption that Goldin and the Filmbote at "about 20 years" has generously rounded up, one would have continue to have before 1910, otherwise would have probably 15 must be named. The first films in Goldin's filmography known, however, come from 1912 - which only match the details in the film Goldin's messenger would, he had worked from 1912 to 1920 for Universal. However, the Filmbote on, he worked with Rudolph Valentino at Famous Players, where his friendship with Sidney Olcott stir, to whom he owes much. Since, however, go from barely eight years Universal, particularly since 1920 Goldin was already in Europe to shoot in London and Prague, or so the filmography on IMDB. I suspect that Goldin was active before 1912 in New York in film. This earliest phase of the U.S. film has also been at other filmmakers for ensuring difficult to be inferred gaps.
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