Archive for the ‘Nachwuchsgeneration’ Category

The Teleplays of Christa Kulosa

Posted: September 7, 2019 in Comedy, DFF, Feminism, Frauenfilm, Iris Gusner, Nachwuchsgeneration, Pop Culture
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Nina Hagen
A popular format on East German TV was the teleplay. These were videotaped on stage in front of a live audience. In America, you’ll see this most often with sitcoms such as Cheers or I Love Lucy. Similarly, these East German teleplays were mostly comedies, but were unique, one-hour to hour-and-a-half shows rather than series episodes. In form, they were closer to the live theater broadcasts shown on PBS. They called them Fernseh-schwänke. Examples of these shows include Ein Hahn im Korb, Heute Ruhetag, and Nicht kleinzukriegen.

Two good examples of this type of teleplay are Marriage/Female (Heiraten/Weiblich) from 1975 and Trabant for Sale (Trabant zu verkaufen) from 1981. Both were directed by Christa Kulosa, and they are also her first and last productions as an East German television director.

Christa got her start in 1966, working as an assistant director in the entertainment division of DFF (Deutscher Fernsehfunk—East Germany’s state television station). In 1968, she enrolled at the University of Film and Television in Babelsberg (now the Konrad Wolf Film University of Babelsberg), to study directing, receiving her degree in 1972. By this time, the DFF had changed its name to the Fernsehen der DDR (Television of the GDR). As is too often the case, it took the folks at DDR-FS a while to trust a production to a woman.1 At first, she worked as an assistant director next to talented directors such as Wolfgang Luderer, Hans Knötsch, and Günter Stahnke. Stahnke was the most talented of the bunch. In 1965, he made the now-classic Spring Takes Time, but the 11th Plenum banned the film and Stahnke was relegated to directing Fernseh-schwänke for the rest of his career.

Then, in 1975, Christa finally got her chance to direct the comedy Marriage/Female.

heiraten/weiblich

Marriage/Female

All the action in this teleplay takes place in the apartment of three generations of women. The grandmother, Frau Wiedemann (Marianne Kiefer), the mother, Gisela Pohl, and her daughter Hannelore flit in an out of the apartment throughout the show. The teleplay is shot on a stage in what appears to be a traditional theater setting. Frau Wiedemann is being coyly courted by the building’s super Wollenschläger (Gerd E. Schäfer) and the daughter Hannelore has recently started dating a man name Splettstößer (Kaspar Eichel). That leaves mom Gisela without a beau, so the daughter decides to do something about it. She runs an ad in the personals section of the newspaper under the heading “Marriage/Female” and a man named Seidel (Paul Arenkens) shows up almost immediately. What none of the rest of them know is that Gisela’s co-worker Bechstein (Herbert Köfer) has long had a thing for Gisela, but has been too nervous to say anything.

Playing the mother and daughter are the real-life mother and daughter team of Eva-Maria and Nina Hagen. Eva-Maria Hagen was already a big star by this point (see Don’t Forget My Traudel), but Nina was just beginning to make a name for herself. She had appeared in an episode of her mother’s TV show ABC der Liebe (ABCs of Love), but this was her first role of any size. That same year, she would also appear in Today is Friday. Previously, Nina had had a radio hit in East Germany with “Du hast den Farbfilm vergessen” (“You Forgot the Color Film”), the story of a woman angry at her partner for forgetting to bring some color film on their vacation.2 The song was a big hit, and you can hear an instrumental version of it over the end credits of the film.

Nina Hagen and her mom

While the story centers around the three women, they are, for the most part, “straight men” to the four males. The biggest laughs come from Herbert Köfer’s performance as the nervous Bechstein. Köfer’s physical comedy here is reminiscent of Don Knotts’ wound-too-tight style of physical humor. Köfer got his start working in theater during the War years, but his career was interrupted when he was drafted by the Wehrmacht. He started performing again as a prisoner in a British internment camp.

After the War, he resumed his acting career, appearing at theaters and Kabaretts around East Germany. He made his first feature film appearance in the 1951 film Die Sonnenbrucks (The Sonnenbrucks) and continued to appear in films and television throughout the GDR’s existence, including Naked Among Wolves, Just Don’t Think I’ll Cry, Hands Up, or I’ll Shoot!, The Man Who Replaced Grandma, and The Dove on the Roof.

