Archive for the ‘Fantasy’ Category

Three Hazelnuts for Cinderella
Three Hazelnuts for Cinderella (Drei Haselnüsse für Aschenbrödel) was a co-production between East Germany and Czechoslovakia. DEFA made twelve films in co-production with the ČSSR’s Barrandov Film Studios. Some of these movies look like East German films, while others seem very Czechoslovakian. Three Hazelnuts for Cinderella falls squarely in the latter category thanks to the strong aesthetic influence of director Václav Vorlícek. As soon as it starts, you know you’re not watching a DEFA fairytale film. Gone are the bright reds and blues, replaced with shades of brown and white; the leads have brown eyes instead of blue; and the music is more orchestral than most other DEFA fairytale films.

The film is based on a Czech version of the Cinderella story written by Božena Němcová. Němcová was an interesting character who hung out with the Bohemians (the original Bohemians), smoked cigars, and had several lovers. She was an important figure in the Czech National Revival movement of the early nineteenth century, a movement that sought the re-invigoration of the Czech language, which, at the time, was in danger of being abandoned in favor of German. The Czech writer Milan Kundera called her “the mother of Czech prose.” Like the Brothers Grimm in Germany, Hans Christian Andersen in Denmark, and Charles Perrault in France, Nemcová is a national treasure whose books of fairytales have inspired generations of Czech children.

Three Hazelnuts for Cinderella was released in the States under the title Three Wishes for Cinderella, and later shown on television as Three Nuts for Cinderella.1 The story follows the familiar pattern of the other versions of Cinderella (called “Popelka” in Czech), with Cinderella suffering under the yoke of an evil step-mother, and finally meeting and marrying the prince. There’s only one step-daughter here, and no fairy godmother. The glass slipper is replaced with an ordinary pump, and nothing special happens at midnight. Cinderella leaves the ball because, well, because. This Cinderella has a lot more spunk than Disney’s blonde-haired maiden. Although she it still oppressed by the step-mother, she never bends. She is her own woman, equal to and in most ways superior to the prince she marries. The most magical element in the film comes by way of a twig holding the three hazelnuts in the title. Each hazelnut provides a different costume, which keeps the prince confused as to whom he’s dealing with. One major difference from the original story is that in Nemcová’s story, the father is still alive, he just a craven coward who won’t stand up up to his new wife. He seems to care as little about Cinderella as the stepmother does.

Cinderella

The movie was originally slated to be filmed in the Summer, but the DEFA crew was already busy working on other projects, so production was pushed back to the Winter. This meant filming had to be done in deep snow and freezing temperatures. It did make for some beautiful settings, though. Later on, when the production moved to Moritzburg Castle, the snow was gone, so the crew had to find a realistic looking artificial snow. They settled on pounds and pounds of fish meal, which, according to those who were there, stank to high heaven.

Director Václav Vorlíček was already a well-known director in Czechoslovakia. His first big hit was in 1966 with Who Wants to Kill Jessie?—an odd film that parodies comic book superheroes in a manner similar to the Batman television series of the same year. His 1972 fantasy film The Girl on the Broomstick (Dívka na koštěti) was also popular and led to him directing the DEFA/Barrandov co-production. After that, Vorlíček became known for his comedies and fantasy films. He often worked with fellow Czech director Miloš Macourek, who wrote the scripts for several of Vorlíček’s movies. In 1979, he and Macourek created Arabela, a half-hour kid’s show about a fairytale princess who escapes into the real world, predating shows such as Once Upon a Time and Grimm.

In casting Cinderella, director Vorlíček went above and beyond the call of duty, looking at over 2,000 potential applicants. Eventually the Czech actress Libuše Šafránková was chosen for the part, and it’s easy to see why—a better Cinderella is hard to imagine. Šafránková had appeared in a few television shows and films prior to this film, but in minor roles. Three Hazelnuts for Cinderella put her on the map and she went on to have a successful career on stage and screen, up through and after the Velvet Revolution. She retired in 2015 after being diagnosed with lung cancer and having part of her lungs removed.

As was often the case with the DEFA films that featured cast members from different countries, the actors spoke their parts in their own languages, and were then dubbed into each language as needed (see Goya). The one exception was Pavel Trávníček, who played the prince. It was only his second film role and he still spoke with a thick, Moravian accent, so he was dubbed in both Czech and German. Since then, however, he has apparently mastered the subtleties of the Czech language because he is often called upon to dub Hollywood films, giving voice to actors such as Terence Stamp, Alain Delon, and Alan Alda. Three Hazelnuts for Cinderella was the first time Trávníček played a prince, but it wouldn’t be the last. He went on to play a prince in several more movies, including the DEFA film, Snow White and Rose Red (Schneeweißchen und Rosenrot).

Cinderella

In the credits at the beginning of the film, the screenplay is credited to Bohumila Zelenková. The real author was František Pavlíček. Pavlíček was a superb screenwriter, best known for the classic Marketa Lazarová, but he had been highly active in the Velvet Revolution, which made him something of a persona non gratis, especially in the Soviet-loving GDR. Bohumila Zelenková was a competent screenwriter, whose work includes a Dark Shadows-like TV movie based on Sheridan LeFanu’s short story The Room in the Dragon Volant (Hostinec U létavého draka), but she didn’t write Cinderella.

The music for the film was composed by Czech composer Karel Svoboda. Svoboda was on track to become a dentist when he was young, but, according to him, “My parents made a huge mistake—they bought me a piano.” He joined a rock band, and soon was composing songs for others. In the sixties he worked with the Laterna magika in Prague. This brought him to attention of Pavel Juráček, who hired Svoboda to write music for his first film, Kazdy mlady muz (Every Young Man). But it would be five more years before Svoboda’s career as a film composer really got started. In 1973, Svoboda starting working with Václav Vorlíček, and the two went on to make several films together.

The soundtrack for Three Hazelnuts for Cinderella was performed by the Prague Symphony Orchestra and was released on LPs in East Germany and Czechoslovakia. The German version of the soundtrack is instrumental, while the Czech version features songs sung by Karel Gott, who was known as the “The Golden Voice from Prague.” Svoboda also wrote several songs for Gott, including the popular theme song from the German version of the Japanese children’s show Maya the Bee.

Although successful as a composer, Svoboda’s personal life was fraught with sorrows. His first wife of 24 years died of cancer. Svoboda remarried, and had a daughter. Four-and-a-half years later, the daughter died of leukemia. In debt and getting sick, Svoboda finally decided to end things. In January of 2007, he went into his garden and shot himself.

The Barrandov Studios continues to function. Like the DEFA Studios in Babelsberg, they have become popular with American directors looking for grittier locations than Hollywood can provide. Moritzburg Castle has also gained fame from the film and is a popular destination for couples looking to get married. Artifacts from the film are on display in the castle, including Cinderella’s wedding dress, which was stolen in 2014, and then returned anonymously a few months later.

The film has gone on to become a classic in Germany and the Czech Republic, and is shown every year at Christmastime on television in those countries. This year, it is also being shown with a live orchestra at various venues around Germany.

IMDB page for the film.

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Czech with English subtitles.

Stream film on Veoh (German version).

