Archive for the ‘Pop Culture’ 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.

Journey Into the Nuptial Bed

Posted: January 8, 2019 in 11th Plenum, Comedy, Joachim Hasler, Love, Musical, Pop Culture, Uncategorized
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Reise ins Ehebett
East Germany had a difficult relationship with musicals. As with western audiences, the East German public enjoyed musicals and paid to go see them. The box office was good for nearly all the musicals DEFA made but the art form is so inherently frivolous that it drove the more stodgy politicians crazy. Making fairytale films for children was one thing, but making happy fantasies for adults, that was bourgeois formalism!1

Nonetheless—and in spite of the East German government’s claims to the contrary—money could still dictate which films got made and musicals were a good investment. So it was that in 1965, director Joachim Hasler was hired to make Journey into the Nuptial Bed (Reise ins Ehebett), as formulaic a musical as East Germany would ever produce. The film is the story of a handsome young boatswain on a merchant marine ship (Claus Jurichs) who has a habit of bedding a different woman in every port, causing no end of troubles for the captain and affecting the morale of the rest of the crew. In classic movie musical fashion, the ship’s captain (Günther Simon) devises a plan to get the boatswain to fall in love, thus ending his romantic dalliances. To help him with this plan, he enlists Eva (Anna Prucnal) an attractive polish journalist who agrees to seduce the boatswain and then drop him. Secretly, the captain is hoping the two actually fall in love with each other, thus ending his problems. But fate has something else in store. When Mary Lou (Eva-Maria Hagen), a sexy redhead who sings at the Shark Bar, sneaks onto the ship in pursuit of the boatswain, things get complicated.

Reise in ehebett

The film is directed by Joachim Hasler, who got his start as a cinematographer, working on such classic DEFA films as The Invincibles, The Sailors’ Song, and The Silent Star. Hasler got his first taste of directing when Arthur Pohl was severely injured while working on Spielbank-Affäre (Casino Affair) and couldn’t finish the movie. Hasler took over and found he had a knack for directing. He went on to direct several more films for DEFA, sometimes acting as both cinematographer and director. He scored his biggest hit in 1968 with Hot Summer. This led to a long career as a director of light comedy, but his 1964 film Story of a Murder proved that he was just as adept at drama. His career ended with the Fall of the Wall. He died in 1995.

Claus Jurichs as the handsome boatswain bears a strong resemblance to Jean-Claude Van Damme. Jurichs is unique among German actors at the time. He lived in West Berlin and continued to work on East German films after the Wall was built. He was better known in the GDR, where he appeared in lead roles in several TV-movies. In the FRG he mostly worked in TV and dubbing. He worked in various capacities on several German sexploitation films, including Females for Hire (voice only), Swingin’ Swappers, The Sinful Bed, Reflections from a Brass Bed, and Caged Women (voice only). He also worked extensively dubbing American TV shows into German. He was the voice of McGarrett on the original Hawaii Five-O series and the voice of Cliff Barnes on Dallas. Jurichs died in 2005.

Journey into the Nuptial Bed

Günther Simon, Anna Prucnal, and Eva-Maria Hagen—the other three members of the romantic quartet—have been discussed at length here in previous posts (Günther Simon in The Ernst Thälmann Films, Anna Prucnal in The Flying Dutchman, and Eva-Maria Hagen in Don’t Forget My Little Traudel). Playing the fifth wheel in this story of romantic coupling, is singer Frank Schöbel. Although Schöbel was already a well-known figure on East German television, his ability to act was untested. He pulled it off and Journey into the Nuptial Bed helped launch his career in movies. He appeared two years later in Wedding Night in the Rain (Hochzeitsnacht im Regen) and the year after that in the classic Hot Summer. Like many other East German stars, the Wende wasn’t kind to him but he eventually reconnected with his audience and now appears regularly on television, especially at Christmas time.

Journey into the Nuptial Bed did well at the box office, but it was 1966, the year that the 11th Plenum was responsible for shelving or cancelling most of the good films DEFA produced, Aside from a some children’s films and formulaic crime films, the only other film from the East Germany production company that made into theaters that year was their first Indianerfilm The Sons of the Great Bear.

IMDB page for this film.

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1. Formalism was a common complaint against films in East Germany. Politburo types threw the term around so often that it eventually lost any meaning. The term was often used to attack any movie whose entertainment value was greater than its social relevance.

whisper & SHOUT

Posted: August 11, 2018 in Musical, Pop Culture, Teenagers, Wende
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whisper & SHOUT
For anyone whose preconceptions about life in East Germany is informed by what was taught in American schools, whisper & SHOUT (flüstern & SCHREIEN) is the film to see. Made in 1988, it follows the exploits of several East German rock bands as they travel from venue to venue. In between, the film stops to interview the locals about their attitudes toward, life, the universe, and everything. Given East Germany’s reputation for being repressive, it is interesting to see how freely the people in the film discuss their lives, their jobs and their opinions. We do catch occasional glimpses of people pausing to assess whether or not they should be talking about these things, but they carry on blithely anyway. These are mostly young people, so this might simply be the East German equivalent of college students posting videos of their Cabo vacations on Facebook. Youth knows no discretion—one of the advantages of an underdeveloped prefrontal cortex.