This is a teleplay that is best enjoyed by native German speakers. There is some humor based on the accents and humor based on puns and popular expressions. Even so, Herbert Köfer’s physical comedy translates into any language and gets the biggest laughs.

Marriage/Female was a success and Christa went on to direct several more television productions, including Antons liebe Gäste (Anton’s Dear Guests), Wen der Hafer sticht (Slaphappy3), Zu zweit (k)ein Problem ((Not) A Problem for Two), Liebling, Du irrst (You’re Wrong, Darling), and Warum gerade Hubert! (Why Hubert, of All People!).

In 1980, Christa applied for permission to emigrate to France. She had married a French/German man and he wanted to return to his family home. She eventually received approval in 1982, but the authorities weren’t pleased. They saw her request as a threat. Had a lesser man been in charge of German television, who probably would have lost her job, but Heinz Adameck—a man Manfred Krug called a “good friend to all viable actors”—stood up for her. Nonetheless, jobs after her application was approved dried up. Trabant for Sale would be her last East German teleplay.

Trabant zu verkaufen

Trabant for Sale

Trabant for Sale is the story of three women who win a Trabant in a raffle at their workplace. Since none of them has a driver’s license, they decide to sell the car. Brigitte (Ursula Staack) is kind of the group’s leader, and Carola (Angelika Ritter) is her hip friend. Susi (Franziska Troegner) is the chubby comic of the group and the only one of the three who wants to keep the car. Brigitte’s plumber Oskar Zahl (Hans-Joachim Hanisch) is trying to convince her to sell the car to him by promising her cash and new bathroom fixtures, but she is also being wooed by Hyronimus Robbel (Peter Tepper), a dorky bicyclist who actually adores her; Carola wants her opera singing friend Anastasius Vogel (Paul Arenkens) to have it; and Susi wants it for her fiancé, the mild-mannered Ferdinand Kefer (Holm Gärtner).

The story of trying sell a Trabant in East Germany was a subject ripe for comedy. Waiting lists for Trabants were notoriously long, and even the East Germans knew that the car was, er, shall we say, less than perfect. Unfortunately, there was no way to do this justice at the time. A comedy that made fun of the Trabant wasn’t going to fly, and a comedy about how much everyone wanted one was also problematic. The only way to tackle to topic was with subtlety, which means a certain percentage of the audience will always be left behind, taking everything at face value. Sensitive to the reputation of the Trabant and the reported waiting times involved in getting one4, the DDR-FS chose to air the teleplay on channel 2 instead of channel 1.

free toilet

Trabant for Sale is shot in more of a TV studio setting than Marriage/Female was. The seating is the kind of raked seating that one commonly sees in television talk shows and modern cinemas. As with the previous film, there are plenty of shots of the audience, which is always fun. Some people seem not to care, while others are keenly aware of the cameras. There are even a few people wearing sunglasses, which seems like a very odd thing to do in a theater.

As with theater, everything is played broadly, which seldom translates well to the screen. Nonetheless, the teleplay is well-directed and features a talented cast. The three female leads went on to have long film and television careers in post-Wende Germany. Franziska Troegner, who plays the lovable Susi, is best known to American audiences as the mother of Augustus Gloop in Tim Burton’s version of Charlie and the Chocolate Factory. The male leads have done very little work in films and television since the Wende, with the exception of Kaspar Eichel (the policeman), who still appears regularly on television. Peter Tepper is working with the Leipziger Funzel Kabarett/Theater, and Hans-Joachim Hanisch works primarily dubbing voice for German film releases. Paul Arenkens died in 2016.

After leaving East Germany, Christa (now Christa Schmidt) worked on a children’s series for Berliner Filmladen and shot 42 PSAs about the environment entitled “Mach mit der Umwelt zu Liebe” (“Love the Environment”). In 1986-87 she shot a TV profile of Eva Maria Hagen for ZDF. Christa didn’t care much for the West German method of film production, which used a factory-like approach to all the jobs outside of the director and cinematographer. At that point, she decided to leave directing and devote more time to her family.

