Archive for the ‘Comedy’ Category

When You're Older, Dear Adam
Egon Günther’s 1965 comedy When You’re Older, Dear Adam (Wenn du groß bist, lieber Adam) is a weird movie, made weirder still by the times in which it was made and the technique used to rebuild the film. The film tells the story of a boy who is given a magic flashlight by a swan. That’s not a typo. The boy paid the swan’s fare on the streetcar (also not a typo), and the swan repays the boy by tossing an old flashlight into the boy’s boat a little later on. It’s no ordinary flashlight. It has the ability to identify when people aren’t telling the truth. Liars suddenly find themselves floating in the air. The bigger the lie, the higher they fly. The boy runs around Dresden accompanied by jangly surf guitar, shining the light on people at random and causing havoc everywhere he goes. It’s an fun and mostly innocuous romantic comedy, but the folks in the SED didn’t think so.

As previously discussed here, the 11th Plenum led to the wholesale banning of several films in 1965-66. When You’re Older, Dear Adam had the dubious distinction of being in post-production after the Plenum occurred. Officials didn’t like the idea of a film that says that government officials sometimes lie, and started interfering with the production, eventually banning the film altogether. The screenplay was courting controversy even before it was filmed. In one scene, a group of soldiers taking their oath to defend the GDR suddenly finding themselves hovering in the air. Not surprisingly, this scene was never filmed, but even the scenes that were filmed upset the officials enough to call a halt to the film’s production.

Wenn du groß bist, lieber Adam

In 1990, when the process of reunification had begun, several of the films banned during the 11th Plenum were taken out of storage, restored, and screened. When the researchers got to Günther’s film, they found that portions of the soundtrack had been destroyed, leaving only the footage. Working from the screenplay, and feeling that the film was too important to simply abandon, they decided to compliment the missing dialog with crudely made intertitles that explain the missing dialog, making an already surreal movie even more bizarre. While watching the film, the viewer is sometimes presented with what looks to all the world like a typed index card explaining what happens next, followed by a scene of complete silence. It is disorienting and only makes sense if you are alerted to the reasons for it before you view the film.

As a nod to the story’s theme of absolute truth, the film begins with a voiceover narration identifying the main actors and the parts they are playing. Adam is played by Stephan Jahnke. As is often the case with young actors, it would be his only role. The rest of the cast primarily consists of veteran DEFA actors, including Manfred Krug, Mathilde Danegger, Christel Bodenstein, Fred Delmare, and Marita Böhme. Adam’s father—whose name is “Sepp Tember”—is played by Gerry Wolff. Wolff usually showed up in character parts and so was more recognized by his face than his name. The Wende had little impact on his career. He continued to appear in films and on television, and has done a fair amount of dubbing as well. His was the German voice for Yoda in Star Wars: Episode I – The Phantom Menace.

The one new face in the film, besides Stephan Jahnke, is the Cuban actor Daisy Granados. Starting on the stage in Havana, Granados had been in only one other film (La decisión) when she took the part in When You’re Older, Dear Adam. Granados went to on to star in several widely acclaimed and award-winning films in Cuba, including Retrato de Teresa (Portrait of Teresa), Cecilia, and Un hombre de éxito (A Successful Man). Until his death in 2005, Granados often worked with her husband, Pastor Vega. In 2012, she was scheduled to appear in a play as part of the TEMFest (Teatro en Miami Festival), but local Cuban ex-pats got the performance cancelled after a rumor circulated that Granados said something bad about Juanita Baró, a popular Miami Cuban dancer and wife of exiled Cuban writer Manuel Ballagas. More recently, she appeared alongside Es­linda Núñez, Mirta Ibarra, and the Lizt Alfonso dance company in a performance of the dance musical Amigas as part of the celebrations for the 38th International Latin American Film Festival in Havana.

Daisy Granados

Director Egon Günther was already no stranger to censorship when this film was made. His first film, The Dress (Das Kleid), which he co-directed with Konrad Petzold, was banned because officials thought that its story of a walled city and a populace that is told to ignore their common sense was an attack on the building of the Wall and the government’s attempts to justify it. In truth, that film began production a year before the Wall was built. Günther barely avoided censorship again in 1968 with Farewell, and received criticism once more in 1972 for the on-screen kiss between two women in Her Third. In 1978, Günther showed he lost none of his feistiness or unfettered creativity over time when his TV-movie Ursula was banned in Switzerland for its surreal approach to the story of the Protestant Reformation movement and the Battle of Kappel.

There is one good thing about the ban: It has allowed us to see a wide-screen, ORWOcolor film from 1965 in pristine condition. The print used for the DVD is scratch and dirt free, with absolutely no fading. Cinematographer Helmut Grewald’s color work here is spectacular, and Günther uses Totalvision (East Germany’s answer to Panavision and Cinemascope) to great effect. It is a prime candidate for a Blu-Ray release (if they can just do something about those terrible intertitles). Credit here must also be given to Alfred Hirschmeier’s spectacular production design, particularly the Tember apartment, and to costume designer Rita Bieler’s sharp looking outfits. Sadly, the fall of the Wall signaled the end of the careers for all three of these people. Hirschmeier worked on a couple TV movies after the Wende, but that was it.