English subtitles (these subtitles are taken from Czech version, so there are some discrepancies between the German dialog and the subtitles).


1. The film is not, as of this writing, available in America with English subtitles, although the DVD and Blu-Ray disk sold by Icestorm does have German subtitles. It’s easy to find the film online. Veoh has a German-language version of the film, and Subsmax.com has English language subtitles that sync well with the Veoh copy. You can download the video and subtitles, and then either watch the film with a program such as VLC Player, which lets you use subtitles from a separate file, or burn the film and subtitles together onto a DVD. If you are interested, you’ll find more information on my How to Make Your Own Subtitled DVDs page. If you don’t mind voiceover narration, the Three Gifts for Cinderella version is available on YouTube, although the first ten minutes is missing.

© Jim Morton and East German Cinema Blog, 2017. Unauthorized use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Jim Morton and East German Cinema Blog with appropriate and specific direction to the original content.

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How to Marry a King
Right from the opening credits, How to Marry a King (Wie heiratet man einen König?) lets us know that this is not going to be like any DEFA fairytale film that came before it. It starts in the real outdoors, not a film set, with long shots of a woman being kicked out of her house by her father. This is overlaid by credits that go on to list not only the stars of the film, but every animal that appears in it, right down earthworms and a beetle. A few of the animals are even listed by name.

The film is based on the Grimm Brothers fairytale, The Peasant’s Clever Daughter (Die kluge Bauerntochter). Both the film and the story tell of a farmer’s daughter who manages to outwit the local king, a man who prides himself on his cleverness. The king marries the woman, but then discovers she uses her cleverness to countermand his edicts. He banishes her from his castle and tells her she can only take one thing with her, but the woman has one more trick up her sleeve.

How to Marry a King is a tricky story to pull off. On one hand, the king has to be arrogant and full of himself, but he also has to be likable enough to make it believable and understandable that the farmer’s daughter would fall in love with him. That’s a tall order. It works here thanks to the film’s slapstick comedy and Eberhard Esche’s entertaining performance. He is not really a bad person; just a bit full of himself. It’s still a little mystifying as to why she would love him, but considering her environment, I’d say it was partly a case of slim pickings.

How to Marry a King

Looking for all the world like Françoise Hardy here is Cox Habbema playing the Farmer’s Daughter. A Dutch actress, Habbema started her university life as a law student, but then decided to become an actress. She went to East Berlin to perform in a play at the Deutsches Theater in Berlin where she met and fell in love with her co-star, Eberhard Esche. How to Marry a King was Esche and Habbema’s first film together, but it wouldn’t be their last. Esche and Habbema made five more movies together. In 1976, the duo was preparing to make another fairytale film, this time for television, but the plans were scuttled after Ecke and Habbema signed the letter protesting the expatriation of Wolf Biermann. Perhaps because of her law background, Habbema decided to sue DFF and won. She worked on a few more films in East Germany, but like several other of the stars who signed the protest letter, she got tired of the constant surveillance and greylisting and decided to move back to the Netherlands.

How to Marry a King was Rainer Simon’s first feature film, and this is one of the reasons that it looks so different from the previous DEFA Märchenfilme. Simon threw out the rule book on how to film a fairytale. Gone are the flat, under-adorned sets of films such as Frau Holle and King Thrushbeard. Gone are the stage-bound sets of The Singing, Ringing Tree and Little Red Riding Hood. In this film, if something happens outdoors, it’s filmed outdoors. Aside from a few indoor scenes, everything takes place in real environments. Also missing is the every-hair-in-place quality of the previous films. The characters here are messy and ugly. Their clothes are rumpled and look worn in. Some of the people look like they came straight from the paintings of Bosch and Bruegel.

Born in Saxony near the end of World War II, Rainer Simon’s parents were divorced when he was still young, and Simon grew up with his mother. He joined the SED party at seventeen, and went to the film school in Babelsberg in the early sixties. After graduating, Simon worked as an assistant director on Ralf Kirsten’s The Lost Angel and Konrad Wolf’s I Was Nineteen. His first film proposal to DEFA was to make a film of Horst Bastian’s novel Die Moral der Banditen (Outlaw Morality). Unfortunately, his proposal came right after the 11th Plenum, when anything even a little bit daring was considered taboo. His proposal was nixed (although a film of Outlaw Morality would eventually be made by Erwin Stranka in 1976). Simon went on to make several memorable films for DEFA, including How Six Made Their Way in the World, Till Eulenspiegel, and Jadup and Boel, the last of which was banned for seven years in East Germany. His film The Woman and the Stranger won the Golden Bear at the Berlin International Film Festival and introduced him to an international audience. After the Wende, Simon made one more film for DEFA (Der Fall Ö.) before the film company was dissolved. After that, Simon went to Ecuador, where he had previously made the historical drama The Ascent of Chimborazo (Die Besteigung des Chimborazo). There, he made a trilogy of films about the native people in that country. For many years, he was a guest professor at the film school in Babelsberg, and continues to live in the area.

How to Marry a King

Not surprisingly, the East German film review board was not particularly happy with this film. They accused it “formalism”—an essentially meaningless term used when somebody doesn’t like a movie, but doesn’t have a well-reasoned explanation for it. They also felt that the film was not entirely suitable for children. This argument carries a little more weight. It’s quite possibly the only children’s film that features an adult woman swimming in the nude, and the wedding scene is both prolonged and Felliniesque, with a boy urinating in a fountain and a nun getting drunk.

The film managed to squeak by the review board after some positive test screenings. It did well where it played, and probably would have done even better if DEFA had done more to promote it. The film was never shown in the West until after the Wende and has never received American distribution. How to Marry a King sits in a strange place in the world of movies. It is not exactly a kids film, and it is not exactly an adult film either. It is unique and entertaining, and for those reasons alone it should be seen by more people.

IMDB page for the film.

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© Jim Morton and East German Cinema Blog, 2017. Unauthorized use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Jim Morton and East German Cinema Blog with appropriate and specific direction to the original content.

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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© Jim Morton and East German Cinema Blog, 2016. Unauthorized use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Jim Morton and East German Cinema Blog with appropriate and specific direction to the original content.

Godfather Death
[Note: I received a request to do a review of this film from a reader. If there is any East German film out there that you think I should take a look at, feel free to let me know and if I can find a copy I’ll check it out.]

Godfather Death (Gevatter Tod) is based on one of the most interesting fairytales the Brothers Grimm ever transcribed. Unlike most of their stories, the magical elements are kept to a minimum here. People don’t turn into other creatures, no one flies, and aside from appearances by God, the Devil and the Grim Reaper, most of the story deals with human foibles. At the beginning of the film, we see a man scurrying down the road, clutching a baby in his arms, his thirteenth child. The man is looking for someone who is willing to take on the role of the child’s godfather. He first encounters God, who offers himself, but the man doesn’t want to have anything to do with a supreme being that allows wars and pestilence to exist. Next he meets the Devil, who also offers, having a special fondness for the number thirteen. The man rejects the Devil’s offer owing to the Devil’s inherent deceitfulness, not to mention the character’s squirrelly behavior. Finally, he meets Death, who, unlike the other two, treats everyone as equals. It doesn’t matter to the Grim Reaper if you’re rich or poor, Death is the same for everyone. The man likes this attitude and decides that the Grim Reaper should be godfather to his son. When the boy, christened as Jörg, grows up, Death comes back into his life and shows him when to cure people who are sick and when to let them die. It isn’t long before Jörg decides to trick Death and save the life of someone who is slated to die. After he saves the life of Barbara, the young and beautiful daughter of the mayor, he is shown that her candle is almost extinguished and he would have to make a choice: the life of another for the life of Barbara.