Christa divides her time between Berlin and the South of France. She never lost her love of filmmaking and, three years ago, she started teaching herself to use the latest videography tools. She started making videos for her YouTube channel on whatever strikes her fancy, from a WWII liberation celebration in rural France, to a one-hour documentary about L’auberge de Valbonne—a facility for autistic people in Provence.

Special thanks to Jörg Foth for his diligent work in helping me track down Christa (Kulosa) Schmidt (for more on Jörg Foth, see The Latest from the DaDaeR), and a very special thanks to Christa Schmidt for generously providing her biographical information for this article and for making sure I got my facts straight.

IMDB page for Heiraten/Weiblich.

IMDB page for Trabant zu verkaufen.

Buy Heiraten/Weiblich.

Buy Trabant zu verkaufen.

YouTube stream of Heiraten/Weiblich.

YouTube stream of Trabant zu verkaufen.

1. At that point, fewer than ten DEFA feature films had been made by women. Iris Gusner’s first film, The Dove on the Roof, was a year away, and even then, the movie was shelved before it was released. Gusner wouldn’t get another chance to direct a feature film until The Blue Light in 1976. Christa Kulosa was the only woman directing Fernseh-schwänke.

2. The song is a commentary on the drab grayness of everything in East Germany and most people got it. Somehow, amazingly, it went over the heads of the censors though. Hagen still performs it in her live shows, although in a very different fashion from the original.

3. The title of this film is a very old idiomatic expression that doesn’t have any exact translation in English. Literally the title means “Whom the Oats stab” and refers to erratic behavior. Since this movie will probably never have an English translation, I get to choose my own English title. This is the best I could come up with.

4. There are numerous jokes about both the Trabant and the long waiting times required to receive one. Probably the best-known example is:

Q. What does the ‘601’ in Trabant 601 stand for?

A. 600 people will order one, but only one will get it delivered.

© Jim Morton and East German Cinema Blog, 2018. 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.

The Arctic Sea Calls

Posted: September 3, 2018 in Comedy, Nachwuchsgeneration, WWII
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The Arctic Sea Calls
In case you ever wondered what the Little Rascals (Our Gang) would look like as an East German concept, The Arctic Sea Calls (Das Eismeer ruft) answers the question. It’s the story of a band of spunky kids who take upon themselves to hike from Prague to the Bering Strait in an attempt to rescue the crew of a stranded Soviet steamship. The intrepid rescue team consists of Anton (Oliver Karsitz), the leader, Alex (Alexander Rohde), his right-hand man, Rosi (Vivian Schmidt), enlisted as the cook, and little Ferd (Thomas Gutzeit), who’s much too young for this trek, but didn’t want to be left behind. As one might imagine, the quartet doesn’t fully understand the logistics of what they are attempting, but they don’t let that get in their way. The trip involves crossing through Germany—a journey of some peril at that time. It’s 1934, and Hitler has been in power in Germany for over a year at this point, but hasn’t yet invaded Poland or Czechoslovakia.

The part about the ship stranded in the ice is true. On August 2, 1933, the steamship SS Chelyuskin (Челю́скин) set sail from Murmansk on an expedition to find out if there was a way for ships to sail the Northern Maritime Route from Murmansk to Vladivostok without the assistance of icebreakers. The Chelyuskin almost made it, but got stuck in the ice at the entrance to the Bering Strait, where it was crushed by the growing ice. The crew made it to the relative safety of the ice pack, and, using nothing more than a a few shovels and crowbars, managed to fashion an airstrip for rescue planes. After several failed attempts, they all were rescued safely in April of 1934.

The movie is based on the book of the same name by the German children’s book author Alex Wedding. Wedding’s real name was Grete Weiskopf. Like other female authors, she used a male pseudonym to avoid prejudice. Her first children’s book was Ede und Unku, which came out in 1931. It told the story of the friendship between an German and a gypsy, so, of course, the Nazis burned the book as soon as they came to power. As if to pour salt in the wound, the girl who was the model for Unku, later died in Auschwitz.

Das Eismeer ruft

Das Eismeer ruft was Wedding’s second book and was published in London by the same publishing company as her first book (Malik-Verlag). After the War, her husband, Czech author Franz Carl Weiskopf, became a Czechoslovakian diplomat and served in several countries before retiring and moving to the GDR. Wedding died in 1966 and shortly thereafter the Alex Wedding Prize for children’s literature was established, which is awarded every few years on her birthday (May 11).