When You Grow Up Dear Adam

Wilhelm Neef’s score is a lot of fun. Neef scored dozens of films for DEFA before stepping away from the movie business to concentrate exclusively on classical music compositions and performance. Today he is best known for his work on Indianerfilme such as Sons of the Great Bear, Chingachgook, the Great Snake, and Osceola, but he has contributed scores to a wide variety of films in a wide variety of styles, as this film well demonstrates.

Banning When You’re Older, Dear Adam was one of the worst missteps the government in East Germany made, and they made some doozies. Banning a movie with a plot about identifying liars is as good as saying “yes, we’re liars.” It is on a par with Richard Nixon’s “I’m not a crook” statement. If you have to say it, you’ve already lost the war. Plus, it’s generally not a good idea to try and suppress satire anyway. It has a way of returning to haunt its foes. Attempts to suppress satire go all the way back to Aristophanes and his battles with Cleon, and can be seen as recently as 20th Century Fox’s pathetic attempt to bury Mike Judge’s scathing (and depressingly spot-on) attack on American culture, Idiocracy.

IMDB page for this film.

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Ete und Ali
Ete and Ali (Ete und Ali) is essentially a road movie, with one important difference: no one actually goes anywhere. The film follows the misadventures of the two men named in the title. Having just finished their military service, neither is sure what to do next. Bernhard—”Ete” to his friends—is a little guy. He is the more sensitive of the two, but lacks self confidence. Ali is a big lummox—the classic bull in a china shop, whose ideas are usually badly planned and ill-advised. Ali doesn’t want to go home, so he decides to tag along with Ete. Ete, who is married, isn’t sure he wants to go home either. His wife is seeing someone else and wants a divorce. Ali decides to help his old Army buddy win back Marita’s affections, but Ali’s ideas for doing so are pretty bad. Pretty soon an interesting and complicated triangle develops between Ete, Ali, and Marita.

The film that immediately comes to mind is Dino Risi’s wonderful Il Sorpasso, in which milquetoast Roberto (Jean-Louis Trintignant) learns to enjoy life thanks to carefree Bruno (Vittorio Gassman), but at a heavy price. Normally this type of story would unfold as the two characters travel across the country, but aside from some train travel at the beginning, and a truck at the end, all the action in Ete and Ali takes place in one town. Thanks to the Cold War, East Germany offered fewer opportunities for travel than those of us in the West. East Germans could visits other Eastern Bloc countries, but even here your travel papers had to be in order before proceeding. A privileged few got to visit Cuba, although the politicos in the GDR would never use the word “privileged.” At the beginning of the film, it looks like two men might actually go to Prague, but one of them remembers that they don’t have the proper papers, so they remain in Ete’s home town for the rest of the film. So much for the road trip.

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Ete and Ali are played by Jörg Schüttauf and Thomas Putensen respectively. Both actors continued to stay busy after the Wende. Schüttauf went on to appear in several popular television shows, including Der Fahnder (The Detective) and Tatort (Crime Scene). Putensen has done fewer films. An accomplished pianist and singer, he has spent more time since the Wende singing than acting. He showed up playing Holger in Andreas Dresen’s delightful Whisky mit Wodka (Whiskey with Vodka). More recently he performed a humorous musical revue titled “Schlimme Lieder aus der DDR” (“Bad songs from the GDR”), a combination of well-known East German songs and jazzy send-ups.

Playing the sensual and difficult Marita is Daniela Hoffmann. Born in 1963, Hoffmann appeared in several movies and televisions shows in the GDR before the Wall came down. She is a talented comedic actress, with a distinctive voice that has led to several jobs dubbing the voices for Hollywood films, most notably the voice of Julia Roberts in nearly every German dub of her films since 1990.

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Ete and Ali is directed by Peter Kahane, and it is his first feature film. Kahane was a member of the Nachwuchsgeneration (baby boomers, basically)—the last generation of East German filmmakers. By 1985, DEFA was facing the same problem that faced the East German and Soviet governments: The people in charge were getting old…really old. At 73, Erich Honecker was one of the younger leaders in the Eastern Bloc, and Poland’s Wojciech Jaruzelski, at 62, was practically a child. DEFA and the College of Film and Television in Babelsberg (Hochschule für Film und Fernsehen der DDR) had done a good job of training young, wannabe filmmakers in their craft, but now that they were old enough to take on the job of directing, they found very few opportunities to ply their trade. Many had studied film at the school in Potsdam-Babelsberg, but only a handful of this group got the opportunity to demonstrate their skills. The few that did had barely started their careers when the Wende came along and wiped out all their hard work. The lucky ones managed to make the transition to television, but the West Germans, who now controlled the media, had little interest in the talents of these Ossis, seeing any education they received as little more than communist propaganda. Most West Germans came to the table with such egregious preconceptions about what constituted East German films that any discussion on the value of these films was rendered impossible.1

Like Ete and Ali, Kahane served time in the Nationale Volksarmee (National People’s Army), then studied directing at the Academy for Film and Television (Hochschule für Film und Fernsehen der DDR). For several years after the Wende, Kahane worked in television, turning in several popular children’s films for the small screen. In 2008, he directed the feature film Die rote Zora (Red Zora), based on Kurt Held’s popular children’s book Die rote Zora und ihre Bande (Red Zora and her Gang). He followed this with Meine schöne Nachbarin (My Beautiful Neighbor), which stars Ete’s portrayer, Jörg Schüttauf.