The film covers a broad range of styles from Punk to Glam, to No Wave. Some of the bands are good and some of the bands are dreadful. The best of the lot is Feeling B, whose post-punk style is raucous fun. This isn’t too surprising considering two of the band’s members, Paul Landers and Christian “Flake” Lorenz, are also in Rammstein—one of the best heavy metal bands to come out of Germany. Feeling B’s appearance in the film came about almost by accident. The camera crew intended to film a rock concert scheduled to occur in conjunction with an annual bathtub regatta in Schwerin. They were there to film another band, but when the authorities cancelled the event, only Feeling B was already there, so they set up and played anyway, much to the delight of the kids on the beach.

On the opposite end of the spectrum is Chicorée, a band that manages to represent all of the worst aspects of eighties pop. Imagine Kajagoogoo as a Pablo Cruise cover band and you’ll get some idea of what it’s like to watch Chicorée. The band’s leader Dirk Zöllner thinks highly of his skill as a composer and singer, and travels through the film with a cheery lack of self-awareness. At the beginning of the film, we see the band performing at large venues. A few interviews suggest that the band had its fans. As the film progresses, you can see the band members become more and more tired of Zöllner’s ego, so that, by the end of the film, he is singing on stage in a rec hall, with only a recorded backing track and keyboard player André Gensicke while a few bored teenagers look on. No longer Chicorée, Zöllner’s new, two-man band is simply dubbed “Die Zöllner.” It’s both funny and sad, but the situation doesn’t seem to affect Zöllner much. He seems unfazed, swearing that “last night’s audience” was better. It reminds me of nothing so much as This is Spinal Tap. Amazingly, Zöllner is still going, and still performing with Gensicke. No longer the vapid pretty boy his was as a youth, he looks like a well-dressed homeless person, which is an improvement. His singing has matured, giving it more resonance than it had in 1988, and he’s working with a better lyricist (more on this later), but his music stays close to its Yacht Rock roots.

flüstern & SCHREIEN

Between these two extremes is a band called Silly—one of the most popular bands in the GDR. Silly was fronted by Tamara Danz, who looked like Lita Ford and sang like no one else. In appearance, you might be tempted to call the band an East German version of the California new wave band Berlin, but Danz is a gutsier singer than Terry Nunn. Danz’s charisma is palpable and it’s easy to see why the band was popular. Silly is shown in performance a few times, as well as in backstage interviews with the band. Silly continued to have its followers after the Wall came down. While working on the album Paradies, which was recorded in their own studio, Tamara Danz was diagnosed with breast cancer. She died on July 22, 1996 shortly after the album came out. She was 43 years old. The band then went on a ten year hiatus before reforming with guest member Anna Loos as the lead singer.

Until Tamara Danz’s death, most of the lyrics for Silly songs were written by a man named Werner Karma. Although Karma wrote lyrics for other bands, he was best known as Silly’s lyricist, and for penning the phrase that would be forever associated with Silly and the ultimate statement on the fall of the Wall: “Alles wird besser, aber nichts wird gut” (“Everything will be better, but nothing will be good”). After the band reformed with Anna Loos in the top spot, Karma contributed the lyrics to one more album. The album was hit, but Loos decided she would rather sing her own compositions instead. By the third album, Wutfänger (Ragecathcer), most of the songs were written by Loos. The album did very well, but fans of Karma weren’t happy. One of these fans was our old friend Dirk Zöllner. Zöllner says he was so disgusted with Wutfänger that he threw the CD out his car window. Zöllner met up with Karma and discovered that the lyricist had already written an album’s worth of songs that Loos had rejected. Zöllner had a brainstorm and started a crowd-funded campaign to make an album of these songs. The campaign raised the money in no time, and Dirk und das Glück: Zöllner trifft Karma (Dirk and Good Fortune: Zöllner meets Karma) was the result. This album also did well and help revitalize Zöllner’s ever-flagging career. Say what you will about Zöllner, the man knows how to bounce back. Dirk und das Glück also gives Zöllner’s longtime keyboard player André Gensicke a chance to sing lead.

The film spends as much time interviewing the fans as it does focusing on the bands. Coming out as it did in the late eighties, there are a lot of unfortunate outfits and hairstyles in evidence. If you held a drinking game where you had a drink every time you saw a mullet, you’d pass out before the film was over. Some of the fans look like escapees from Human League, while others, especially the fans of Silly adopt the look of the band. We follow the daily routine of one of Silly’s fans as she hangs posters over her bed, prepares for a show, and argues with her stodgy father about the lion-with-a-perm hairstyle Tamara Danz and her young admirers share. The saddest moment in the film occurs when this young woman discusses her upcoming life change as she moves into the workplace. Aware that her days of following Silly’s every move are coming to an end, she speaks frankly about it, but there is a sadness in her voice. You can tell she feels like her life is over.

