Excessive seriousness has never been a problem for Hollywood. Designed for the sole purpose of making money, Hollywood films only give us something to think about when it looks like that approach will improve the bottom line. In stark contrast, DEFA was all about making thoughtful serious films. An approach that led to some criticism, such as the scene in The Trace of Stones when construction foreman Balla attempts to woo the new technician by telling her that he would “even go to a DEFA film” with her if she liked. When filmmakers tried to aim for entertainment at DEFA, unless it was a Märchenfilm, they usually ran into a host of obstacles. Never mind that every time they did release a comedy or a musical, it sold well; getting these films made was like pulling teeth.
The perfect example of this is DEFA’s first musical, My Wife Wants to Sing (Meine Frau macht Musik). The film met with with criticism at every step of the way, and was shelved immediately after it was finished. For a while, it looked as if the film would never see the light of day, but the music was released on a LP, which proved to be very popular and eventually led DEFA to release the film, but not without some major changes, as we shall see.
My Wife Wants to Sing belongs to a genre particularly popular in both East and West Germany called a Revuefilm; what we would call a backstage musical. The story follows Gerda and Gustl Wagner. Gustl works in the music section of a large department store. His wife Gerda is a talented singer who gave up a career to become a housewife. When the aspiring, but talentless, daughter of a friend of Gustl’s is unable to meet her commitment to sing for Fabiani—an Italian popstar who is in town for a concert—Gerda agrees to take her place. Gerda is a hit, and Gustl finds himself upset by his wife’s decision to appear as part of an upcoming Variety show, and jealous of the suave Fabiani, who seems to be making moves on his wife. As with any Revuefilm, the story occasionally takes a backseat to the on-stage performances by various song and dance groups.
My Wife Wants to Sing was directed by Hans Heinrich. During the war years, Heinrich worked as a film editor until, like nearly every other able-bodied man in the Third Reich, he was drafted into the Wehrmacht. After the war, he joined DEFA, working as assistant director and editor for Wolfgang Staudte on the classic DEFA film, Murderers Are Among Us. He made a few short films for the German Labor Front during the late thirties, but his first feature film was made for DEFA in 1950. That film, Der Kahn der fröhlichen Leute (The Barge of the Happy People), belongs to the barge film genre , a uniquely European film genre without an equivalent in the States. The film was such a hit that he followed it up with Alter Kahn und junge Liebe (Old Barge and Young Love) in 1957.
Like his mentor, Wolfgang Staudte, Heinrich’s politics were more in line with East Germany than West Germany, but East German authorities, in their rush to re-enact George Orwell’s Animal Farm, were making it harder and harder on any idealistic socialists who didn’t cleave to the SED party line. By the end of the fifties, both Staudte and Heinrich had left the country. Heinrich, at first, tried to regain a foothold as a director in Mexico, but when that didn’t pan out, he returned to West Germany, where he worked primarily in television, and is probably better known today as the primary director for the popular West German comedy series, Drei Damen vom Grill (Three Ladies from the Grill). He died in 2003 in his home town, Berlin.
To play Gustl, Heinrich cast Günther Simon, a decision that caused some hand-wringing at DEFA. Simon was the well-known star of Kurt Maetzig’s epic Ernst Thälmann films. He had made a few movies since then, but nothing quite so frivolous. It was worried that his turn in this film would dilute the power of his performances in the Thälmann films. Eventually, he was given the okay, which undoubtedly helped him move onto roles in other classic DEFA films, including, Sun Seekers, The Silent Star, and When You’re Older, Dear Adam. Simon died in 1972 and is buried in the Dorotheenstadt cemetery in Berlin.
Playing Gerda, the wife of the film’s title, is Lore Frisch, a talented actress who got her start in West Germany. Born in Bavaria, Frisch was a ballet student until the war intervened. She worked as a nurse until after the war, at which time she joined a theater company in East Frisia, first as a backstage assistant, and eventually as an actress. She appeared in a few West German comedies and Heimatfilme before moving to East Germany, where she almost immediately attracted attention for her performance in Der Ochse von Kulm (The Ox of Kulm), a kind of East German send-up of the Heimatfilm genre. Unfortunately, for all her talent, Frisch suffered from some demons and a problem with painkillers. She committed suicide in 1962.
One of the odder aspects of the film is Evelyn Künneke’s appearance as Daisy, an attractive barfly/singer who flirts with Gustl between performances. Künneke was already a popular singer in Germany, and her work is still available on several CDs and as MP3 downloads. She agreed to appear in the film if she could sing two songs by Siegfried Wegener. After the film was in the can, but still not released, an article appeared in Junge Welt—the newspaper for the East German youth group, Freie Deutsche Jugend (FDJ)—that took the film to task for using songs by Wegener, who, at that time, was in charge of programming dance music for RIAS, the U.S.-controlled radio station and arch-nemesis of the East German government (for more on this subject, see Look at This City! and Castles and Cottages). As a result, most of the footage of Evelyn Künneke’s singing ended up on the cutting room floor. What was left was redubbed with a different song composed by Gerd Natschinski, who later wrote the music for Midnight Revue. Natschinski carefully wrote his song to match Künneke’s mouth movements as closely as possible, but it mattered little. We only catch glimpses of Künneke singing.
Reviews for the film were divided along state lines. The East German commentator, Karl-Eduard von Schnitzler, found the film entertaining, but made it known that he thought the genre was a form of silly fluff. West German reviewers were less kind, essentially saying that the very structure of East German government and society made it impossible for a film like this to work. In fact, the real problem with this film isn’t its East German origin, but its West German sensibilities. There is very little here that makes this film stand out as a product of DEFA. Nonetheless, it is a moderately enjoyable little musical that captures aspects of fifties style in East Germany better than many films.