Although Ete and Ali is primarily played for laughs, the laughs are sometimes bittersweet. Unlike most comedies from Hollywood, the story doesn’t resolve itself into a nice pat answer at the end. Things are complicated and life goes on.

IMDB page for the film.

Buy this film.


1. In an interview in the Märkischen Allgemeinen Zeitung newspaper, filmmaker Volker Schlöndorff went so far as to recommend throwing away all the films that came out of DEFA, calling them mediocre. His statement was followed by an open letter from the actors, directors, writers and other film technicians, several of whom had also signed the protest letter to East German government denouncing the expatriation of Wolf Biermann. In a a stubborn denial of facts worthy of Erich Honecker, Schlöndorff continues to defend his blockheaded position.

Fahrschule
Q: Why were there no bank robberies in East Germany?

A: Because you had to wait twelve years for the getaway car.

So goes the joke, poking fun at the rather astounding wait times for purchasing automobiles in the GDR. In East Germany, you basically had two choices when it came to purchasing a car: The Wartburg and the Trabant. The Trabant was the cheaper of the two, and were made in greater quantities. Both cars were pretty awful. The Wartburg had three cylinders to the Trabbi’s two, making it—potentially—the more powerful of the two, but it was also heavier, having a metal body instead of the cotton and resin Duroplast of the Trabants. Both were two-strokes, meaning you had to mix the oil and gas, and the pollution was awful. You could get a car from one of the other Eastern Bloc nations, such as a Lada from Russia or Skoda from Czechoslovakia, but this could take even longer, and was viewed with some derision.1 Making a film that mines the long wait times involved in getting Wartburgs for comedy would have been vetoed by the film review board in earlier times, but things were beginning to loosen up again at DEFA.

Driving School (Fahrschule) is the story of Horst Steinköhler, a die-hard pedestrian who would rather walk where he needs to go than drive a car. Horst’s friend Lothar is getting a divorce. Lothar wants Horst to buy his car from him to help him through the divorce, telling Horst he will buy it back later when he gets back on solid footing. Horst is reluctant, but eventually agrees. Meanwhile, Horst’s wife Gisela has received the news that she is next in line to purchase a new Wartburg. Gisela had put in her name on the waiting list to buy the car when their daughter—now a teenager—was born. Horst and Gisela plan to surprise each other with their purchases. Then, as if things weren’t bad enough, they both end up with the same driving instructor. Soon, Horst starts to suspect that something’s going on between Gisela and the driving instructor. Throughout the film we hear the music of Così fan tutte—Mozart’s comic opera on infidelity.

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The film is based on a radio play by Bernd Schirmer. Schirmer did several radio plays along with some legitimate theater in East Germany. From 1969 to 1972, he taught German studies at the University of Algiers. After that, he returned to Germany where he worked as a dramaturge for DFF, the state-owned East German television station. Schirmer continues to write novels, plays, teleplays, and theater pieces.

Coming as it did from a radio play, much of the humor is in the dialog, but director Bernhard Stephan has done a good job of “opening up” the radio play with purely visual humor. Stephan is a part of a group of East German filmmakers commonly referred to as the “Nachwuchsgeneration”—Baby Boomers essentially. This was the first generation that grew up with little or no personal experience of World War II. The country they grew up in was the GDR. Hitler was, as far they were concerned, an aberration of the past. For the most part, they learned their craft at the film school in Potsdam-Babelsberg, and started working for DEFA in intern capacities with the promise of someday getting to make their own films for the production company. There was just one catch: DEFA’s director ranks were already filled with talented directors and new positions rarely opened up.

Born in 1943, Stephan was a little older than most of the other new generation of East German filmmakers, which probably put him in a better position to get started at DEFA than those born a few years later. He had began directing TV shows in 1972, and moved on to films from there. While some of the younger filmmakers found it hard to get traction in reunited Germany, owing to the anti-Ossi prejudice of the West Germans, Stephan did better than most. He hit the ground running with the 1991 ZDF TV-movie Tandem, and went on to direct many television shows, most notably, Der letzte Zeuge (The Last Witness), which starred Ulrich Mühe (The Lives of Others).

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Horst Steinköhler is played by Jörg Gudzuhn, a slightly nerdy-looking character actor who usually played supporting roles. He primarily worked in television, so the unification of Germany had less impact on his career than those who had been used to starring roles in feature films. He continues to work in television, and was a regular on Bernhard Stephan’s The Last Witness. Gisela is played by the beautiful Hungarian actress Kata Kánya. Kánya starred in several films throughout the seventies. After the fall of communism, Kánya became a became a well-known television personality, and romance counselor. Today in Hungary, she is better known in this capacity than as an actor.