In the original fairytale, it is Jörg’s candle that is extinguished to save the woman, but the DEFA version is even grimmer. An innocent child is sacrificed to save the princess and Jörg must live with the guilt of his decision. Unlike a Disney version of a fairytale, no one in this story lives happily ever after. Death is the only one that doesn’t have a problem accepting the way things are, seeing everything as having a season. It’s a remarkable way to end a fairytale.

Godfather Death is a made-for-TV film that was first shown shortly after Christmas in 1980. Although made for television, the film was produced at the DEFA studios and it shows. Production designer Werner Pieske’s sets look good and Lydia Fiege’s costumes are excellent. It also features a remarkable score by Karl-Ernst Sasse, East Germany’s greatest film composer (for more on Karl-Ernst Sasse, see Her Third). Parts of the score consist of a trio of drums, violin and Jew’s harp. Sasse seems to have a special fondness for the Jew’s harp. He also used it in the score for Blood Brothers. As with most of his scores, much of the music takes its cues from the period in which the story occurs—in this case, the middle ages.

Gevatter Tod

The film was directed by Wolfgang Hübner, who got his start as an actor at DEFA in the early fifties, but switched to directing in 1972 with the TV-adaptation of Radij Pogodin’s play Nur ein Spaß (Just a Joke). Most of his work, both before and after the Wende, has been in legitimate theater and television. He has contributed work to several popular television shows, including Alle meine Töchter (All My Daughters), Jenny & Co., and Um Himmels Willen (For Heaven’s Sake).

Death is played by Dieter Franke, an actor best known for comedy. The son of a stage designer, working as a props man and an extra in the theater in Greiz. He started working in films and television after he came to Berlin in 1963. Over the years, he played everything from an SS man in The Adventures of Werner Holt to the Devil in The Devil’s Three Golden Hairs. He was scheduled to play the car accident spirit in Motoring Tales, but died in 1982 at the age of 48.
Jörg is played by Jan Spitzer. Spitzer’s first film, Farewell, should have been a bigger hit, but it barely made it past the censors, and received only limited distribution. In spite of this, Spitzer went on to have a successful career at DEFA. Since the Wende, he has gone on to become one of the leading voice actors in Germany, often dubbing the voices of Chris Cooper and Danny Trejo.

Barbara is played by Janina Hartwig, who is best known these days as Sister Hanna on Um Himmels Willen. Her first film was Disko mit Einlage (Disco Interlude), followed by several more made-for-TV movies (including this one). She first appeared on the big screen in Der Bärenhäuter (The Bear Skin), another Grimms’ fairytale. Still young at the time of the Wende, and already mostly working in television, reunification had less impact on her career than it did for some of the others at DEFA. She continued working television and has appeared in dozens of TV shows.

Gevatter Tod

Inevitably, with the perspective of history, we can see parallels to the tale here and the fate of the GDR. With its efforts to keep the republic in the hands of the SED, the government had essentially snuffed the life out of its socialist ideals, creating a country that continued to exist after the joy of existence was gone. As it was originally shown on television, there are no box office figures for the film, but it was well received by the critics. As an example of an East German fairytale film, though, it is a bit of an anomaly. It lacks to eye-bleeding colors and over-the-top set designs of the earlier fairytale films. For that reason, it might be overlooked, but it is still worth checking out.

IMDB page for the film.

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YouTube link.

The Tinderbox
Of all the films made in East Germany, the Märchenfilme (fairytale films) fared the best when it came to western distribution. Thanks to kid film friendly companies such as K. Gordon Murray and Childhood Productions, these films were some of the very few that received U.S. distribution. East-West borders seemed to melt away with the Märchenfilme. Fairytales offered a nice neutral territory for both sides. Sure the rich are often the bad guys in the East German films, but they are in the original fairytales too. DEFA’s production standards didn’t hurt either. The films are colorful, imaginative, and well produced.

The Tinderbox (Das Feuerzeug) is based on Hans Christian Andersen’s oddly amoral fairytale of the same name. The story relates the adventures of a poor soldier who helps an old woman retrieve from a secret chamber her magic tinderbox (a lighter, when you come down to it, but “The Lighter” just doesn’t have the same ring). The soldiers decides to keep the tinderbox and later discovers its magic powers just in the nick of time.

The film follows the original closely, but takes a few liberties, sometimes for the better. In the fairytale, the soldier kills the old woman for no reason other than she wouldn’t tell him why she wanted the tinderbox. In the film, she turns into a giant snake and is about to attack him before he kills her, thus betraying her deceit and converting her into a real threat.

Das Feuerzeug

Other things aren’t quite as effective in the films as they are in the original story. In the fairytale, three chests full of coins are guarded by gigantic dogs, with each dog bigger than the last. To accomplish this in the movie, the filmmakers start with a dock-tailed Rotweiler with bat-wing ears pasted on him and projected in split screen to make him look enormous. To create the effect of the dog having “eyes as big as dinner plates” as described in story, large white rings are drawn around the dog’s eyes, and a sparkler effect is added to the eyes optically to make it look more threatening. The end result is more humorous than scary, but, it must be said, this doesn’t interfere with the film’s entertainment value at all.

The Tinderbox is directed by Siegfried Hartmann, who was one of the first directors to come out of DEFA’s Nachwuchsstudio program, intended to teach young directors their craft. He served as an assistant director on The Story of Little Mook, one of DEFA’s first Märchenfilme, and still the holder of the top box office spot for East German films. The Tinderbox was Hartmann’s second film. It was a hit and would affect the course of Hartmann’s career. Although he made films in other genres, he is still best known for his Märchenfilme.

Playing the young soldier is Rolf Ludwig, one of the most popular and charming actors in East Germany. Ludwig got his start in acting during the war. He had joined the German airforce, where he served as a fighter pilot, and was captured by the British. While incarcerated he performed in the camp’s theater group, and was bitten by the stage bug. After the war he started performing in various theater productions. At one audition, he demonstrated his enthusiasm for a role by jumping out a first floor window. Unfortunately for him, the first floor in Germany is what we call the second floor, so he ended up breaking his arm. This act so impressed the producer that he shouted from the window, “You’re hired!”

The Tinderbox

Like fellow DEFA actor, Raimund Schelcher (see Castles and Cottages), Ludwig had trouble with alcohol, admitting at one point, “I’m not a drinker, but a drunk.” Like Shane McGowan of the The Pogues, the quality of his stage performances rose and fell according to the level of alchohol in his bloodstream. Sometimes performances had to be cancelled due to his intoxication. Other times, he went out drunk, and it showed. His autobiography was aptly titled Nüchtern betrachtet (Sobriety considered). Ludwig died in Berlin in 1999.

