Ever wonder what it would be like to be James Dean growing up in East Germany? Look no further than Just Don’t Think I’ll Cry (Denk bloß nicht, ich heule), which captures that same inchoate teenage angst, but from an East German perspective. This film could not have been made before 1963. That was the year SED published its Youth Communiqué, which stated that young people should not passively attend school, but should be encouraged to be participate in the educational process. Filmmakers began to explore this topic as a basis for films. Perhaps if Just Don’t Think I’ll Cry had been made in 1964, it might have made it into the movie theaters. Unfortunately it was made in 1965, which put it squarely in the crosshairs of the 11th Plenum. The film didn’t stand a chance. It was shelved and didn’t see the light of a projector until after the Wende.
Just Don’t Think I’ll Cry is the story of a rebellious young man named Peter who has been kicked out of high school for writing an essay critical of the state. He hangs around with a bunch of other Halbstarken (usually translated as “juvenile delinquents,” but translated here as ”punks”), who spend their time carousing and generally behaving badly. Peter meets Anne, the daughter of a man who spent the war in a concentration camp for his communist views. The man runs the local agricultural collective, and, as one might imagine, Peter’s irritation with the state of things doesn’t go over well with him. As with Dean’s character in Rebel Without a Cause, much of Peter’s rebelliousness stems directly from his relationship with his father, but in Nicholas Ray’s film, it is Jim’s disgust for his father’s weak-will that spurs his behavior. In Just Don’t Think I’ll Cry, Peter’s attitudes toward the GDR are the result of his adulation of his step-father, a bitter drunk who passes on his hatred of the state to Peter.
Just Don’t Think I’ll Cry is directed by Frank Vogel, who got his start as an assistant director on Konrad Wolf’s Genesung (Recovery). He began directing films in 1958 with Klotz am Bein (Ball and Chain), and shook things up in ‘62 with And Your Love Too, which took on the subject of the wall while it was still being built. That film ruffled a few feathers, as did his next movie, Julia lebt (Julia Lives), which looks at the issue of social class in East Germany (a supposedly non-existent thing in the GDR). Both of those films made it into the theaters, but as far as the leadership was concerned, he went too far with Just Don’t Think I’ll Cry. It would be a couple years before he was allowed to direct a film again. Apparently he placated the powers that be. By the seventies, he was back in the directors chair on a regular basis although his later films skated around controversial topics. As with many of the people who worked at DEFA, Vogel’s career ended with the fall of the wall. He never made another film after the Wende and died in Berlin in 1999.
Playing Peter is Peter Reusse, an actor who kept busy both on the stage and in films in East Germany. Just Don’t Think I’ll Cry would have been his first starring role had it not been shelved. When it finally was screened in 1990, the Tageszeitung, a daily newspaper out of West Berlin, rightly dubbed Mr. Reusse the “James Dean of the East.” In spite of the setback caused by the rejection of the film, Mr. Reusse continued to work in movies, and television. He appeared in several episodes of the popular East German crime drama Polizeiruf 110. After the Wende, Mr. Reusse ended his acting career, devoting his time instead to writing and art. He has written at length about his experiences in East Germany, mostly from a negative perspective.
Anne—the Natalie Wood of the film, if we are to continue the Rebel Without a Cause comparison—is played by Anne-Kathrein Kretzschmar. Ms. Kretzschmar studied acting at the Theater Academy in Leipzig and this was her debut role. Her next film was Karla, making it two films in a row that were banned by the authorities; not an auspicious beginning to a budding film career. After that we only saw her in a few television productions and on stage, primarily the Dresden State Theater.
The cinematographer was Günter Ost—the most imaginative cameraman to come out of East Germany. Ost frame compositions are the most interesting you’ll see in any East German film. People are occasionally restricted to the farthest corner of a shot while the landscape behind them takes over the scene. Sometimes Ost uses the frame to show the philosophical gulfs that exist between characters, while other shots seem to suggest that the needs of the country are greater than those of the individual. Unfortunately for Ost, his style became synonymous with the things that the doctrinaires in the SED felt were wrong with DEFA films. After this film and Karla were shelved, Ost never made another film for DEFA again. Fortunately, he did resurface after the Wende to help reconstruct this film to its original version.
The music in the film was by Hans-Dieter Hosalla. He is best-known today for his music from the Märchenfilm, Das hölzerne Kälbchen (The Wooden Calf), and the Indianerfilm, Apaches, but he composed soundtracks for many other excellent East German films, including Professor Mamlock, Divided Heaven, and Murder Case Zernik. The score for Just Don’t Think I’ll Cry is an unusual one that jumps from Nino Rota bop, to Munsters rock, to jittery jazz, to romantic flute music. It is the perfect score for this movie, reflecting the confusion and lack of direction that roils inside the main character. Hosalla was born in Efurt. He worked with Brecht’s Berliner Ensemble during the early fifties, composing music for Brecht’s plays. He started composing film scores in 1958, beginning with Gerhard Klein’s Märchenfilm, Geschichte vom armen Hassan (The Story of Poor Hassan). Hosalla continued to write film scores until the late seventies, at which time he retired from the movies, devoting his time, instead, to the Berliner Ensemble stage productions. He died in 1995 in Berlin.
When the film was screened for party officials, they weren’t happy with the results and requested several cuts and reshoots. Vogel complied, but nothing he could do—or could have done, really—would placate them. The film ended up on the shelf alongside the other “Rabbit Films,” and wouldn’t appear on movie screens until 1990, when it was screened at the Berlinale Film Festival.