It was difficult to find anything out about Peggy Röder, who played the daughter Carola. She appears to have been a singer, first and foremost. As near as I can tell, this was her only film appearance, but because her last name is often spelled “Roeder” to accommodate systems that can’t handle umlauts, her statistics are included on IMDB under those for the American actress Peggy Roeder. They are not the same person.

Like that other film about vehicles and romance, Beloved White Mouse, Driving School was filmed in and around Dresden. We do get a few shots of Dresden street life, including the Semperoper and downtown areas of the Innere Altstadt. Although it is never stated, Horst appears to work at the German Hygiene Museum (Deutsches Hygiene-Museum) off of Blüherstraße. The film received positive reviews and garnered Jörg Gudzuhn a best leading actor award at the Eberswalde Film Festival.

IMDB page for the film.

The film does not appear to be available on DVD at this time, but you can watch it here.


1. There is even a comedy on this subject—Einfach Blumen aufs Dach (Just Put Flowers on the Roof), which examines of the misadventures a man encounters after he purchases an old Russian limousine.

Love's Confusion
Love’s Confusion (Verwirrung der Liebe) is a 1959 romantic comedy that is similar to the ones being made in Hollywood around the same time. The story centers around Dieter, a medical student at Humboldt University, and his girlfriend, Sonja, an art student at the Berlin-Weißensee Art Academy. The two plan to meet up at a masquerade party, but Dieter repeatedly rejects the advances of Sonja, thinking she’s a stranger, and ends up with Siegi, thinking she’s Sonja. But when everyone removes their masks to reveal their faces, does Dieter apologize for the mistake and look for Sonja? Nope. He invites Siegi over to the bar and chats her up. One can hardly blame him: Siegi is gorgeous. Sonja spots Dieter kissing Siegi, and things go downhill from there.

It is a strange way to begin a romantic comedy. Are we suppose to feel any sympathy for Dieter? Let’s face it: the guy’s a jerk. Herein lies one of the fundamental problems with this story. We’re not really rooting for him to end up with anybody. When we first see Dieter, he is attending a lecture, pretending to pay attention, while secretly slipping his notepad and textbooks into his book bag so that he can get out of the classroom as quickly as possible when the bell rings. Even in this act, he is inept, accidentally dropping his pen case on the floor because he’s not looking where he’s putting things. Right out of the gate he’s set up as a man who doesn’t pay very close attention to details and capable of feigning interest when there’s none there. Just the sort of fellow you want operating on you.

Sonja, on the other hand, comes across as likable, as do Siegi and her friend, Edy. When the various couples eventually align with the people they are “supposed” to marry, we’re left with sadness for the woman who ends up with Dieter. If this is the intent of director Slatan Dudow, it’s the most subtle piece of direction this side of Paper Moon.1 Of course, it was 1959, and cads who find love was the order of the day. In Hollywood, Frank Sinatra and Rock Hudson were making careers out of these types of characters with films such as The Tender Trap, Pal Joey, Pillow Talk and Lover Come Back. The popular message of the time was that even men who are cads can me tamed with the “right” woman. It is a popular fantasy in films, right up there with destiny playing a hand in couples meeting. When you come right down to it, romantic comedies present a world as improbable as Zardoz or The Lobster.

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If this sounds like the kind of story that the SED authorities might have problems with, you’d be right. Some objected to the film’s carefree morality, and its brief moments of nudity—a first for an East German film—while the notorious journalist and TV personality Karl-Eduard von Schnitzler felt that it didn’t do enough to address the issue of class struggle (for more on von Schnitzler, see Look at This City!). The film probably only got made because it’s director, Slatan Dudow, was something of an idol in East Germany, having directed the 1932 film Kuhle Wampe, a film banned by the Nazis for its socialist message (see Destinies of Women). Love’s Confusion would be the last film that Dudow would live to complete. While working on his next film, Christine, Dudow was killed in a car accident.

Much of the action in Love’s Confusion revolves around Sonja, played by Annekathrin Bürger. Bürger is no stranger to this blog, having starred in several East German classics, starting when she was nineteen with A Berlin Romance, and including Star-Crossed Lovers, The Second Track, and Farewell. For most of her career at DEFA, she was married to Rolf Römer, an actor who also directed Hey You! And Hostess, two under-appreciated films that starred Bürger.

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Playing Siegi, Sonja’s rival for Dieter’s affections is eighteen-year-old Angelica Domröse in her first film role. Domröse was working as a typist when she responded to a newspaper advertisement looking for “young, cheerful, pretty girls, aged 16 to 20 years, around 1.60m tall (5’ 2”) for a leading role.” 800 young women applied for the job and it is a testament to Domröse’s beauty and charisma that she won the part. It was exceptionally good casting. Not too many women could compete with Annekathrin Bürger in the looks department, but Domröse does (although Bürger gets a lot more screen time). Domröse would go on to appear in several more films throughout the sixties—most notably, The Story of a Murder—but it was the 1973 film The Legend of Paul and Paula that really brought her to public’s attention. As one of the signatories of the letter protesting the the expatriation of Wolf Biermann, Domröse was denied future film roles, and eventually moved to West Germany.