The special effects for the film were by Ernst Kunstmann and his daughter, Vera. Ernst Kunstmann, as I’ve discussed in previous articles on this blog, is one of the grand masters of cinema effects. His work appears in some of the all-time classics of German cinema, including Metropolis, The Last Laugh, Triumph of the Will, and The Testament of Dr. Mabuse. After the war, he settled in the east and contributed effects to many of DEFA films, including Chemistry and Love, the Ernst Thälmann films, The Silent Star, and all of the early fairytale films. His daughter began working with him in 1957, starting with The Singing, Ringing Tree, but left the field after working on Leute mit Flügeln. Ernst Kuntsmann retired in 1963 after doing the optical effects for Günter Stahnke’s Vom König Midas. He died in 1995.

The Tinderbox comes in at number 16 on the GDR top-grossing film list and it’s easy to see why. It is a fun film that, unlike too many children’s films, is as much fun for adults as it is for kids.

IMDB page for the film.

Buy this film (part of a double DVD set with The Singing, Ringing Tree).

The Flying Dutchman

There is no other film quite like The Flying Dutchman (Der Fliegende Holländer). Part opera, part experimental sound collage, and part avant-garde cinema, it is a surrealistic take on Wagner’s opera that pushed the boundaries of filmmaking at the time. Although there were silent films that used Wagner’s operas and music, and a 1947 Italian film that presented a heavily abbreviated version of Lohengrin, DEFA’s The Flying Dutchman is considered the first attempt to film a Wagner opera in its entirety, although, in point of fact, it too reworks the story to suit both the cinematic medium and the political viewpoint of the GDR. It was directed by opera director, Joachim Herz, who, perhaps because it was his first (and only) film, opted to experiment with state-of-the-art sound and film techniques.

Director Herz dramatically changes Wagner’s opera from one about a ghostly event to the reveries of a young woman named Senta who is infatuated with the story of the Flying Dutchman. To separate reality from Senta’s imagination, Mr. Herz uses two different film aspect ratios—a technique most recently seen in Wes Anderson’s The Grand Budapest Hotel (although Anderson used three). Whenever we are watching Anna in the real world, the aspect ratio is the 1.667:1 an aspect ratio common to European films since the late fifties.1 When the film shifts to Senta’s dream world, the screen slowly opens up to the 2.35:1 dimensions of DEFA’s Totalvision (the same as Cinemascope). In other films that use multiple aspect ratios, the change in screen aspect is handled as edits, but Herz wanted these switches in perspective to flow like the film’s lush score. To do this required sophisticated in-camera techniques involving animation frames and an American Mitchell camera that accepted double reels (described in detail in one of the PDF files included with the film). This process meant that everything had to be shot with the larger format while the animation frame was simultaneously running through the camera. That this worked at all is a testament to cinematographer Erich Gusko’s skill with a camera.

Mr. Gusko got his start working on documentaries, where he quickly made a name for himself. He became an integral part of the Statcheltier film team (the short, satirical films made to screen before the main features). Working with Richard Groschopp and Joachim Hasler, he honed his craft, shooting 27 of the Statcheltier films and, in the process, becoming one the best and most sought-after cinematographers in the GDR. This fact worked against him in 1965, when he was chosen by Kurt Maetzig to film his classic, The Rabbit is Me. When the film was banned after the 11th Plenum, and singled out as the poster child for everything that was wrong with DEFA filmmaking in 1966, Gusko’s career stalled. The next film he worked on, Kurt Maetzig’s Das Mädchen auf dem Brett (The Girl on the Board), was intended for theaters, but ended up screening on television instead, as did his next two films. He was finally allowed back into feature film production with Siegfried Kühn’s Zeit der Störche (Time of the Storks). The next film he worked on, Her Third, raised some eyebrows, but managed to make it past the censors anyway. Mr Gusko continued to work throughout the seventies and eighties, but with the fall of the wall in 1989, his career ended. He made one for film for DEFA after Germany’s reunification, but reunification marked the end of his career as a cameraman.

The Flying Dutchman

As if its trailblazing cinematography weren’t enough, the decision was made to use four-channel magnetic sound instead of the optical, mono soundtrack common to films at the time. 4-track mag had been introduced at the same time as CinemaScope, but only a few DEFA had used it so far, mostly notably, The Silent Star. There were few films more deserving of the full four-channel magnetic sound treatment that The Flying Dutchman. After all, the music was by Richard Wagner, who spent most of career pushing the limits of opera and the human voice. He would have loved the idea that his work was still pushing boundaries in 1963.

Of course, Wagner’s notorious and undeniable antisemitism was a topic of much discussion after WWII, especially in East Germany where they were less inclined than the west to forgive anything that smacked of National Socialism. His music was undeniably beautiful, and brides all over the world still walk down the aisle to the Bridal Chorus from Lohegrin, but, let’s face it, as a person, he was a nasty piece of work (entertainingly captured by Richard Burton in the 1983 mini-series). But Wagner’s music was greater than the man who made it. The power and beauty of the music trumped Wagner’s misguided philosophy. As a political thinker, he was a bit of a nitwit, but he sure could bang out a good tune. Nonetheless, there are still musicians who refuse to play his music.

By framing the story as a dream, Joachim deftly leaps over DEFA’s aversion to supernatural elements in films. Horror is the one genre that the East Germans never tackled. There are horror films from Communist Poland (Lokis: Rekopis profesora Wittembacha, Diabel, and Wilczyca), and from Czechoslovakia (Vlci bouda, Prazske noci, and Ferat Vampire—about a car that drinks blood, starring Václav Havel’s wife), there is even one from Soviet Russia (Viy), but there are none from the GDR. One could argue that some of the Märchenfilme qualify as horror movies (The Singing, Ringing Tree certainly comes close), but The Flying Dutchman is the first, and only East German film to present zombies that look like extras from Night of the Living Dead. The scene occurs after the townspeople, full of ale and good cheer, go down to the Flying Dutchman and try to rouse the crew to come join them. This proves to be a mistake since the crew is dead. Soon the townspeople find themselves trapped in the inn, surrounded by rotting corpses. This scene, in particular makes good use of the four-channel sound, enveloping the audience in the sounds of the crowd.

The Flying Dutchman zombies

Playing Senta is Anna Prucnal, a Polish actress who was starting to make a name for herself in her home country. She didn’t speak any German, but that hardly mattered since her only mouth movements involved lip-synching to a pre-recorded opera score (sung by Gerda Hannemann). Since much of the singing occurs only in her head, Ms. Prucnal’s character spends a lot of screen time simply staring longingly into the distance. With this in mind, it’s easy to see why Mr. Herz chose Ms. Prucnal. With her striking features and enormous dark eyes, she is a good choice to play the wistful Senta. In spite of her lack of German language skills, she went on to star in a few more East German films including Reise ins Ehebett (Trip to the Nuptial Bed), Unterwegs zu Lenin (On the Way to Lenin), and Jede Stunde meines Lebens (Every Hour of My Life).

