F.P.1 Doesn’t Answer Blu-ray Review

4 Stars Early German sci-fi talkie about a massive floating airstrip merits a look.
F.P.1 Doesn’t Answer Screenshot

F.P.1 Doesn’t Answer is a bit of aviation futurepast coming out of pre-WWII Germany at the dawn of the sound era.  Like some other films of the time, F.P.1 was filmed simultaneously in different German, English and French language versions for worldwide release.  Kino’s new edition generously provides both German and English versions, making for an interesting comparison.

F.P.1 antwortet nicht (1932)
Released: 22 Dec 1932
Rated: N/A
Runtime: 114 min
Director: Karl Hartl
Genre: Sci-Fi
Cast: Hans Albers, Sybille Schmitz, Paul Hartmann
Writer(s): Walter Reisch, Curt Siodmak
Plot: Urged by famous airman Ellissen the Lennartz Company puts into reality the project proposed by his friend Droste: F.P.1, a huge floating platform in the Atlantic that makes long-distance flights viable. Ellissen is in love with compa
IMDB rating: 6.2
MetaScore: N/A

Disc Information
Studio: Other
Distributed By: Kino Lorber
Video Resolution: 1080P/AVC
Aspect Ratio: 1.19:1
Audio: Other
Subtitles: English SDH
Rating: Not Rated
Run Time: 1 Hr. 52 Min.
Package Includes: Blu-ray
Case Type: Keep Case
Disc Type: BD50 (dual layer)
Region: A
Release Date: 08/10/2021
MSRP: $29.95

The Production: 3.5/5

Someone once told me that there was such a thing as single sentence stories, and that the scariest one of all was simply, “The last man in the world hears a knock at the door.”  I don’t know who said that originally, but it’s stuck with me as the perfect example of economy.  It gives a visual to draw you in, and leaves you wondering not only what happens next, but how you got there in the first place.  Movie titles, and posters for that matter, are little short stories of their own, and at their best should stop a potential viewer dead in his tracks, and force him to lean in.

F.P.1 Doesn’t Answer is such a title, with such a poster.  The original artwork, which Kino Classics has seen fit to preserve as the cover of their new edition of the 1932 German film, boasts three stoic faces looking ahead, a glimmer of apprehension or concern in their glances.  Below them is a massive floating platform, an air strip in the middle of the ocean, a vision of the future as conceived in the past.  It’s striking in its scale and unique in its design.  It’s F.P.1, the first floating way-station, designed as a way station placed in the ocean equidistant of all continents to allow planes to fly across the globe without needing to fly to dry land to refuel.  Built by idealistic scientists, engineers and businessmen, it represents a strikingly altruistic vision of the world, the last such vision to come out of Germany before the rise of Hitler’s regime.  And, as the title notes, it has stopped responding.  I can’t think of the last time I was sold so quickly on a film.

Adapting his own novel with an assist from Walter Reisch, the writer Kurt Siodmak (who would soon flee Germany and make substantial contributions in Hollywood under a more Americanized spelling of his name) envisions a not-too-distant future where the best minds of private industry rally together to create a floating station that will allow people to travel with ease around the world.  Directed by Karl Hartl, the film’s execution doesn’t reach the heights of Fritz Lang’s sci-fi endeavors, and gives equal focus to table setting melodrama as it does more thrilling mystery and espionage. 

The film begins with Droste (Paul Hartmann) distraught over a lack of funding for his vision to create a new kind of air station.  But with the help of a Ellissen (Hans Albers), a famous pilot, he is able to convince Claire (Sybille Schmitz), the daughter of a prominent industrialist, to lend her family’s support to the project.  For a brief while, Ellissen and Claire are an item, but Ellissen is ultimately more interested in his aviation adventures than settling down.  Two years later, F.P.1 has become a city at sea, a floating airport with hotels and shopping centers.  Ellissen is out of the picture, and Claire has fallen for Droste.  But when contact is lost with F.P.1 with Droste aboard, Claire seeks out her old flame Ellissen, persuading him to take her to F.P.1 so that they can solve the mystery of the communications blackout.  Look out for Peter Lorre in a smaller role as a reporter on the trail.

F.P.1 Doesn’t Answer was one of the German studio UFA’s last major productions before Hitler rose to power; in short order, the Nazi party would essentially nationalize film production, and a great many of the studio’s talented artists would flee, some staying in Europe or Britain, others coming all the way to Hollywood.  Unlike the films that would follow as propaganda for the incoming regime, F.P.1 Doesn’t Answer imagines a future where the best and the brightest minds partner with private industry to make the world a better and more accessible place for all.  It is not a film without flaws – the first half of its 112 minute running time are too focused on a love triangle that doesn’t have much heat – but from the moment F.P.1 goes silent and the mystery kicks into gear, the film becomes a suspense ride that rarely lets up.  The combination of practical sets, miniatures and special effects work is ahead of its time, conveying an appropriate sense of scale even today. 