Included in the cast are several well-known actors in blink-and-you’ll-miss-them roles who would later go on to become stars in East Germany. Among them, Erik S. Klein, Barbara Dittus, Rolf Römer, Marianne Wünscher, and Arno Wyzniewski. Also in the cast is Dietlind Stahl, sister of Armin Mueller-Stahl.

Art director Oskar Pietsch and costume designer Gerhard Kaddatz had a lot of fun with this movie, particularly in the carnival scenes. He was the logical choice for this job, having created the sets for My Wife Wants to Sing. He probably would have gone onto to create many more great sets for DEFA, but he resided in West Berlin, and the Wall effectively cut him off from that source of income. He art directed a few West German features, but primarily worked in television for Sender Freies Berlin (SFB).

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Like Pietsch, costume designer Gerhard Kaddatz had worked on My Wife Wants to Sing. Unlike Pietsch, Kaddatz lived in East Berlin, and was able to continue his career throughout the sixties and encompasses everything from spy films (For Eyes Only and Frozen Flashes) to fantasy films (Mother Holly and The Flying Dutchman). But it is his work in the fifties that really stands out. Kaddatz had a good eye for fifties fashion, and his costume designs for these movies are worthy of Helen Rose and Edith Head, even if the fabrics are not.

In spite of the misgivings of some SED party members, the film was a hit with the public, and because it did not wear its socialism on its sleeve, it was easier to sell to West Germany than most other East German films at the time.

IMDB page for the film.

Buy this film. (Part of a four film set of films starring Angelica Domröse)

The film is also available on Veoh.


1. Peter Bogdanovich, the director of Paper Moon, has said in interviews that he considers the ending of that film a tragedy. Audiences, on the other hand, saw it as a happy reunion.

The Second Life of Friedrich Wilhelm Georg Platow
1973 was an interesting year in DEFA’s history. It’s not as historically important as 1966, when a dozen films were either pulled or shot down while in production; and it lacks the prodigious output of 1961, which saw the release of twenty-five films.1 But if you are looking for a year that is representative of most aspects of DEFA, 1973 is a good place to look. It is the year that saw the first appearance of all-American Dean Reed in an East German film (Aus dem Leben eines Taugenichts), and the release Heiner Carow’s ground-breaking The Legend of Paul and Paula. In terms of genre films, it saw the release of a musical (No Cheating, Darling!), a fairytale film (Susanne and the Magic Ring), a western, (Apaches), a biopic (Copernicus), and a literary adaptation (Unterm Birnbaum). Just for good measure, the year ended with one film getting banned for the usual stupid reasons (The Dove on the Roof). The only things really missing from that line-up are a spy movie and a science fiction film.

The Second Life of Friedrich Wilhelm Georg Platow (Das zweite Leben des Friedrich Wilhelm Georg Platow) is a tragicomedy of the type Germans have been so good at making since the early days at UFA—which is to say, bitterly comedic. It goes through the entire life of the title character, from his birth to his later years, but it is mostly concerned with what happens to a man when his job has been made redundant, and he’s faced with finding a new occupation at a time when everyone thinks he’s past his expiry date. Having found myself in a similar situation, I can relate to this movie on a personal level, as will anyone who has ever had the dubious distinction of trying to find a new job once they’ve past the 55-year mark.

Das zweite Leben des Friedrich Wilhelm Georg Platow

Friedrich Wilhelm Georg Platow has had a good life working at a railroad crossing in a small German town. It’s a mundane job, but Platow is a man of limited ambition, so maintaining a railroad crossing is fine with him. When technology makes his job redundant, Platow and his son—Georg Wilhelm Friedrich Platow—are given an offer: The son will go back to school for further training, and the father will take over the son’s job. But the son, has the same “I’d prefer not to” attitude that has marked his father’s actions throughout his life, so Friedrich decides to take Georg’s place at the school. The only problem is that Friedrich is much to old to apply for the job, so he buys a leather jacket and pretends to be younger. On the train to the academy he meets Malvine, a heartbroken young women who immediately guesses his age and then gives him pointers on how to appear younger. Throughout the film, an old lady and her grandson show up to make comments, eventually acting as sort of a two-person Greek chorus.

The Second Life of F.W.G. Platow uses film stock in an usual way. Everything is in color except for the scenes where Platow (and, in one case, his son) are either working or involved with co-workers. Those scenes are in black-and-white. Thus, Platow’s childhood (which is where most directors would use black-and-white), his internment on the Eastern Front, and his time at the academy are all in color. Perhaps this is to indicate the drab nature of the jobs, or to show the simpler, black-and-white nature of a daily routine. It works either way. The one exception to this is the scene where Malvine’s backstory is revealed. This scene is also black-and-white. Is the filmmaker suggesting that her previous life was a job? Or was it simply to separate the scene from those that come before and after it?