In 1970, finding that roles in Polish and East German films were diminishing, Ms. Prucnal moved to France, where she started working in theater, performing in the plays of Bertolt Brecht and other avant garde playwrights. In 1972, she made her biggest splash as Anna Planeta in Dusan Makavejev’s outrageous Sweet Movie. Even after forty years, this film still manages to shock audiences with its sexually over-the-top, two-pronged attack on both capitalism and communism. The Polish authorities were not amused and had Ms. Prucnal’s passport revoked, effectively exiling her from her homeland.

While in France, Ms. Prucnal developed her career as a singer. She has released several albums, primarily in French, and she is now better known as a singer than as an actress. She rarely appears in films these days, but continues to release records and occasionally work on stage, most recently at the Vingtième Théâtre in Paris, where she recited works by Jean Cocteau.

The Flying Dutchman

Also worth mentioning here is the film’s choreographer, Ruth Berghaus. By the time this film was made, Ms. Berghaus was already well-known for her choreography and made a big splash the same year the film came out with her choreography of the battle scenes in Brecht’s adaptation of Corialanus. She would eventually go on to become better known for her opera and theater direction than Mr. Herz. Like Mr. Herz, Ms. Berghaus grew up in Dresden, where she studied modern dance under Wolfgang Langhoff. In 1951, she started working as a director at Staatsoper Unter den Linden in Berlin, where some of her productions are still being used. She was married to composer Paul Dessau whom she met while working on the stage adaptation of Brecht’s radio play, The Trial of Lucullus, for which Dessau had written the music. As choreographer, Ms. Berghaus’ work involved not just the people in the scenes, but the choreography of the crew as well—all part of Joachim Herz’s vision for the movie. In short, everything about the film had to flow and move seamlessly.

At the premiere screening of the film, everything that could go wrong did. The sound system at the theater broke down, leading to either no sound, or screeching. As good as 4-track mag sounded, it was also more prone to playback problems and issues inherent in magnetic sound, such as hiss. Whether because of the sound problems that occurred with the initial screenings, or the entire process of filmmaking, Joachim Herz never made another movie, preferring instead to do his directing on the opera stage. Too bad, because if this film is any indication, Joachim Herz would have been a major force in experimental cinema.

IMDB page for this film.

Buy this film.


1. Interviews with the cinematographer and the director, and other essays about this film cite the smaller aspect as Academy standard, which is 1.37:1. My tests found this not to be the case.

Heart of Stone
On December 8, 1950, DEFA, East Germany’s state-run movie studio, released its first color film. The film was shot in Agfacolor, which was developed for the Nazis to compete with Technicolor. After the war, there was enough color film stock at the AGFA plant in Wolfen to make a few movies, but the Soviets claimed it as compensation for the war. They took it Russia where it was used to make the first Russian color film, The Stone Flower (Каменный цветок). Meanwhile, back in Germany, the folks at DEFA were stuck with in a black-and-white world. Black-and-white worked great for the bleak, almost noir Rubble Films, but not so well for musicals and kids’ films, where they had to compete with the likes of Hollywood. Eventually, the Soviets were able to produce their own version of Agfacolor film (Sovcolor) and DEFA again had access to color stock.

In the west, the Allies—and especially the United States—continued to throw up roadblocks to keep the West Germans from making movies. Films were such an important part of Hitler’s war machine, they argued, that it was better if the Germans were just not allowed to make any more movies at all. Instead, Hollywood films were imported for screening in German cinemas, sometimes without subtitles. This lined the pockets of the Hollywood producers, but only served to infuriate the German public, many of whom spoke no English at all back then.

The Soviets had a very different take on the subject. They had already seen the power of film as a tool for proselytizing with movies such Battleship Potemkin and Mother. Rather than block film production in the Soviet sector, they encouraged it, and helped found DEFA. As a result, before the dust had settled from the war, DEFA was up and running, producing its first film in 1946 (The Murderers Are Among Us).

Because of the U.S. resistance to film production, ambitious German filmmakers in the Allied sectors headed east to get their movies made. This was, of course, a great publicity coup for the Soviets, but it also meant that some of the films made during this period were DEFA in name only. They looked and felt like West German films. In fact, some of them looked and felt like Third Reich-era UFA films—minus the anti-Semitism, of course.

A perfect example of this is Heart of Stone (Das kalte Herz). Anyone watching this film for the first time would logically assume that it was made in West Germany. It has all the characteristics we have come to expect of West German films—the handsome, über-blond hero, the affinity for traditional folk festivals and clothing, the scenes of nature accompanied by gushingly romantic music. It’s all there. A quick rundown of the cast shows that nearly everyone who worked on this film came from West Germany. A few worked on other DEFA films during the early years, but most did not. Nonetheless, it’s an important film in the history of East German cinema. It is not only the first color film made in the GDR, it is also the first in what would become a long line of East German Märchenfilme (fairytale films).

Heart of Stone tells the story of Peter, a young man who works as a collier—a meager existence if ever there was one. Fed up with his lot in life, and wishing to impress the beautiful Lisbeth, he goes into the forest to make a deal with the Glassman (Glasmännlein) a leprechaun-like character that can grant wishes for any children born on Sunday. There, Peter meets Dutch Michael (Holländer-Michel), an ominous giant who tells Peter that he can make him a rich man if Peter is willing to give up his heart. Dutch Michael keeps the hearts of local rich men pinned to a wall like a butterfly collection. He tells Peter he will replace his heart with one made of stone. At first, Peter balks at this suggestion, preferring instead to continue looking for the Glassman. He eventually meets the Glassman and gets his three wishes, but the frivolity of his wishes come back to bite him, so Peter rethinks his strategy and goes looking for the evil Dutchman to broker a new deal.

This film is based on a fairytale by Wilhelm Hauff. Hauff wrote three books of fairytales, and this story appeared in two parts in the last of these books. It was translated into English and published under its literal title translation—The Cold Heart—as the second of two stories, along with The Marvellous History of the Shadowless Man by Louis Adelbert von Chamisso. This edition is now available at the Project Gutenberg website as a free download. The movie follows the story the fairytale closely, although in the fairytale, Lisbeth does not show up until late in the story, and the scene where Peter uses a glass cross to stop Dutch Michael is removed entirely from the film—no real surprise there, considering Marxist philosophy’s antipathy toward religion.

Hauff’s stories are still popular in Germany and many have been turned into feature films and cartoons. Heart of Stone has been filmed at least three times; two of his other fairy tales, The Story of Little Mook and Zwerg Nase (Little Longnose), have been filmed five times each. Hauff also wrote the notorious Jud Süß, which was the basis of the virulently anti-Semitic film made by Veit Harlan for the Nazis, although, it must be said, the Nazis took many liberties with Hauff’s story, with the most notable one being the fact that Hauff’s character discovers he is not a Jew at all.

Director Paul Verhoeven was already an established actor and director when he came to DEFA to film this project. He got his start in films during the Third Reich, when he both acted and starred in several motion pictures. After the war he managed the Bavarian State Theater until 1948, when he returned to cinema to film his play, Das kleine Hofkonzert (Palace Scandal). Thereafter he continued his career as an actor/director until the early seventies.