This was director Jörg Foth’s directorial debut. Foth is a talented and quirky director, whose work is best showcased in The Latest from the Da-Da-eR—as unique a film as ever has been made. Born in 1949, Foth was one of the last new directors to come out of the Film University in Babelsberg (Filmuniversität Babelsberg). After The Arctic Sea Calls, he went to Vietnam to co-direct Time in the Jungle (Dschungelzeit) with Vietnamese director Tran Vu. Like the other members of the Nachwuchsgeneration (East German Baby Boomers), Foth was finding it difficult to get a toehold at DEFA. Young directors, who had spent years learning their craft, were passed over on film projects in favor of the older directors who had already made a name for themselves. To help rectify this situation, he helped create the DEFA Nachwuchsgruppe (Young Filmmakers Group). By the time the group was created (1990) its reason for being was gone, and so were the careers of any young filmmakers in East Germany. After making a few more films for the now foundering DEFA, the young filmmakers of East Germany found themselves back at square one.

The Arctic Sea Calls

Only one member of the young cast—Oliver Karsitz—went to have a career in movies, but not in front of the camera. After the Wende, Karsitz became an editor, primarily working documentaries. As is often the case with child actors, they bring their own raw charm to the parts, and Foth handles this well.

In 2017, thanks to global warming, a Russian tanker finally managed to sail the Northern Maritime Route unaided by icebreakers. Since that time, several more ships have made the journey, with more doing it every year. Without intending it, The Arctic Sea Calls has become a chronicle of the Earth’s past as well as our own.

IMDB page for the film.

Buy or stream film.

© Jim Morton and East German Cinema Blog, 2018. 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.

Jana and Jan

Posted: November 23, 2017 in Berlin Wall, Herrmann Zschoche, Love, Nachwuchsgeneration, post-war years, Republikflucht, Teenagers, Wende
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Jana und Jan
With the notable exception of horror movies, the East German film industry (that is to say, DEFA) made films of nearly every genre from westerns to science fiction; from thrillers to romantic comedies. If it were a Hollywood film, Jana and Jan (Jana und Jan) would be categorized as a women-in-prison film, but without the usual salaciousness and exploitation attached to that genre. It has the usual tropes for these films: the prison social hierarchy, girl fights, and shower scenes, but nothing is Jana and Jan is played for leers or laughs. It is a grim and gray film, with cinematography to match.

The film starts in 1989, when 15-year-old Jan (René Guß) is brought to a juvenile detention center after getting caught trying to flee to West Germany. There he meets Jana (Kristin Scheffer), a tough 17-year-old who sleeps with Jan on a dare. Jana gets pregnant, and then decides at the last minute to have the child. During their incarceration, the Wall opens, and the teens at the detention center are optimistic that this will improve things for them. Jana’s emotionally fragile prisonmate Julia (Julia Brendler) dreams of being reunited with the mother in the West. Jan and Jana decide to strike out on their own in search of a better place to live, but the future for them doesn’t look any better now than it did before the Wall came down.

jana and jan

Director Helmut Dziuba had started working on the script for this film before the Wall came down, but the events at the time led him to rewrite the story to include the Wende, making the narrative even bleaker. He seems to be saying here that when the Wall was up, at least there was a promise of a better life on the other side of the border, but now there is nothing to look forward to except bleakness and death. Not exactly feel-good material.

It is questionable that the script would have seen the light of day before the Wall fell. Even in the final days of the foundering republic, discussion of the topic of trying to cross the border was a touchy one. The Flight managed to get away with it because it showed the fatal futility of trying to do so, and the evil avariciousness of the gangs that arrange these escape efforts.1

Director Helmut Dziuba hails from Dresden and got started as a high-voltage electrician before moving to Moscow to study film at the Moscow Film Academy (VGIK). He worked in radio and television in Moscow before returning to East Germany and joining DEFA. He served as an assistant director to Frank Beyer and Günter Reisch before taking on his own film productions. Like Herrmann Zschoche, Dziuba is known for his clear-eyed films about young people, but while Zschoche continued his career in television, Jana and Jan was Dziuba’s last film as a director. He did continue to write, and his script for Bernd Sahling’s Die Blindgänger (The Blind Flyers) won several awards around the world. Dziuba died in 2012.