Das zweite Leben des Friedrich Wilhelm Georg Platow

The film is directed by Siegfried Kühn, a talented director who also gave us The Actress. He started his adult life as a mining engineer, but changed careers during a stay in Berlin. Kühn made up for lost time, plunging into his film studies with a fervor, studying at the film school in Babelsberg and under Sergei Gerasimov at the Moscow Institute of Cinematography (renamed the Gerasimov Institute of Cinematography in 1986). Kühn was not a particularly prolific filmmaker, and it would be five years after graduating from the film school in Moscow before he’d start working regularly for DEFA, working in theater at first, where he further honed his skills working with actors. Kühn hit his stride as a director around the time that wall came down, which brought his career to a screeching halt, from which he never recovered.

To cast the film, Kühn turned to East Germany’s theater community, hiring noted theater director Fritz Marquardt to play Platow. Marquardt was no stranger to film, having already appeared in smaller roles in The Falcon’s Trail, The Time of the Storks (Zeit der Störche), and The Man Who Replaced Grandma, but it was his role as a director at the Volksbühne, Berliner Ensemble, and various other theaters for which he is best known. More recently, he turned in a brief appearance as the bed-ridden father of the main character in Andreas Dresen’s Whisky with Vodka (Whisky mit Wodka).

Playing the cynical but sympathetic Malvine is Gisela Hess in her only theatrical film appearance. Aside from a couple television show appearances in East Germany, Hess has spent her career on stage at Theater Magdeburg. In 1982, her sister was sentence to two years and eight months for trying to immigrate to West Germany without exit papers.2

The Puhdys

The film has a solid cast all the way down the line. The popular actor Fred Delmare plays Platow’s father, Platow’s son is played by Lothar Warneke, a fine director in his own right, and Winfried Glatzeder of Paul and Paula fame makes a brief appearance as a clown.

The soundtrack is by Hans Jürgen Wenzel, who worked as a conductor for various theatres and orchestras. He only composed music for seven films. The Time of the Storks was his first. The Second Life of F.W.G. Platow was his second. In 1976, Wenzel founded the Komponistenklasse Halle (Composers Class Hall), a training program for young musicians that is one of the few cultural programs from East Germany that is still in operation. He was a fan of expressionistic music, which the score for this movie hints at. It starts with an electric guitar, which is quickly replaced by an orchestral theme. It isn’t long, though, before the electric guitar is back, now more distorted than before, taking over the theme from the violins. It’s one of the cleverest movie themes around, sonically demonstrating the conflict between the old and the new.

The East German rock band The Puhdys also appear in the film, playing at a restaurant. Earlier the same year, they had made a big splash with the soundtrack for The Legend of Paul and Paula. Here, they get to demonstrate their hard rock chops, playing much more aggressive music than the lilting themes from Paul and Paula.

The film caused some grumbling among the SED officials who reviewed it. They felt that it wasn’t a fair representation of the working class. The film was released without a premiere, and was excluded from export. It wasn’t shown in unified Germany until 1996, and has had only limited screenings in North America since then. For this reason, the film remains relatively unknown, even in Germany. But don’t let its relative obscurity fool you—it is worth searching out. It is a genuine East German classic.

IMDB page for this film.

Buy this film.


1. There was actually one more film intended for release that year: The Dress—but it was banned for its references to a walled city run by an idiot king.

2. Here in the West, this would normally be characterized as “fleeing” or “escaping,” but I’m intentionally avoiding such loaded terms. The fact is, many people were leaving East Germany around this time. That’s not to say the East German government was making it easy to emigrate, but it could be done, as Manfred Krug, Nina Hagen, Armin Mueller-Stahl, and other demonstrated.

Der Mann, der nach der Oma kam
The Man Who Replaced Grandma (Der Mann, der nach der Oma kam) belongs to the comedy of errors genre—specifically the sub-genre that finds comedy in the mistaken belief that someone is being unfaithful.1 Some classic Hollywood films have mined this vein for comedy, most notably Preston Sturges in his hilarious 1948 film, Unfaithfully Yours, and many of Doris Day’s comedies. This film has a more feminist perspective than those films, and doesn’t make quite as much of a romp out of the subject as a Hollywood film would. Made shortly after Erich Honecker took over control of the DDR from Walter Ulbricht, The Man Who Replaced Grandma is slightly racy and a more daring film than would have been allowed a few years earlier, but manages to avoid too much controversy.