Whisper & Shout

The most surprising thing to see is the appearance of skinheads, doing that same goofy bounce-kick hop they loved so much in the West, and slamming into each other with abandon. The politics of the skinheads in the film is never overtly stated. One interviewee suggests that many of the skinheads in the GDR were “redskins” (left-wing skinheads). When the skinheads are interviewed, they don’t talk politics, preferring instead to discuss the effectiveness of mosh pits for relieving aggression.

Other bands appear more briefly, including This Pop Generation and André + Die Firma, which features André Greiner-Pol. Greiner-Pol was the leader of Freygang—a notorious East German band that was banned at various times throughout the seventies and eighties due to André’s inflammatory lyrics. Also making an appearance are two members of Sandow, a post-punk band out of Cottbus. Sandow is best known for their song “Born in the GDR”—a take-off on Bruce Springsteen’s “Born in the USA.” Like Springsteen’s song, Sandow’s song was intended as criticism but was interpreted by many people as an anthem, much to the band’s dismay. For years, the band refused to play the song at concerts. Later, they added it back to their repertoire, but with modified lyrics to make its point more obvious.

East German teenagers

whisper & SHOUT was made in response to a report by the Zentralinstitut für Jugendforschung (Central Institute for Youth Research). The report found that adolescents between the ages of 14 and 18 listened to three to four hours of rock music daily. Perhaps worried about what this might mean, or simply curious, DEFA OKed the production of this documentary, which is subtitled “Ein Rockreport” (a rock report). The film was shot with handheld cameras by a mostly young crew of cinematographers. The one exception is Christian Lehmann, who was born in 1934. Lehmann had a long career in East Germany, filming dozens of documentaries and documentary shorts. The Wende appears to have had little effect on his career. He continues to film documentaries to this day.

In 1994, the German TV channel MDR broadcast flüstern & SCHREIEN 2, a semi-sequel that follows up with two of the bands from the first film, along with some interviews with their fans. In this documentary, we see Rammstein in its formation phase along with some later concerts by Feeling B. A third part was also filmed as an attempt to examine the East German bands that didn’t make it into the first film. These include Freygang, The Santa Clan, The Blind Passengers , and The Skeptics. Due to various disputes with the bands, this third part has gone through many changes over the years. Neither of these is available for distribution at this time.

IMDB page for the film.

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© 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.

Next Year at Lake Balaton

Posted: October 22, 2017 in Herrmann Zschoche, Love, Pop Culture, Teenagers
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Next Year at Lake Balaton
Road movies are common enough to warrant their own category. Whether the characters in a film are trying to get from point A to point B (The Straight Story, Vanishing Point), or simply enjoying the passing parade of life on the road (Easy Rider, Il Sorpasso), road movies have a special appeal. Although sometimes they end in tragedy, road movies are often about the experiential learning a journey can bring. They tend to be episodic, with the main characters encountering different people with different beliefs and values during their journeys.

Road movies are especially popular in United States, where miles and miles of highways allow a story to spool out over several weeks and in different environments. For East Germans, the idea of the road movie was a little more complicated. You could travel, but it was usually restricted to communist bloc countries, and your papers better be in order or you might not make it over the border, or even back home for that matter.

Next Year at Lake Balaton (Und nächstes Jahr am Balaton) takes a humorous look at the problems an East German tourist might encounter when traveling. The film centers around Jonas and Ines, young lovers who plan to spend their summer vacation camping on the Baltic Coast. Ines’s parents, however, have other plans, and decide that the two kids should join them on a trip to the Black Sea. Once aboard the train, it becomes clear that the parents are already thinking about marriage, which freaks out Jonas. He decides hop off the train and finish the journey alone by hitchhiking to Bulgaria. After Ines’s mom misses the train while buying a magazine, Ines’s father gets pulled off the train at the border crossing for suspicious luggage leaving Ines to complete the train journey alone. From here on out, the movie jumps between the separated travelers to show their progress toward the vacation destination.

Und nächstes Jahr am Balaton

Most of the story centers around Jonas, who hooks up with Shireen, a hippie-dippie Dutch woman on her way to India. Being an appropriately cynical East German, Jonas doesn’t have much use for Shireen’s mystical mumbo-jumbo, but he finds her attractive. Meanwhile, Ines’ mother, Irene Moldenschütt, has gotten a ride from a very peculiar old man, played by the always dependable Fred Delmare (see Black Velvet).