Video: 3.5/5

3D Rating: NA

F.P.1 Doesn’t Respond is presented in a 1.19:1 aspect ratio in a transfer supervised by the F.W. Murnau Foundation.  This presentation here appears more the result of a photochemical preservation of the best surviving elements, rather than a full fledged digital restoration to return the film to pristine condition.  The good news is that the movie is never anything less than watchable, and retains a pleasing film-like look throughout.  The less than stellar news is that it is obviously cobbled together from different sources, some of which do not particularly match.  At it’s best, the imagery has a striking greyscale with an abundance of fine detail, but at other times, there are numerous examples of scratches, flickering, loss of detail and poor contrast.  The presentation is mostly steady, and surprisingly clean.  The imperfections of the source material do not detract from enjoyment of the film, and should not dissuade interested parties from giving the disc a look.

Audio: 4/5

The monaural German-language audio, presented in the uncompressed PCM format, fares surprisingly well.  Although it will never be mistaken for a modern track, it sounds reasonably clear without any obvious artifacts of untoward digital manipulation.  Dialogue is well recorded and expertly blended with the music and sound effects.  The film’s use of motor sounds during its few flying sequences, as well as the use of silence during some of the later suspense sequences, are particularly inspired.  Optional English subtitles are also available.

Special Features: 4.5/5

Secrets of F.P.1 (1:17:43) – The English language version of F.P.1 Doesn’t Answer, filmed simultaneously with the same director, crew, sets and special effects, with dialogue by Robert Stevenson, is an interesting example of how the same concept can be executed to different effect.  Conrad Veidt takes over the Albers role, with Jill Esmond filling in for Schmitz and Leslie Fenton for Hartmann.  While the German language version runs 112 minutes, this English language edition doesn’t waste a moment, trimming much of the melodrama and clocking in at a much brisker 78 minutes.  With the focus more on mystery than character this time around, it plays more as a genre film than prestige production.  Although some of the German language version’s idealism gets lost along the way, the suspense and special effects work still shine through.  This version is presented in high definition (also in a 1.19:1 aspect ratio), and the film elements used are for the most part in better shape than those of its German counterpart.  The English audio here is uncompressed PCM format.  There are no subtitles provided for this version, though dialogue is reasonably clear and mostly easy to understand.

Audio Commentary on the German Version by Eddy Von Mueller – Von Mueller’s audio commentary for the German version provides a wealth of insight into the production of both the German original and French and English language variants.  He provides ample context on the history of the UFA studio and the period of German history in which the film was made, while also analyzing what works and what doesn’t in the finished film.  Though Von Mueller appears to be drawing from prepared text, his observations are presented in a more conversational style that makes for easy listening.  It’s a worthwhile track which leaves no stone unturned.

Overall: 4/5

F.P.1 Doesn’t Answer is a fascinating film which Kino has done justice in bringing to Blu-ray.  The presentation retains a pleasing film-like quality, and compelling bonus features include a very insightful commentary along with the English language alternate version of the film.

https://www.amazon.com/F-P-1-Doesnt-Answer-Blu-ray/dp/B096TL7JLF

Post Disclaimer

Some of our content may contain marketing links, which means we will receive a commission for purchases made via those links. In our editorial content, these affiliate links appear automatically, and our editorial teams are not influenced by our affiliate partnerships. We work with several providers (currently Skimlinks and Amazon) to manage our affiliate relationships. You can find out more about their services by visiting their sites.

Share this post:

View thread (11 replies)

Mark Mayes

Second Unit
Joined
Mar 14, 2004
Messages
278
Location
West Hollywood
Real Name
Mark Mayes
I'm a big fan of Sybille Schmitz and an even bigger fan of Conrad Veidt. After viewing this disc and comparing both versions, I have to admit to preferring Jill Esmond to Schmitz and Albers to Veidt.

Albers go-get-em enthusiasm as the pilot worked better to me. Veidt was more elegant and less dare-devil. It's strange that he wasn't simply the lead in both, though. He did both versions of "Congress Dances". His English is,however, noticeably less polished than it was by, say, "Dark Victory."
Esmond was translucent. Schmitz was very good, but the chemistry with Albers never seemed strong.