The film is based on the story Graffunda räumt auf (Graffunda Cleans Up) by Renate Holland-Moritz. Holland-Moritz was sort of the Pauline Kael of East Germany. As well as writing multiple books, she was also the film critic for Eulenspiegel, East Germany’s satire magazine. As a critic, she was remarkably candid in her criticism. If a DEFA film sucked, she wasn’t afraid to say so. The Man Who Replaced Grandma tells the story of the Piesold family. Mom is an opera singer and dad is a TV emcee, and between them, there is little time left to spend with the family. It’s never been a problem because Oma (grandma) always took care of everything, but when Oma suddenly announces that she’s getting remarried, the family starts looking for a replacement and finds that it’s not that easy. They finally settle on a man named Erwin Graffunda, who doesn’t seem to mind the amount of work involved, is very energetic, and doesn’t want much money for the job. The problem is that, being a handsome young man, the neighbors immediately suspect some hanky-panky is going on between him and Mrs. Piesold.

This film is one of those cases where much of the humor is contingent on the German language, and subtitles won’t help. Graffunda’s last name, for instance, becomes a joke when people refer to him as “Graf Funda.” “Graf” is usually translated to “Count” in English, which effectively destroys the joke. In another scene, after Graffunda discover that the Piesold’s young son has put his teddy bear in the washing machine, Graffunda makes a joke about the bear not being a “Waschbär” (“Das ist doch kein Waschbär!“). Waschbär—pronounced “wash bear”—is the German word for Racoon.2 An English subtitle of “He is a not a racoon” would make no sense in this context, and “wash bear” has no meaning in English. Short of adding a parenthetical notes, I see no way to translate this film’s dialog. Even the title of the original story—Graffunda räumt auf—has the added meaning not only of cleaning up, but of dispelling something, such as a myth.

The Man Who Replaced Grandma

Playing Erwin Graffunda is Winifried Glatzeder, best known as Paul in The Legend of Paul and Paula. Glatzeder had been working in films for a few years, when he got his first starring role in Siegfried Kühn’s 1971 film Time of the Storks (Zeit der Störche), the film was popular and people began to take notice of Glatzeder. The Man Who Replaced Grandma was his second starring role and helped further his reputation as a charming and unique-looking leading man, but it was his role in The Legend of Paul and Paula that put him on the map. So much so that he does a cameo as Paul in the 1999 comedy Sonnenallee (usually translated as Sun Alley, although, strictly speaking, an Allee is definitely not an alley).

Playing Mr. and Mrs. Piesold are Rolf Herricht and Marita Böhme respectively. Herricht was already a well-known comic actor by the time he made this film, appearing often on television and in the DEFA classic Beloved White Mouse. Böhme had starred opposite Herricht once before in Hero of the Reserve (Der Reserveheld), and had proven to have a talent for comedy in films such as On the Sunny Side and Carbide and Sorrel. Also appearing in the film are the fine comic actors Marianne Wünscher and Fred Delmare.

Special mention must be given to Katrin Martin, who plays the Piesold daughter Gaby. In her first film role, Martin maintains a perfect balance of a teenager who is sexually aware, but not really ready to know what to do with it. Martin was a graduate of the Rostock drama school, and has appeared in many stage productions. She is best known for her portrayal of Rose Red in the DEFA Märchenfilm Snow White and Rose Red (Schneeweißchen und Rosenrot). After the Wende, film roles became scarcer, so she turned to audio, producing radio plays for children. She currently lives in Berlin.

Katrin Martin

The film is directed by Roland Oehme. Oehme got his start in films by working as an intern under Ralk Kirsten on the Manfred Krug comedy, Follow Me, Rascals! (Mir nach, Canaillen!), Shortly after graduating, Oehme refused to take on a project because he didn’t like the script. As a consequence, he spent a few years working in the DEFA documentary film department before being allowed to start directing his own films. He finally got a chance to direct alongside fellow newcomer, Lothar Warneke with the Rolf Römer comedy, Not to Me, Madam! The Man Who Replaced Grandma was the first film that he both wrote and directed. He continued to have a successful career in film and television in the DDR. After the Wende, he turned to stage directing, working for several years with the Störtebeker Festival in Ralswiek on Rügen. From 2006 to 2013 he worked in the spa town of Waren (Müritz), writing a cycle of plays called The Muritz Saga, a new one of which is performed every year.

The Man Who Replaced Grandma was a popular film and did well at the box office. It is not a classic, but it is an entertaining little film with a likable cast. As with any comedy that mines its gold from puns and double entendres, it is best appreciated by those at least moderately familiar with the German language.

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1. Of course, German, being the Lego language that it is when it comes to building words, it is possible to construct a word that specifically addresses this sub-genre: Eifersuchtsverwechslungskomödie.

2. One of the more entertaining aspects of the German language is how it seems, at times, like the duties of naming animals was given to a five-year-old. A bat is a “flying mouse” (Fledermaus), a skunk is a “stink animal” (Stinktier), a groundhog is a “mumbling animal” (Murmeltier), and—my personal favorite—a slug is a naked snail (Nacktschnecke).

Silvesterpunsch
As mentioned elsewhere on this blog, the East German government had a rocky relationship with musicals. The inherent frivolity of the genre clashed mightily with the government’s philosophy that every film should promote good socialist values. At the same time, musicals were popular with the public in the fifties on both sides of the Iron Curtain. In 1958, DEFA made its first musical, My Wife Wants to Sing, and the film was temporarily shelved due to its apparent lack of a distinct socialist message. When it was released it was a big hit and helped open the doors to the musical form.