Jonas is played by René Rudolph, who looks like the perfect stereotype of an East German hipster: long, blond hair, parted in the middle, unkempt mustache, round glasses, a cheap denim jacket, and flared jeans. It’s a look that went out of fashion in America in 1972, but was apparently still going strong in East Germany eight years later. Shireen is played by Kareen Schröter, who is also decked out in appropriately hippie fashion when she’s wearing anything at all. Both of these actors got their starts in director Herrmann Zschoche’s coming-of-age love story Seven Freckles, and both actors quit films before the Berlin Wall came down. Schröter appeared in a couple more films before giving it all up to study psychology. Rudolph appeared uncredited in one more of Zschoche’s films (Swan Island), but that was it.

Odette Bereska

Playing Ines is Odette Bereska, who looks a bit like Anna Brüggemann here. Bereska was primarily a stage actress. She had appeared in an episode of the popular East German courtroom series Der Staatsanwalt hat das Wort (The Prosecutor Has the Floor) before this, but Next Year at Lake Balaton was her first feature film. She made a few more films with DEFA prior to the Wende, but since reunification, she’s worked almost exclusively in theater, both on stage and behind the curtains. From 1991-2005 she was the chief dramaturge at the Carousel Theater at the Parkaue (now known as Theater an der Parkaue. In 2006, she starred in the short film …es wird jemand kommen, der ja zu mir sagt (English title: Ruth).

Next Year at Lake Balaton is based on the book Ich bin nun mal kein Yogi (But Then, I’m No Yogi) by Joachim Walther. Born in 1943 in Chemnitz, Walther is a prolific writer of books, short stories, essays and radio plays. He grew up in Chemnitz, which was renamed Karl Marx City (Karl-Marx-Stadt) in 1953 (it returned to its original name after the Wende). In 2001, he and fellow East German Ines Geipel created the Archiv unterdrückter Literatur in der DDR (Archive of Suppressed Literature in the GDR). Geipel began her writing career after the Wende. Born in Dresden, Geipel had been an athlete and was a victim of East Germany’s Staatsplanthema 14.25 (State Plan 14.25.)—a covert plan to feed around 12,000 athletes stimulants, hormones, and anabolic steroids to improve sports results. Both Geipel and Walther were honored in 2011 with the Antiquaria-Preis (Antiquaria Prize) awarded every year in Ludwigsburg.

The film wasn’t the hit that Seven Freckles was, but it was popular, and won the youth magazine Neues Leben’s prize for the best DEFA film that year.1

IMDB page for the film.

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1. It wasn’t the best DEFA film of 1980. That honor would have to go to Solo Sunny, but 1980 was a good year, with films such as All My Girls, The Fiancée (Die Verlobte), and Godfather Death being released.

© 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.

Interrogating the Witnesses

Posted: October 9, 2017 in Crime, Krimi, Love, Pop Culture
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Interrogating the Witnesses
At first, Interrogating the Witnesses (Vernehmung der Zeugen) looks like it’s going to be a murder mystery, or a police procedural. A boy named Rainer (Mario Gericke) has been stabbed to death, and the doctor investigating the scene believes her son Max (René Steinke) is the killer. It turns out she’s right, and the the rest of the movie is devoted to the testimonies of various witnesses as they go back through the events of the previous months to try and answer the question: How did this bright young man come to stab to death his former friend and classmate? The film prefaces each flashback with the testimony of a different person, as the people in the town try to come to terms with the murder. For some, that means looking at the killing with complete honesty, and recognizing how their own actions helped set the stage for the tragedy that followed. For others it means staying in a state of denial, unable to comprehend how it could have ever happened and not willing to acknowledge their own role in what happened.

Most of the story revolves around Max, Rainer, and the girl they both loved, Viola (Anne Kasprik). Max is new in town, pulled out of school in Berlin by his mother Beate (Christine Schorn). In Berlin, Max spent his free time sailing on the Müggelsee, but that isn’t an option in the tiny town of Wulkersdorf. Max’s mother hasn’t been around for most of his life. She was too busy pursuing her career goals, so she left Max in the care of her mother. Now that she’s in charge of the out-patient clinic in the town and is seeing a successful businessman named Gunnar (Franz Viehmann), she’s ready to play the mother role. The only thing is, Max isn’t sure he wants to be part of her new life. He had grown up with his grandmother, and would prefer to stay with her in Berlin.

Rainer is the alpha male at the school and feels threatened by Max’s presence. The two get off to a rocky start, but Max tries to smooth things over by inviting Rainer to come sailing in Berlin. They bring along Viola, who is attracted to both men and whose coy romantic games have life-changing consequences, both for her and the boys.

Interrogation of the Witness

Interrogating the Witnesses is René Steinke’s first film. Playing Max would have been a hard role for even the most experienced of actors, but to throw a newcomer into the deep water at the beginning of his career is always a dangerous proposition. Using newcomers was a favorite technique of Herrmann Zschoche (see Seven Freckles), who felt that these actors often gave fresher, more compelling performances, but Zschoche specialized in films that were slices of life, where the actors were doing what they would have been doing anyway. Steinke has no such luxury. He does a passable job here, but he’s not playing to his strengths and it shows. Nonetheless, Steinke would get better, and go on to have a highly successful television career in unified Germany. He is best known for his performance as Tom Kranich in the popular series, Alarm für Cobra 11 – Die Autobahnpolizei (Alarm for Cobra 11 – The Highway Patrol).