selbsmord

It was also the last film for cinematographer Helmut Bergmann. Bergmann’s older brother was Werner Bergmann, who helped Helmut get his first job as a cameraman at DEFA back in the fifties. Helmut didn’t disappoint. Unlike some cinematographers who have a specific style, Bergmann could make the look fit the subject matter, whether it was the vivid colors of Love’s Confusion, or the drabness of Jana and Jan. In Bergmann’s case, the end of career had less to do with the fall of the Wall than it did with his age. He was already 66 when Jana and Jan came out. He died in 1998 in Potsdam. Bergmann was married to Bärbl Bergmann, DEFA’s first female director.

Also like Herrmann Zschoche (see Seven Freckles), Helmut Dziuba liked to use untested young people in lead roles. Kristin Scheffer and René Guß were both new to acting, and they never made another film. Jana and Jan wasn’t the first film for Julia Brendler, though, or even her first Helmut Dziuba film. She had starred in his previous film Forbidden Love, in which Brendler plays a 13-year-old girl who is in love with an 18-year-old boy. Brendler is a strong screen presence, and the only thing wrong with that is that it threatens to pull attention away from the main characters. Unlike the two leads in the film, Brendler has gone on to have a highly successful career in films and television in unified Germany. Nor was Jana and Jan the first film for Karin Gregorek, who plays one of the prison administrators. Gregorek started in films in 1963, and continued acting after the Wende, primarily in television. With her unique looks and acting talent, I have no doubt she would have been part of Rainer Werner Fassbinder’s troupe of regulars had she been born in the West.

Jana and Jan went on to win the Special Youth Award at the San Remo Film Festival, with Dziuba winning the Bavarian Film Award for Best Director in 1993. It’s an excellent film, but it’s gray-green color palette and unrelenting pessimism make it a difficult film to watch, and not one that will be everybody’s—or even most people’s—taste.

IMDB page for this film.

Buy this film.

1. I should point out here that no East German official would ever categorize the attempts to leave East Germany as “escaping.” Escape attempts were characterized as desertions and border violations, and the people who helped others escape were “human traffickers” (Menschenhändleren).

© 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.

The Land Beyond the Rainbow

Posted: November 12, 2017 in Nachwuchsgeneration, Wende, Winfried Glatzeder
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Das Land hinter dem Regenbogen
After the Wall came down and West Germany, for all intents and purposes, took over East Germany, there came the inevitable retrospection. What the hell happened? How did we get from there to here? There were plenty of people who still believed in socialism, and thought it could lead to a better world than unbridled capitalism, but nobody was listening in 1991. East German industries were dismantled for salvage and sold to the highest bidders. The Treuhandanstalt was set up to facilitate the privatization with disastrous results. Over half the workforce in East Germany was laid off, plunging the entire eastern half of Germany into poverty without the safety net previously provided by the State. Anger and resentment took hold. Right-wing extremist groups started arriving from Bavaria and the USA to recruit new members from the youths in cities such as Jena and Cottbus. Unfortunately, for these kids, East German schools didn’t spend that much time on the holocaust; preferring to cast the Nazis as primarily anti-communist. This left them particularly susceptible to the simplistic solutions offered by these extrememist groups. By the time the Treuhandanstalt ceased its operations in 1994, the trust agency was $160 billion in debt, and the fascist right had established deep and tenacious roots in former GDR territories.

Maybe the only way to process what happened was with absurdist comedy. If that’s the case, then director Herwig Kipping’s The Land Beyond the Rainbow (Das Land hinter dem Regenbogen) may be the best examination of what went wrong in East Germany. The story takes place in an imaginary town called Stalina. The year is 1953, and Stalin had died a few months earlier, but that doesn’t keep the hardcore Stalinists in the town from revering him. Much of the film, in fact, deals with the issue of what happens when you treat an ideology as a religion, which is what Stalin did, and was what the leaders of the SED did, treating their decisions as proclamations from on high.