I haven't heard the commentary yet, but I'll be curious as to whether the versions are compared and contrasted by the commentator.
 

bujaki

Senior HTF Member
Joined
Jan 1, 2012
Messages
7,138
Location
Richardson, TX
Real Name
Jose Ortiz-Marrero
I'm a big fan of Sybille Schmitz and an even bigger fan of Conrad Veidt. After viewing this disc and comparing both versions, I have to admit to preferring Jill Esmond to Schmitz and Albers to Veidt.

Albers go-get-em enthusiasm as the pilot worked better to me. Veidt was more elegant and less dare-devil. It's strange that he wasn't simply the lead in both, though. He did both versions of "Congress Dances". His English is,however, noticeably less polished than it was by, say, "Dark Victory."
Esmond was translucent. Schmitz was very good, but the chemistry with Albers never seemed strong.

I haven't heard the commentary yet, but I'll be curious as to whether the versions are compared and contrasted by the commentator.
The Bette Davis version of Dark Victory?
 

Mark Mayes

Second Unit
Joined
Mar 14, 2004
Messages
278
Location
West Hollywood
Real Name
Mark Mayes
The Bette Davis version of Dark Victory?
Dark Journey...shameful for a VL fan like me! To be fair, this does feature prominently in my living room....
 

Attachments

  • 906339_10200987011182384_2087199940_o (1).jpg
    906339_10200987011182384_2087199940_o (1).jpg
    330.4 KB · Views: 128
Last edited:

Bert Greene

Screenwriter
Joined
Apr 1, 2004
Messages
1,060
These vintage futuristic, techno-industrial themed sci-fi films, like "Transatlantic Tunnel" (1935), "High Treason" (1929), "Things to Come" (1936), and such, were always rather intriguing to me. I'd always intended to get around to "F.P.1 Doesn't Answer" (1932), as the English-language version has bounced around for years, but I kept hearing of the prints being rather poor (making me envision those raggedy prints of "The Ghoul" and "Deluge" before better copies came to light), and I feared it would make things a bit of a slog. Really nifty that Kino Classics could release it in top-notch quality, with the added advantage of being able to observe the differences between the English and German-language versions. Wish more of these alternate-language oddities of the pre-dubbing, early-talkie period survived, because they can be curiously fascinating, noting the different little quirks between them.

In some ways, despite the widely varying running-times (78 minutes vs. 112), the two versions were a little more similar than I expected. Pacing being the biggest factor. Both leading men, Conrad Veidt and Hans Albers, seemed a bit too long-in-the-tooth to be portraying a devil-may-care flyboy adventurer. Such a role (in my mind) seems to call for a younger guy, a zippy wiseacre in the mold of maybe a 1932-vintage Chester Morris. But maybe that's just because I've been so teethed on American films and their brand of protagonists, especially in the early aviation genre. The leading-ladies here were different, with Jill Esmond pleasantly bright and starry-eyed, and Sybille Schmitz more sensual and low-key. Both different, but both quite good and effective in their own ways. Enjoyed Peter Lorre in the German version. Cast-wise, the only surprise for me was seeing Leslie Fenton in the British version, as I never knew he did any continental fare, only associating him with low-budget American indies in the 1930s.

But anyway, the main interest for me in these kinds of movies is the modernistic set decor and little sci-fi trappings. Dramatically, these types of films are invariably a little on the clunky side. Anyway, it's a nice release, and I enjoyed the informative commentary as well.
 

PaulaJ

Supporting Actor
Joined
Oct 9, 2000
Messages
696
I was thrilled with this release but what's the story with the French version with Charles Boyer as Elliessen? Is it no longer extant? No restored version? Couldn't fit on the disc? Is it available anywhere?

The production design and SFX are truly jaw-dropping.
 

Josh Steinberg

Premium
Reviewer
Senior HTF Member
Joined
Jun 10, 2003
Messages
26,359
Real Name
Josh Steinberg
These vintage futuristic, techno-industrial themed sci-fi films, like "Transatlantic Tunnel" (1935), "High Treason" (1929), "Things to Come" (1936), and such, were always rather intriguing to me.

Ive never seen Transatlantic Tunnel or High Treason but they sound intriguing - are they available on DVD or anything?
 

Bert Greene

Screenwriter
Joined
Apr 1, 2004
Messages
1,060
Ive never seen Transatlantic Tunnel or High Treason but they sound intriguing - are they available on DVD or anything?
I don't really know it they are officially out there right now. Probably not, although maybe there's a region-B release of "High Treason." I've been surprised at some of the things that have made it out on dvd over there. Rare oddities like "Children of Chance" (1930) and such. I do know that vastly better prints of both TT and HT are now around, compared to twenty years ago. Back in the 1980s, I believe it was thought that "Transatlantic Tunnel" had fallen into public domain, but that apparently proved not the case. TCM ran a pretty nice print some years back.
 
Most Popular