It was also the first film for Anne Kasprik and Mario Gericke. Both actors turn in believable performances, especially Gericke as Rainer, playing a part here that would, almost certainly, star Frederick Lau if it were cast today. Since the Wende, Anne Kasprik has gone on to a long and successful career in German television, while Mario Gericke moved into theater and and songwriting. He is currently the head of Lunanox Produktion, and the author of Laroranja, a medieval fantasy stage play that’s kind of a cross between Lord of the Rings and Cirque de Soleil.

Interrogation of the Witness

As Beate, Christine Schorn is good as always (for more on Schorn, see Apprehension), but it is Franz Viehmann as her mentally fragile signifcant other Gunnar Strach who shines. While Beate blames her mother and anyone but herself for what Max did, Gunnar feels personally responsible, having given the boy the murder weapon as a gift. During the interrogation scenes the two are often filmed together, and it is in these scenes that things finally come to a head. Franz Viehmann was already a well-established actor in East Germany by the time he took this role, appearing in films since 1963. Like Schorn, Viehmann was a graduate of the Ernst Busch Academy of Dramatic Arts, and like Schorn he worked extensively in television both before and after the Wall came down. At the time of the Wende, Viehmann had been working with Bertolt Brecht’s Berliner Ensemble theater, but was fired, along with 15 other East Germans, after the company was turned into a private enterprise. He appeared in a few television shows after that. Like many East German actors, he found plenty of work as a voice talent, doing radio programs and dubbing foreign films. Viehmann died in Berlin in 2016.

Director Gunther Scholz is primarily a documentary filmmaker, which probably had something to do with his choice to cast relatively untested actors in the lead roles, and the use of interviews where the people talk directly into the camera. I suspect he was going to for a cinéma vérité style that would give the film the immediacy and realism of a documentary. While this works in some places, it mostly doesn’t. Scholz’s choice to use static medium shots, sucks much of life out of the story. Perhaps Scholz was going for some sort of experimental objectivity here. If so, he can safely file this one away under “failed experiments.” The film is still worth seeing, and is one East German film that could stand an updated remake.

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English subtitles that match YouTube file.1

1. These subtitles were created by me from German subtitles. I took a few liberties to try and make the dialog sound more like actual speech, and I changed a few things that didn’t match what was actually said. A few things are so GDR specific that they don’t really translate well. If you find any errors, please let me know, and I will fix them as soon as a I can.

© 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.

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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.

Berlin Around the Corner

Posted: July 25, 2017 in 11th Plenum, Banned, Berlin, Erwin Geschonneck, Gerhard Klein, Pop Culture, Rabbit Film, Wolfgang Kohlhaase
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Berlin um die Ecke
In the mid-fifties, director Gerhard Klein and screenwriter Wolfgang Kohlhaase made a trio of films about life in Berlin. The films were inventive, daring, and popular. Both men went on to have successful careers at DEFA, working together and separately to create films of all sorts. In 1965, the two joined forces again with the what was to be the fourth film in their Berlin series, Berlin Around the Corner (Berlin um die Ecke). In fact, it was initially slated to be called Berlin: Chapter IV. Unfortunately, this was the same year that the 11th Plenum occurred. By the time the film was finished in 1966, the 11th Plenum had started their “Kahlschlag” (literally, “clear cutting”), and the film was promptly rejected and shelved. The officials called it “dishonest,” which is an odd thing to say considering it’s one of the most honest films to ever come out of East Germany. They also called it “anti-socialist”—an even more absurd claim since the motivation of the main character is his desire to see equity achieved.

That main character is Olaf, an impetuous young fellow, who is always getting into trouble at the factory where he works. He’s usually accompanied by his buddy Horst, who is even more of a trouble maker than Olaf is. They sometimes break the rules and are not afraid to speak out against the status quo. For Olaf, this is due to his sense of fairness. For Horst, on the other hand, it is mostly just rebellion for its own sake. Not surprisingly, Horst spent some time in West Germany. Though not implicitly stated, there is some suggestion that much of Horst’s bad behavior is a result of having lived in the West.

Olaf and Horst go and listen to Karin, a singer at a local dance hall. Olaf had met her the night before when she borrowed his coat after jumping off a boat and swimming to the shore where he sat. When she’s not singing, Karin works in the kitchen, and in her spare time, does film and photo shoots. Olaf falls in love with her, but Karin’s in the middle of an ugly divorce and isn’t in any hurry to get into another bad relationship. From where she stands, Olaf looks like nothing but trouble.