Oddly, Paul Verhoeven died of heart failure while giving a eulogy on the stage at the Munich Kammerspiele during a tribute for the famous Munich actress Therese Giehse (best known to U.S. audiences as the headmistress in Mädchen in Uniform). Verhoeven stood up, began the obituary, and keeled over dead.

Verhoeven’s son, Michael Verhoeven became a filmmaker in his own right, directing the excellent films, The Nasty Girl and The White Rose. Michael is married to the beautiful Senta Berger. Paul Verhoeven’s daughter, Lis Verhoeven, became an actress and has appeared in many German films. She was briefly married to the great German actor, Mario Adorf, and their daughter, Stella Adorf is now also an actress. Paul Verhoeven is not related to the Dutch director of the same name.

Lutz Moik

Lutz Moik plays Peter the collier. He does an admirable—if somewhat melodramatic—job of portraying the young man and the changes he goes through. His transformation from the naive, warm-hearted proletarian to the greedy, cold-hearted capitalist is a Jekyll-and-Hyde performance. He doesn’t even look like the same person. Mr. Moik was born in Berlin, and began his acting career during the waning days of the Third Reich, working at first on radio, and later appearing in movies. He was in a few early DEFA films including Und wenn’s nur einer wär’… (And If Only…) and 1-2-3- Corona. Eventually, he settled on the western side of the wall where he continued work as an actor and a dubber for many years. He died in 2002 in his hometown of Berlin.

Playing Lisbeth,was the lovely Munich-based actress, Hanna Rucker. Ms. Rucker began her career as a theater actress, appearing in several productions in the Munich Kammerspiele. A year before appearing in Heart of Stone, she made her film debut in the West German Rubble Film, Wohin die Züge fahren (Wherever the Trains Travel). Throughout the fifties, she starred in several West German films, including Unter den tausend Laternen (Under a Thousand Lanterns), San Salvatore, and Heiße Ernte (literally, Hot Harvest). She retired from films in 1956 at the age of 33, when she married producer Mo Rothman and moved to England with him. Although they later divorced, Ms. Rucker stayed in England until the end of her life and never made another motion picture.

The two spirits of the woodlands—the Glassman and Dutch Michael—are played by Paul Bildt and Erwin Geschonneck respectively. Paul Bildt was already a well-respected actor by the time this film came out. He had been acting in films since 1910, and also appeared in a few DEFA films during the forties. But Heart of Stone was his last film for DEFA. After this, he moved to West Germany, where he continued to appear in movies until shortly before his death in 1957 (for more on Paul Bildt, see Razzia). Erwin Geschonneck, on the other hand, was a relative newcomer in 1950, but he steals every scene he’s in. By the end of the GDR’s existence, Geschonneck had become the most beloved actor in East Germany (for more on Erwin Geschonneck, see Carbide and Sorrel).

The cinematography was by two of the best technicians working in East Germany at the time—Ernst Kunstmann and Bruno Mondi. Mr. Kunstmann was primarily known for his special effects, and was most likely the man behind the camera in the scenes the featured Dutch Michael. Like Paul Bildt, Mr. Kunstmann’s career stretches back to the silent days, where he worked with special effects pioneer Eugen Schüfftan on Metropolis to help create the ground-breaking special effects for that film. During the thirties Mr. Kunstmann worked with Leni Riefenstahl on Triumph of the Will and Josef von Báky on The Adventures of Baron Munchausen. After the war, he decided to settle in East Germany, where he contributed special effects for many classic DEFA films, including Chemistry and Love, The Story of Little Mook, The Singing, Ringing Tree, and The Silent Star.

Bruno Mondi also got his start during the silent era, beginning with Fritz Lang’s Destiny. He worked on many films during the Third Reich years, including Veit Harlan’s notorious Jud Süß. He was the man in charge of the color photography on Kolberg—Veit Harlan’s hugely over-budget spectacle, which cost the Nazis dearly. After the war, Mondi worked on a few East German films, but he was a West German at heart. Heart of Stone would be his last East German film. He found his calling in the mid-fifties with the über-schmaltzy Sissi films, which virtually defined the Heilmatfilm.

Heart of Stone was one of the last of the West German-led DEFA productions. A little over a year earlier, both the east and the west declared themselves as to be sovereign states. This is what finally ended the U.S. resistance to West German filmmaking. Prior to that, American film moguls had already been protesting the distribution of DEFA films overseas and were trying to get them to stop. But once the Allied sectors and the Soviet sector became separate and opposing states, any potential negotiations over whether DEFA had the right to distribute its film in South America were off the table. By this time, America was so rabidly anti-communist that the very mention of the word could make some senators start foaming at the mouth. The U.S., they argued, had to do everything it could to make sure that the Bundesrepublik outperformed the GDR.

The U.S. dropped its restrictions and did everything it could to promote economic growth in every sector of the West German economy. The result was the Wirtschaftswunder—a period of economic growth that pulled West Germany out of the rubble and back into the twentieth century. West Germany began to thrive while the enforced stagnation of the SED began to takes its toll on East Germany.

While Heart of Stone certainly falls into the category of DEFA in name only, its importance to film production in the GDR cannot be underestimated. It was released right before Christmas and was huge hit on both sides of the borders. DEFA had, quite by accident, stumbled on the perfect genre for making films that the west wouldn’t find objectionable, but still had a socialist moral to them, and were suitable for the whole family—the Märchenfilme. After all, the rich were usually the bad guys in fairy tales, while the poor were often the heroes. Before the Wall fell, East Germany made dozens of these Märchenfilme, which were distributed throughout the world and translated into many other languages, including some in English for the British and American markets (see The Singing, Ringing Tree and The Golden Goose).

IMDB page for this film.

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YouTube version of the film.

Separate English subtitles.1


1. Whenever possible, I try to provide those readers who don’t speak German with links to subtitled versions of the films. The main source for these in America is, of course, the DEFA Library at the University of Massachusetts in Amherst. Sadly, Heart of Stone is not one of the films that is currently available. In the meantime,I have created subtitles for this film that are currently only available here. For more information on how to use these subtitles to enjoy the film, visit Pop Void.

Chemistry and Love

The Silent Star is sometimes cited as the first East German science fiction film, but that is not entirely correct. Before the state was officially founded, when it was still known as the Soviet Sector, DEFA put out its first science fiction film—Chemistry and Love (Chemie und Liebe). It’s a breezy comedy that takes place in the imaginary country called “Kapitalia,” where profits count for everything. A young scientist invents a way to turn grass into butter without the intervening cow and soon capitalists and their hired golddiggers are wooing him from every corner.

As with many of the films from DEFA’s Soviet Sector days, Chemistry and Love is virtually a West German film. The director, stars, and much of the technical staff hail from West Germany, driven to the Soviet Sector more out of necessity than political solidarity. Until the early fifties, the Office of Military Government, United States (OMGUS) was intentionally hobbling the German film industry in the western sectors. The ostensible reason for this was to prevent the reactivation of Nazi sympathies through the use of motion pictures, but the real reason was to help the U.S. film industry increase its revenues in Europe. The Soviets had no reservations about promoting films, the medium having helped galvanize the communist revolution in Russia. Thus, DEFA was founded just one year after the war ended. By the end of the forties, East Germany had a thriving film industry while West Germany languished under Allied restrictions. It was only after the distribution of DEFA films to Latin American countries that the U.S. started to rethink their ban on German filmmaking. Had DEFA not existed, most likely it would have taken several more years for West Germany to develop a film industry.