As a result, the people in the town have gone slightly mad, trying to be good socialists while butting heads with the various officials who come to town and cause trouble for them. The town’s SED headquarters is an outhouse with a picture of Walter Ulbricht tacked to the wall. The film is narrated by Marie (Stefanie Janke), a local girl, who observes the madness around her and manages to rise above it. The story unfolds across the events of June 17th, 1953, when Soviet troops came into East Germany to help quell the protests that occurred after the government announced pay cuts for workers who couldn’t meet the increasingly impossible quotas (for more on this, see Castles and Cottages)

The Land Beyond the Rainbow

Besides Marie, the town’s residents include Rainbowmaker (Sebastian Reznicek), a young man who searches for the good in things; Hans (Thomas Ewert), a particularly rotten kid who likes death and destruction; Franz-Werner, (Winfried Glatzeder), Rainbowmaker’s father, who, after breaking his arm at the beginning of the film, spends the entire film with his arm in a cast that is propped up in the position of a Nazi salute; Heinrich (Axel Werner), the local dirty old man who can’t keep his pants zipped; and Opa (Franciszek Pieczka), who worships Stalin, and is willing to be crucified in his name. Add to this, local nymphomaniac Liesbeth (Franziska Arnold), an undersized SED official (Fred Delmare, not surprisingly), a pale white wraith, a boa constrictor, and various locals who come in and out of the story.

The Land Beyond the Rainbow belongs to an unusual and essentially undocumented micro-genre of films that take place in stark, burned-out landscapes with people talking at each other more than with each other. These are often surreal allegories about the absurdity of modern life, even when the action take place in a distant past or the far future. They are episodic, and their humor is dark and sardonic. We could call this Cinema of the Absurd, since these films most resemble this form’s theatrical counterpart. Examples of this type of movie would include Richard Lester’s The Bed Sitting Room, Roy Andersson’s Songs from the Second Floor, and Lindsay Anderson’s O Lucky Man! East German films with similar styles would include Egon Günther’s Ursula, and Jörg Foth’s Latest from the Da-Da-R.

The similarity between Jörg Foth’s film and The Land Beyond the Rainbow is not coincidental. Both films were made by the Da-Da-eR artistic production group (Künstlerischer Arbeitsgruppe), a group that only just managed to get itself established during the final days of the East German republic before the whole thing came crashing down.

The Land Beyond the Rainbow

Born in 1948, Herwig Kipping was part of the Nachwuchsgeneration—a whole raft of talented young people who were only just getting started as directors when the Wall came down. Partly due to the abundance of good directors already working at DEFA, and partly due to the inherently sclerotic nature of everything in the East Germany at that point, these filmmakers weren’t afforded many opportunities to show their talent until the mid-eighties. A few of them, such as Peter Kahane, Karola Hattop, and Peter Welz, continue directing (although, primarily in TV), while others, such as Evelyn Schmidt, Ulrich Weiß, and Kipping, found it much harder to get their projects off the ground, and stopped making films altogether. Kipping has the distinction of having directed the last film released by DEFA: Novalis: The Blue Flower (Novalis – Die blaue Blume), a biographical film about the poet/philosopher Georg Philipp Friedrich Freiherr von Hardenberg.

Playing the father is Winfried Glatzeder in his last role in a DEFA film. Glatzeder had left the GDR in 1982, He had been fed up with the way things were in East Germany for quite some time, and wasn’t afraid to let people know. When he was finally allowed to leave, he was also expatriated, a dishonor the SED reserved for people that really irritated them. In 1991, he returned to DEFA for Jürgen Brauer’s Dancing at the Dump (Tanz auf der Kippe), effectively thumbing his nose at the former East German government. Glatzeder regularly appears in films, on television, and on stage to this day.

The Land Beyond the Rainbow

As it should be, there are several jokes and references intended for stricly East German audiences. When people in the town vote or not a person should be exiled or censured, everyone raises their hand, including the person being censured. It would be more farcical if it wasn’t based on reality. Old school communists put a lot of value in unanimity of opinion. Because of this, votes in the politburo rarely resulted in split decisions. The most famous example of this occurred on October 17, 1989, when the politburo voted to remove Erich Honecker as General Secretary. When the vote came, Honecker also raised his hand along with everybody else. The collective had spoken, so who was he to disagree? In another scene, we finally find out the name of Rainbowmaker’s mother, and it’s an amusing little in-joke on Glatzeder’s most famous movie.