Berlin Around the Corner

The young men’s main antagonist is Hütte, who publishes the factory’s newsletter. Hütte is an old-school communist who thinks the young people of East Germany are a bunch of privileged brats with no respect or appreciation for what people like him went through during the war. The person Olaf is closest to at the factory is Paul Krautmann, the old mechanic who has to keep the machinery running, and is always complaining that he isn’t being given the proper parts to do so. Olaf would like Paul to be an ally, but Paul’s attitude is that one must do their work as best he can and keep his head down. Things escalate after Olaf and Horst are criticized in the factory newsletter by an action of theirs that was meant to show the problem of pay inequality at the factory.

Criticizing the shortcomings of the system was always tricky, both before and years after the Plenum. Like Jadup and Boel, the criticism here is aimed at showing the weaknesses in the system in hopes of making it stronger, but the authorities had a great deal of difficulty with that concept. As far as they were concerned, the system was already perfect and any criticism was nothing less than subversion. With the banning of Berlin Around the Corner, the state created a precedent for their approach to all future attempts at constructive criticism. A precedent that set in motion the state’s eventual downfall.

Neither director Gerhard Klein nor screenwriter Wolfgang Kohlhaase should need any introduction on this blog by now. Besides the popular Berlin films of the fifties (Alarm at the Circus, A Berlin Romance, and Berlin – Schönhauser Corner). They also gave us The Gleiwitz Case, one of the grimmest movies ever made. They probably would have gone on to make many more great films, but Klein died while filming Murder Case Zernik, which would have been Klein’s fifth film to explore life and events in Berlin. After that, Kohlhaase continued to work on screenplays for Konrad Wolf, including I Was Nineteen, The Naked Man on the Sports Field, and Solo Sunny. Since the Wende, he has continued writing screenplays, most notably The Legend of Rita (Die Stille nach dem Schuß) for Volker Schlöndorff, and Summer in Berlin (Sommer vorm Balkon) for Andreas Dresen, a film that hearkens back to his work for DEFA in its tone and subject matter.

Berlin Around the Corner

Playing Olaf is Dieter Mann in his first feature film. Square-jawed and rugged-looking, Mann keeps his character balanced between short-fused reactions and sympathetic understanding. It is a nifty portrait of a young man poised on the edge of true adulthood and Mann pulls it off nicely. Like many other East German actors, he got his start on stage. From 1964 until 2006, he was a corp member of the ensemble at the Deutsches Theater in Berlin. Berlin Around the Corner was Mann’s first feature film. He went on to have a long and prolific career in East Germany, primarily in supporting roles. After the Wende, Mann suffered usual snub of East German talent, but he was too good an actor to ignore for long. Having worked extensively in television already in East Germany, and used to playing smaller roles, he was soon working again. He is best known to Western audiences for his portrayal of Feldmarschall Wilhelm Keitel in Oliver Hirschbiegel and Bernd Eichinger’s Downfall (Der Untergang).

Horst is played by Kaspar Eichel, another fine actor who got his start on the stage. His first feature film was the lead in The Golden Goose. This was followed by his role in The Adventures of Werner Holt as the ill-fated Fritz Zemtzki. Throughout his career Eichel has divided his time between stage and screen. Until recently he was a regular member of the Kriminal Theater in Berlin. In 2015, he appeared in the documentary Erich Mielke – Meister der Angst (Erich Mielke – Master of Fear) portraying the much-hated head of the Stasi, Erich Mielke. He has also done a lot of dubbing for German releases, providing voices for everyone from Robert Redford to Sid Haig.

Karin is played by Monika Gabriel. It was Monika Gabriel’s second feature film. Her first, The Robe (Das Kleid), was also banned. The East German public finally got to see her in a feature film in 1967, with The Lord Of Alexanderplatz (Ein Lord am Alexanderplatz). In 1971 Gabriel married the West German actor Wolfgang Kieling, whom she met back in 1969 while working on The Seventh Year (Das siebente Jahr). At that point, Gabriel had already been married twice, first to Polish-born actor Stefan Lisewski, and then to Armin Mueller-Stahl. When Kieling returned to the West, Gabriel obtained an exit visa followed him. She appeared in several West German television productions from 1972 until 1985, but thereafter retired from screen appearances although she continued to work as a voice talent for the German dubs of foreign films. In 1992, she married director Wilfried Dotzel, but he died a year later. She never remarried again and died of cancer in 2007.

Berlin um die Ecke

Playing Paul Krautmann, Erwin Geschonneck is, as always, sensational. Every gesture and expression expertly conveys the character. Anyone interested in acting would do well to watch Geschonneck here. This actor should need no introduction here by this time, having starred in several of the East Germans films ever made, including The Axe of Wandsbek, Castles and Cottages, Carbide and Sorrel, Anton the Magician, and many more. After the Wende, Geschonneck was afforded very few opportunities to demonstrate his talent. The reunification led to a lot of great East German actors—especially the older ones—being essentially kicked to the curb, but the saddest example of this is how little the new Germany took advantage of this man’s talent. He died March 12, 2008 at the ripe old age of 101 (for more on Erwin Geschonneck, see Carbide and Sorrel).