Chemistry and Love resembles the risque type of stage farce known as “Boulevard theater.” It also bears some resemblance to the American Screwball comedies, but without the manic energy and overlapping dialog. While the story does have some socialist themes, stylistically it has more in common with UFA than the films normally associated with DEFA. This film could as easily been made in Munich at anytime after 1933.

The story for this film came from a rough draft by Hungarian film theorist, Béla Balázs. The screenplay was written by Frank Clifford and Marion Keller. Clifford’s real name was Hans Heinrich Tillgner, but he changed it to Frank Clifford during a visit to the States, because Americans had trouble with his real name (although how anyone could have trouble with “Tillgner” is beyond me). From 1930 until 1955, Clifford worked in many capacities in the film industry, serving as producer on René Clair’s classic À Nous la Liberté, and production manager on dozens of films. Chemistry and Love was his first attempt at a screenplay. The following year, he co-wrote two more screenplays for DEFA, but did not continue a career as a screenwriter when he moved back to West Germany. His co-writer, Marion Keller, had an even shorter career as a screenwriter. Chemistry and Love is her only feature film.

The film was directed by Arthur Maria Rabenalt, a Viennese director who got his start in legitimate theater before moving to films. During the Third Reich years, Rabenalt made movies, but maintained an apolitical stance. He continued with this approach after the war, making three films for DEFA, then shifting to West Germany and Austria once those countries had rebuilt their film industries. Rabenalt was the classic studio craftsman director, along the lines of William Beaudine and Edward L. Cahn in the states. His films may lack the flair of better-known directors, but he could churn out competently made movies on schedule and on budget. His catalog contains films of every genre, from romance (Glücksritter) to musicals (Der Zigeunerbaron) to horror (Alraune), but he had a special penchant for sex comedies. He also wrote several erotic novels, as well as books on film theory. he retired from films in the late seventies and died in Wildbad Kreuth in 1993.

Most of the stars of Chemistry and Love also went on to have careers in West Germany. Hans Nielsen (Dr. Alland) starred in dozens of West German potboilers. Tilly Lauenstein (Martina Höller) had played in a couple films before this, but Chemistry and Love was her first starring role. She starred in one more DEFA film, Das Mädchen Christine, which was also directed by Rabenalt, then followed him west to continue her career. She worked primarily as a film actor up until her death in 2002. Alfred Braun, the film’s narrator and one-man Greek chorus, was better known for his work in German radio, both before and after WWII. In 1954, he became the first director of the newly established Radio Free Berlin (Sender Freies Berlin). He died in 1978.

The cinematographer for the film was Bruno Mondi. Mondi had a long and controversial career as a cinematographer. He got his start as one of several cameramen on Fritz Lang’s silent film, Destiny (Der müde Tod). During the Third Reich, he was the man responsible for the camerawork in Veit Harlan’s Jud Süß—considered the most virulently anti-Semitic film ever made—and the color photography in Harlan’s bank-busting Kolberg. He contributed some excellent camerawork to early DEFA films, including Rotation, Der Biberpelz (The Beaver Coat), and Heart of Stone, for which he won the Best Color Cinematography award at the Karlovy Vary International Film Festival. During the fifties, Mondi became known as the master of eye-bleeding Agfacolor, which demonstrated in the gorgeously kitschy Sissi films. He retired in 1965, and died in 1991. His son, Georg Mondi, has followed in his father’s footsteps, working as a cinematographer, primarily in TV.

Chemistry and Love is a unique film in the DEFA catalog. It is western in style but eastern in theme; a science fiction comedy from a company that in later years would never consider such a concept. It is all but forgotten today, but holds an important place in the history of German film history—east and west.

IMDB page for the film.

Buy this film (part of a box set).

Motoring Tales is the title translation used for this film by both the DEFA library at UMass Amherst and Progress Film-Verleih in Germany. The actual title, Automärchen, works better in German. They could have just as easily called it Car Fables, or Auto Stories. If I were a lazy film critic/studio marketing wonk, I would be tempted to describe this movie as “Rumpelstiltskin meets Mad Max,” or “J.G. Ballard meets the Brothers Grimm” It is one odd little film. It is based on a novella by the Czech writer, Jiří Marek, who was better known in East Germany for his Prague-based detective stories. Here, he takes classic fairytale concepts, moves them into the modern world, and puts them on the road.

Motoring Tales is an anthology movie consisting of three main stories. The stories center around a garage visited by the people in the stories. In the first story, a milquetoast in a Trabant gives a ride to a forest fairy with a need for speed. The fairy uses her magic to make the Trabant go like a bat out of hell; a concept that probably caused great mirth among Trabi owners everywhere. Next, a man sells his soul for the gaudiest, most outrageous car imaginable, but—as is always the case—selling one’s soul is never a good idea. And in the final story, the owner of the garage is visited by the personification of automobile accidents who offers to help the garage owner collect spare parts by letting him know when accidents are about to happen. Tying this all together are the daily events at the garage and the relationship between garage owner “Kalle” Sengebusch and his shaggy-haired mechanic, Ali Kuslowski, who has a thing for the garage owner’s daughter. Ali also acts as the narrator of the film, addressing the audience directly between stories.

Jiří Marek, was a member of the Communist Party in Prague, and these stories have strong socialist messages. The characters that pursue western materialism fare worse than those who turn away from things like profit and status. The most pronounced example of this is in the second story, where the man is made penniless by his automobile and is eventually consumed by it. Curiously, a year or two before this film was made, there was a Czechoslovakian film titled Ferat Vampire (Upír z Feratu) about a Škoda sports car that drinks human blood (starring Václav Havel’s wife!). Clearly the Czechs either hold a dim view of the western man’s love affair with the car, or are as obsessed with them as we are (evidence points to the latter).

Motoring Tales was directed by Erwin Stranka, who had a special knack for contemporary fairy tales and the problems of young people growing up in East Germany. With films such as Die Moral der Banditen (Outlaw Morality), Sabine Wulff, Insel der Schwäne (Swan Island) and Zwei schräge Vögel (Two Odd Birds), Stranka explored the lives of social misfits in a world that didn’t care much for that concept. Stranka might have continued making films after the wall came down, but a stroke the same year that Germany was reunited effectively ended his career as a director.

The garage owner was played by Kurt Böwe, one of East Germany’s most successful actors. Born in Gülitz-Reetz in 1929, Böwe moved to Berlin after the war and began studying theater at the Humboldt University of Berlin. After finishing his studies, he worked as a teaching assistant at the the university for six years, while acting in the student theater. Horst Schönemann, the director at the theater convinced Böwe to pursue a career, and for the next few years, Böwe appeared in theater productions at various theaters in Berlin. During the sixties, he moved from the stage to the screen, at first appearing in TV movies and later in bit parts in feature films. His first starring role in a feature film came with Konrad Wolf’s Der nackte Mann auf dem Sportplatz (The Naked Man on the Athletic Field). Unlike many of his East German compatriots, Böwe’s career did not suffer a work lag after the wall came down. He continued working, primarily in television and is better known today for his role as Kommissar Kurt Groth on the popular crime drama Polizeiruf 110 (Police Call 110).