The Land Beyond the Rainbow wasn’t a box office smash, but it wasn’t intended to be one either. This is a film for people with an understanding of history, and who like their humor sardonic. Fans of unusual and transgressive cinema will definitely want to check this film out. It was an official selection at the 1992 Berlinale, although it did not win.1 It did win the Deutscher Filmpreis that year, however. I consider it a “must-see.” Since I know a few of my readers are squeamish about scenes depicting animal death, I’ll warn you that there are couple scenes involving the skinning of a rabbit (dead) and the beheading of a chicken (which also looks like its already dead).

IMDB page for the film.

Buy this film.

1. There’s no shame in this. Several excellent films were up for nomination , including Martin Scorsese’s Cape Fear, David Cronenberg’s Naked Lunch, Gillian Armstrong’s The Last Days of Chez Nous, and Alison Anders’ Gas Food Lodging. The film that won Lawrence Kasdan’s Grand Canyon, a film that has not stood the test of time.

© 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.

Herzsprung

Posted: September 7, 2017 in Crime, Feminism, Nachwuchsgeneration, Pop Culture, Wende
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Herzsprung
When the Berlin Wall finally came down, East Germans danced for joy in the streets. No more Stasi, no more food shortages, no more travel restrictions, and no more fiddling with their Trabis to get the damned things started. At the time, most people in East Germany were glad to see the backside of the Socialist Unity Party of Germany (SED). This was reflected in the polls when the SED (now rebranded as the Party of Democratic Socialism) was trounced in the East German general election in March of 1990. A few months later, the new Volkskammer voted to approve the reunification of Germany, much to the dismay of Margaret Thatcher, who actively petitioned against it. François Mitterrand wasn’t crazy about reunification either, but quickly saw the inevitability of it. Things were looking up—or so the East Germans thought. Within a year, many East Germans would be regretting their votes. Factories and businesses were taken over by Western conglomerates that immediately started laying off as many people as they could. Young people found it difficult to get work because the West Germans, who were now in control, had low opinions of East Germans, viewing them as problematic because they weren’t willing to work for starvation wages. They preferred to hire foreign workers to do the jobs instead, further exacerbating the mounting tensions in the East.

Without the safety nets provided by the state, the young people in East Germany were in dire straits, and were wondering what happened to their country when the Nazis started arriving from Bavaria and America, ready to provide easy answers for the local youths. Kids on both sides of the border were often woefully ignorant of what happened in Germany during World War II, but none more so than the East Germans, where the attitude was, “We got rid of them, so we don’t really need to talk about it anymore—that’s a West German problem!” While it’s true that several high-ranking Nazis were able to get back into government in West Germany, at least the Nazis were stigmatized in the Bundesrepublik, which certainly helped stem their spread. East German kids were more susceptible to the simplistic, populist claptrap spouted by groups such as the German People’s Union (Deutsche Volksunion, DVU) and the National Democratic Party (Nationaldemokratische Partei Deutschlands, NPD) of Germany.1

Herzsprung was the first and last East German film to tackle this subject. The first because prior to the fall of the Wall it simply wasn’t an issue—anyone spouting far-right rhetoric in the GDR would have found the Stasi crawling all over them like a bad case of bedbugs. The last because DEFA’s days were numbered. DEFA would only make six more films before closing up shop.

Herzsprung

Herzsprung takes place in a small town of the same name that sits on the A24 highway just south of Wittstock. The proverbial wide spot in the road. The film follows the adventures and misadventures of a woman named Johanna (Claudia Geisler) as she tries to navigate the changes occurring in her village. The film starts with the termination of her job working in a factory kitchen. It looks like a pretty crummy job, but since her husband Jan had lost his job months earlier, thanks to the closing of the agriculture cooperatives, it meant there would be no money coming in. Unable to find work, Jan has sunken into a state of self-pity and alcoholism, and is becoming physically abusive. After Jan commits suicide, Johanna starts to take up with a stranger (Nino Sandow) who recently arrived in town. He’s a happy-go-lucky guy who also happens to be black. As you can imagine, the local Nazi punks aren’t too pleased to see Johanna hanging around with this guy, especially a local called “Soljanka” (Ben Becker), who has a crush on Johanna. In German, Herzsprung also means “heartbreak,” so, as you can probably guess, things don’t end well for anybody.2

Herzsprung is directed by Helke Misselwitz from her own script. Misselwitz is better known for her documentaries, and in particular Winter Adé, a powerful film that looks at the lives and failed dreams of women across East Germany. Misselwitz brings her documentary background to this film, with hand-held cameras and shots of peripheral characters to create a sense of place. Nonetheless, she also recognizes the freedom a feature film gives you to compose scenes, and uses this to create powerful images, such as the scene of Johanna fleeing the burning roadside stand.