In 1959, The Punch Bowl (Maibowle), a light comedy directed by Günter Reisch, was released. The Punch Bowl follows the adventures and misadventures of the Lehmann family after the family patriarch Wilhelm Lehmann is scheduled to receive a Banner der Arbeit (Banner of Labor) medal for his leadership of the Grünefeld Chemical Plant. Director Reisch was careful to make sure that there was a solid socialist message here. The film was approved and was a hit. So director Reisch decided to up the ante slightly with New Year’s Punch (Silvesterpunsch), a sequel that starts in the same comic vein as the first film, and then turns into a full-on musical.

In structure, it is similar to the films of the musicals of the thirties and forties, where people spend most of the movie planning for a big stage show, which is revealed as the finale. The biggest difference here is that the musical numbers here are aimed at promoting the importance of chemistry to the development of the state. Included in the numbers are an ode to Calcium Carbide and the joys of polymerization. Like modern musicals—but very unlike the Hollywood musicals at the time—the singing never spontaneously erupts with an invisible orchestra. If someone sings, there is a reason, and there are musicians present, no matter how illogical that may be. Most of the singing and dancing is saved for the grand finale, which culminates in the celebration of the New Year Eve (which is called Silvester in German, hence the title).

Silvesterpunsch

Heinz Draehn and Christel Bodenstein reprise their roles from The Punch Bowl as Franz and Suse Lehmann, as do Erich Franz and Erika Dunkelmann as the parents. The other Lehmann children form the first film, and there were several, are replaced this time around by Michel, played by Achim Schmidtchen, an aspiring trumpet player. The story takes place at the Grünefeld Chemical Plant of the first film. The work force is evenly divided between fans of the arts and fans of sports. Since both of things were very important to East German culture, it is important (and inevitable, really) that both of these groups eventually learn to get along.

Christel Bodenstein—a dancer before she became an actor—gets to demonstrate her skills here (although I suspect a double was used for the ice skating scenes). At one point, she dances on a narrow, slightly bouncy tabletop en pointe—something I wouldn’t recommend anyone to attempt. Bodenstein is best known for her part as the selfish princess in The Singing, Ringing Tree, but she appeared in many other popular East German films and television shows. After the Wende, her career on television and films essentially ended. Her role in the Mario Adorf mini-series Die Kaltenbach-Papiere (The Kaltenbach Papers) was her last role in front of a camera. Since then, she has devoted her career to the stage.

Karin und Kristel

New Year’s Punch marks the debut of Karin Schröder. Best known for her role in Beloved White Mouse, which starred East German comedian Rolf Herricht. Schröder appears in New Year’s Punch with dark hair and a short, tomboy haircut, but still looks every bit as adorable as she did in the Rolf Herricht comedy. Schröder was originally trained as a certified stenographer, but director Günter Reisch immediately saw her potential and used her often (for more on Reisch, see A Lively Christmas Eve). She appeared in a number of television shows and movies in East Germany, and continued her career after the Wall came down, Most recently, she appeared as a recurring character in the German TV show, Alles Klara.

The cinematographer for New Year’s Punch was Karl Plintzner, whose color work here and elsewhere rivals the work of the great Leon Shamroy. Plintzner got his start as an assistant cameraman shortly before the beginning of WWII. After the war he joined DEFA as a cinematographer, working first on Wolfgang Staudte’s The Adventures of Fridolin (Die seltsamen Abenteuer des Herrn Fridolin B.), and then on Erich Engel’s The Blum Affair. Plintzner showed a special knack for color right off the bat with his work on the Ernst Thälmann films, but it was The Singing, Ringing Tree where he really got to let loose with colors so vivid they’ll make your eyes bleed. For health reasons, he retired in 1965. He died on December 7, 1975 in East Berlin.

Silvesterpunsch

The music for New Year’s Punch was composed by Helmut Nier. Nier was the founder of the Association of Composers and Musicologist in the GDR (Verbandes der Komponisten und Musikwissenschaftler), whose stated purpose was to maintain and develop the musical culture of the GDR, as well as ensure that composers received proper credit and compensation. As a composer, Nier never matched the talent of Karl-Ernst Sasse or Gerd Natchinski. The songs in New Year’s Punch are entertaining enough, but not particularly memorable. Nier was better at serious scores. His soundtracks for Spur in die Nacht (Trace in the Night), The Baldheaded Gang, and Black Velvet are far more compelling than any of his work on comedies and romances. As with many of the East German’s who worked for DEFA, his career in films ended after the Wende. Nier died in 2002.

In terms of musicals, New Year’s Punch comes closer to the Western concept of what a communist musical would look like than the other musicals from DEFA. The politics of socialism and the GDR’s love affairs with sports and culture are never far from the storyline in this film. This doesn’t really distract from the story however, and, as light as this romantic comedy is, it’s a pretty entertaining piece of fluff.

IMDB page for the film.

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