The cranky newsletter editor Hütte is played by Hans Hardt-Hardtloff, an actor who started performing on stage when he was sixteen. Hardt-Hardtloff worked exclusively on stage, usually outside of Germany during the Hitler years. After the war, he was hired as the senior director for Mitteldeutschen Rundfunk (Central German Broadcasting, MDR) in Leipzig. In 1957, he started appearing in films and on television. Most notoriously, he was hired to duplicate the role played by Raimund Schelcher in Castles and Cottages. Schelcher had a serious drinking problem, and there was some real concern that the man wouldn’t be able to finish the movie without falling off the wagon. So Maetzig hired Hardt-Hardtloff to perform each scene a second time. That way, if Schelcher didn’t make it all the way through the shoot, the film would still be salvageable. Maetzig didn’t really plan on using the footage, it was mostly used to remind Schelcher he was replaceable and to keep him on the straight and narrow (it did). The incident was used by Andreas Dressen for the plot of his 2009 film Whiskey with Vodka (Whisky mit Wodka). Coming, as he did, so late in his career to films, he was usually called on to play supporting roles as either government officials or professors, both benign and malicious. Hardt-Hardtloff died in 1974 in Potsdam.

The film’s jazzy pop score was by Georg Katzer, a composer better known for his experimental electronic music. When not composing music for films Katzer’s work is more Morton Subotnick than Henry Mancini, but he was a talented enough composer to come up with effective film scores when called upon to do so. He composed solid scores for several films during the sixties, and then again in the last days of the DDR, but he mainly worked in the electronic music field, founding the Studio for Electroacoustic Music at the Academy of Arts in Berlin in 1982. Katzer continues to composes electronic music, but his film score composition ended with the GDR.

Like most of the films banned during the 11th Plenum, Berlin Around the Corner didn’t get an official release until after the wall came down, although it did receive a limited screening in 1987. It officially premiered in 1990 to positive reviews.

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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.

The Naked Man on the Sports Field

Posted: May 7, 2016 in Karl-Ernst Sasse, Konrad Wolf, Pop Culture
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Der nackte Mann auf dem Sportplatz
Konrad Wolf’s three feature films—Goya, The Naked Man on the Sports Field (Der nackte Mann auf dem Sportplatz), and Solo Sunny—form a loose trilogy. On the face of things, the three films are as different as can be, musically, stylistically and cinematically, but all three films deal with deal with artistic creativity, in each case seen from a different perspective. On one end of the spectrum, we have Goya, the story of a true creative genius who changed art forever, on the other end of the spectrum we have Solo Sunny, the story of a young lounge singer who is just talented enough scrape by, but not much more. In between, is The Naked Man on the Sports Field, the story of a talented artist whose work is very good, but who cannot find acceptance with the general public. He will never be as famous as Goya, but neither will he be forgotten like Sunny. The thing all three main characters have in common is a strong creative urge. Goya paints in spite the threat of the Spanish Inquisition; Sunny tries to perfect a hit single in spite of never playing anywhere with more than fifty people in the audience, and Herbert Kemmel, the sculptor in The Naked Man on the Sports Field, continues to follow his own visions in the face of civic criticism.

Being an East German film, this last issue is the most important. Since artistic abilities and the creative impulse are unique to an individual, what is its place in socialist society? Should this one man be allowed to follow his own muse, or should the will of the collective prevail? It also addresses what happens when the public is no longer able to discern good art from bad, relying instead on fixed categories of what they think art is supposed to be instead of nuanced intellectual examination. With Goya, Wolf placed the action in Spain in the late 1700s. The film’s hidden subtext was about East Germany, but Ulbricht was still in charge when Wolf started working on the film. Honecker, as of yet taken over the leadership, when he declared that “as long as one proceeds from the firm position of socialism,” there should be “no taboos in the fields of art and literature.”

The naked man in the title refers to a piece Kemmel is commissioned to sculpt for the local athletic field. Expecting a clothed soccer player, the local authorities are horrified to to see a life-size bronze of a naked man instead. Should the authorities accept this single artist’s vision, or should the will of the collective prevail? In this case, Wolf, a lifelong communist seems to suggest that in an ideal socialist society there is room for both. Throughout the film Kemmel discusses art with various people and finds their perspectives on the subject severely limited. Most of the film concerns the relationship between Kemmel and his model Hannes. Hannes is just an ordinary guy, a member of a local construction brigade who has agreed to pose for Kemmel. The two men are as different as chalk and cheese, but they eventually learn to understand each other’s perspectives.

The Naked Man on the Athletic Field

Konrad Wolf was one of East Germany’s most creative directors, but he is also a stylistic gadfly. Take any three Wolf films, and you’d be hard pressed to see that they were all made by the same person. The screenplay is by Wolfgang Kohlhaase, East Germany’s best scriptwriter. As always, Kohlhaase is concerned with the way people communicate. Usually this takes the form of people from different regions trying to communicate (Germans and Russians, Berliners and everybody else), but here it is about the limitations of communication between people of different walks of life.