Like Misselwitz, Cinematographer Thomas Plenert was part of DEFA’s Nachwuchsgeneration (the baby boomers, essentially), the last generation of filmmakers and technicians in East Germany. Also like Misselwitz, he comes from a documentary background. Here he gets to push the limits of what you can do with a camera, sometimes pushing it over the edge. He’s not afraid to let night scenes stay in inky darkness. The use of color is interesting, especially in the final scene, and in the nightclub scenes, where the use of color approaches the work of Luciano Tovoli in Dario Argento’s Suspiria.

Herzsprung

Claudia Geisler is well-cast as Johanna, endowing the character with a unique combination of fragility and resilience. It seems like life wants to beat Johanna down, but she’s not having it. Geisler, an East German, was only beginning to appear in films when the wall came down. She first appeared on screen in a small part in Interrogating the Witness (Vernehmung der Zeugen), an interesting little crime thriller starring Christine Schorn. While working on Little Thirteen, she met her future husband Thomas Bading. Since 2015, she has been working under the name Claudia Geisler-Bading. She appears in several well known films, including Christian Petzold’s Barbara, Cate Shortland‘s Lore, and George Clooney’s The Monuments Men.

We never do learn the name of Nino Sandow’s black stranger. Sandow was born and raised in East Germany, and studied opera singing at the “Hanns Eisler” School of Music and the “Ernst Busch” Academy of Fine Arts in Berlin. Herzsprung was his first feature film, but he has gone on to appear in several movies and television shows, most recently as the New York stage manager in Roland Emmerich’s Anonymous. He also teaches at the “Ernst Busch” Academy of Fine Arts in Berlin.

The music for the film is primarily either well-known classical pieces or songs by the Berlin folk-rock group Poems for Laila. It’s an unusual and effective combination. Poems for Laila still performs, although their line-up has changed considerably over the years. Like other multi-instrumental groups that toy with different ethnic music styles, their music is difficult to categorize—a little like DeVotchKa or 17 Hippies, but definitely its own thing.

Herzsprung bears more than a passing resemblance to Rainer Werner Fassbinder’s Ali: Fear Eats the Soul. Both films tackle the issue of racism in Germany3, and both films are beautifully shot. Where Fassbinder’s film is shaped by the work of Douglas Sirk, Misselwitz’s film appears to be informed by the DEFA fairytale films. In the opening shot a woman sings a beautiful song while what appears to be snow drifts across the screen. Eventually it becomes clear that it’s not snow at all, but the pinfeathers from a goose that’s being plucked by women in a factory kitchen, and the song comes from one of the women (Eva Maria Hagen, in her first DEFA role since she left East Germany in 1977).

An important difference between Fassbinder’s and Misselwitz’s films is that while Fassbinder’s film is primarily about the racism that no one acknowledges until they are faced with it head on, Misselwitz’s film chronicles an ugly change that was occurring in the East. A change that would eventually lead to the formation of the National Socialist Underground (NSU), and the deaths of several people all over Germany.

IMDB page for this film.

Buy this film.

1. In 2011, the DVU and the NPD merged.

2. Although, the name of the town, according to some sources, somes not from the word for heartbreak, but from low middle German meaning deer (or hart) spring (Hertsprink).

3. Although, in a 2009 interview with Hiltrud Schulz of the DEFA Library, Misselwitz said that she was primarily trying to show the growing hostility in East German towns towards outsiders rather than specifically addressing racism.

© 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.

Ete and Ali

Posted: November 14, 2016 in Comedy, Love, Nachwuchsgeneration
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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.

ete und ali

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.

© 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.

Driving School

Posted: October 31, 2016 in Comedy, Love, Nachwuchsgeneration
Tags: , , , , ,
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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.

fahrschule14

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.

© 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.