The production design is by Paul Lehmann, whose work ranges from science fiction (The Silent Star) to Indianerfilme (The Sons of the Great Bear and Trail of the Falcon). Lehmann got his start as a set builder in the mid-fifties, moving on to art direction with Günter Reisch’s Maibowle (May Punch) and production design on that film’s colorful follow up, Silversterpunsch (New Year’s Punch). His work on Motoring Tales is mostly logical and mundane, with the notable exception of the devil car in the second story. This mauve monstrosity is like nothing you’ll ever see, and is as important a character in the film as any of the actors. Sadly, the credits offer no information as to who actually built the thing (possibly set builders, Regine Fritzsche and Jutta Blume). I can’t help but hope that the car still exists, rusting away on a plot of land in rural Brandenburg.

Motoring Tales was made during the final decade of East Germany’s existence Starting in 1978, filmmaking in the GDR took an interesting turn. From 1946 through 1977, the film community in the GDR was subjected to repeated clamp downs on creativity, followed by periods of relative freedom. These restriction relaxations usually ended with the state coming down hard on the filmmakers again. Like a battered wife who has been repeatedly hit and apologized to, filmmakers began to exhibit the odd combination of timidity and rebellion. Things at DEFA got stranger. This was kicked off in 1978 with the release of the psychedelic oddity,  In the Dust of the Stars, and the still shocking TV-movie, Ursula (more on this one at a later date). Films during this period seem less beholding to western aesthetics than those of the previous decades. Some films were still banned (e.g., Jadup und Boel), but other equally challenging films (e.g., Your Unknown Brother) made it to the movie houses. Even Konrad Wolf—who had managed to avoid much of the censorship that his compatriots experienced—pushed things further than ever with his classic Solo Sunny.

Motoring Tales was the perfect film for this era. It manages to be simultaneously bizarre and communistic, and no doubt left the authorities scratching their heads. The word Märchen (fairy tale) in the title probably helped get it onto movie screens—the Märchenfilm was the one genre that the authorities allowed a certain level of frivolity. But in Motoring Tales that fairy-tale frivolity is tempered by a darker view of mankind. Bad things happen, but they are handled so humorously that it they go by almost unnoticed: a woman is blown-up, people die in car accidents, and a man is eaten alive. Alternately dark, clever, didactic, and goofy, Motoring Tales has enough of surprises to keep any fan of oddball cinema entertained.

 

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Most East German films received little if any distribution in the west. If you lived in Poland or Russia, you might see some of them pop up in theaters (particularly the Indianerfilme), but only a handful made it to the movie houses in New York and London. There were a few exceptions and the most of these belonged to that oddest of East German film genres: the Märchenfilm (fairy tale film). Märchenfilme started in East Germany with The Cold Heart (Das kalte Herz), made in 1950 by the West German director Paul Verhoeven. During those early days of DEFA and the two German republics, many West German filmmakers found themselves turning to the east to get their projects realized. The western authorities—and in particular, the United States—were in no hurry to get the German movie industry back on its feet. The Cold Heart was successful on both sides of the border and the East German authorities recognized the potential income that this particular film genre had for the state. With their common themes about the importance of helping others less fortunate than yourself and the humbling of the rich, fairy tales fit nicely within the confines of socialist ideology. Better yet, the west didn’t have a problem with these concepts when they were couched in the world of fantasy.

One of the DEFA films that made it west was The Golden Goose (Die goldene Gans), based on the fairy tale by the Brothers Grimm. The film tells the story of a young man who, because of his kindness to an old woman, is given a golden goose. When others lust after the goose’s golden feathers, they become stuck to each other in a long procession behind the young man who is heading to the castle to try and make a sad princess laugh. Lots of singing and general hilarity ensues.

Just as The Singing Ringing Tree had a strong impact on the children of Great Britain, The Golden Goose remains a vivid memory for American children from the same era. This is because the film was purchased for distribution in the U.S. by K. Gordon Murray. Called the “King of the Kiddie Matinee,” Murray was the oddest of exploitation producers. Exploitation film distribution is all about finding a niche that Hollywood is either ignoring or won’t touch, and then making or purchasing films to fill that void. For most producers—people such as David Friedman, Dwain Esper, Kroger Babb, and Louis Sonney—this meant sex, drugs, or both. Murray, on the other hand, sought revenues in European children’s films and Mexican horror movies. His formula was simple: buy a film cheaply, dub it badly, edit it substantially, and distribute it quickly. Most of the fairy tale films that Murray purchased hailed from West Germany, but one exception was DEFA’s The Golden Goose. Later, Murray recycled some of the footage from this film in his 1969 release, Santa’s Fantasy Fair. Eventually, Murray ran afoul of the IRS, and all his films were seized. He was in the process of getting them back when he died of a heart attack. Following Murray’s lead, New York distributor, Barry B. Yellen started Childhood Productions, a company exclusively devoted to kiddie films. Yellin brought more East German films to U.S. movie houses, including The Tinder Box (Das Feuerzeug) and The Brave Little Tailor (Das tapfere Schneiderlein).

The Golden Goose was directed by Siegfried Hartmann, who directed several Märchenfilme for DEFA. He got his start as an assistant director in the early fifties, working on, among other films, The Story of Little Muck. In 1959, he directed The Tinder Box, which was a hit and set him on his career as a Märchenfilm director. All of his fairy tale films are available on DVD through Icestorm Entertainment, although not all have been released in the United States.

The cinematographer was Karl Plintzner, who might be called the Leon Shamroy of East Germany. Had Plintzner lived in the United States, he would have been Frank Tashlin’s favorite cinematographer. His use of color in this film and his others, such as Silvesterpunsch (New Years Eve Punch) and The Singing Ringing Tree, is dazzling; almost to the point of excess. He is helped in this regard by costume designer Ingeborg Wilfert’s brightly colored outfits, and Georg Kranz’s and Hans-Jörg Mirr’s theatrical art direction.

Although he only composed the music for three feature films (all of them by Siegfried Hartmann), composer Siegfried Bethmann was a successful musician in East Germany who was better known for his march music than his film scores. His “Pauken unf Fanfaren” was a popular military march in East Germany, and, more recently, the Belgian trombone player Marc Meyers recorded Bethmann’s “Schottischer Whisky” (imagine “Scotland the Brave” reinterpreted as the theme for Hogan’s Heroes). Peter Snellinckx, conductor of the Royal Band of the Belgian Navy, also recorded two of Bethmann’s compositions: “Scandanavian Rhapsody” and “Hias.” From the available music, it seems as if Bethmann’s major influences were George Gershwin and Bavarian brass bands, an odd combination to be sure. Perhaps his strangest contribution to the music scene though is “Marsch der Fallschirmsportler,” a rousing paean to the joys of skydiving.

While there are other East German Märchenfilme that older viewers will find more entertaining (most notably The Singing, Ringing Tree), The Golden Goose is an congenial little film well suited to young audiences.

 

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