Herbert Kemmel is played by Kurt Böwe, who brings a certain charm to every role. He is often called on to play police and government officials because of this. Here, he is slightly outside of the mainstream, but not dangerously so. Hannes is played by Martin Trettau, who worked primarily on television. Trettau first appeared on film in Konrad Wolf’s I Was Nineteen. He appeared in several feature films after that, but most of work, especially in the eighties, was for Deutscher Fernsehfunk (DFF), the GDR’s television company. Like many East German actors, Trettau found work after the Wende became more scarce, but did a few television shows before retiring. He died in 2007 in Berlin.

Various artists and sculptors were hired to create the artwork shown in the film. The naked man sculpture of the title was created by renowned East German sculptor Werner Stötzer, who also makes a cameo appearance as the town’s mayor. Works by fellow artists Will Lammert and Albert Ebert also appear in the film.

The Naked Man on the Sports Field

The film features a remarkably minimal score consisting of guitar and a pan flute. The score was by Karl-Ernst Sasse—East Germany’s number one composer. Sasse’s scores were often quirky, using percussion in interesting ways in combination with unusual instruments. Sasse could create an orchestral piece with the best of them, but he was no one-trick pony. If he or the director thought a film score required only one or two instruments, he could do that as well. Considering his versatility, one might assume that Wolf and he worked together quite often, but this was the only film on which they collaborated (Wolf was famous for using the same crew on most of his films prior to Solo Sunny, but this never applied to the composers; he rarely used the same composer twice). After the Wende, Sasse continued to compose for films right up until the turn of the century, when he retired. His last film score was for Rosa von Praunheim’s 1999 film The Einstein of Sex. The story of the renowned and infamous sexologist Magnus Hirschfeld. Sasse died in 2006, not far from the Potsdam-Babelsberg studios where he did most of his work.

The Naked Man on the Sports Field is a languid film. Too talky and low-key for the average American film watcher. But when viewed in conjunction with Goya and Solo Sunny, it completes a concept that addresses Wolf’s feelings about the relationship between creativity and society. After Solo Sunny, Wolf would explore artistic creativity one more time in the television documentary Busch singt (Busch Sings), but here he was working with several other directors and he died before the film was finished.

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© 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 Man Who Replaced Grandma

Posted: April 15, 2016 in Comedy, Feminism, Pop Culture, The Seventies
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Der Mann, der nach der Oma kam
The Man Who Replaced Grandma (Der Mann, der nach der Oma kam) belongs to the comedy of errors genre—specifically the sub-genre that finds comedy in the mistaken belief that someone is being unfaithful.1 Some classic Hollywood films have mined this vein for comedy, most notably Preston Sturges in his hilarious 1948 film, Unfaithfully Yours, and many of Doris Day’s comedies. This film has a more feminist perspective than those films, and doesn’t make quite as much of a romp out of the subject as a Hollywood film would. Made shortly after Erich Honecker took over control of the DDR from Walter Ulbricht, The Man Who Replaced Grandma is slightly racy and a more daring film than would have been allowed a few years earlier, but manages to avoid too much controversy.

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

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

The Man Who Replaced Grandma

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

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

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

Katrin Martin

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

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

IMDB page for the film.

Buy this film.

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

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

No Cheating, Darling!

Posted: November 8, 2014 in Comedy, Feminism, Joachim Hasler, Love, Musical, Pop Culture
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No Cheating, Darling!

In 1975, director/screenwriter Jim Sharman, along with co-author Richard O’Brien, had a huge hit with The Rocky Horror Picture Show. In 1981, they decided to try again with Shock Treatment. It had the same writers, same director, and some of the same cast, but it failed miserably. It was like trying to catch lightning in a bottle. The aggregation of actors, songs, and story that worked so well in the first film just wasn’t there the second time around.

This example is just to show how difficult it can be to come up with exactly the right formula for a genre as complex as the musical. Even if you copy what seems like a working formula, it doesn’t always work. That’s what happened with No Cheating, Darling! (Nicht schummeln, Liebling!), DEFA’s follow-up to the hit, Hot Summer. It had the same stars and the same director, the cast is charming, the dance numbers are fun, and the costumes are sensational; but the final result lacks the punch of Hot Summer. While the film did well enough at the box office, it was not the hit that Hot Summer was.

The film’s title appears to be a takeoff on the 1970 West German film, Nicht fummeln, Liebling (No Pawing, Darling—which was also a follow-up to a previous popular film). No Cheating, Darling! is the story of Sonnenthal, a small town with a mayor who is so obsessed with soccer (or football, to readers from places other than North America and Australia) that all the resources of the town are being directed toward helping Sonnenthal come up with a winning team. When Dr. Barbara Schwalbe, the new technical school director, shows up, she finds it impossible to get anything she needs unless it has to do with soccer. Naturally, the mayor and Dr. Barbara are immediately at odds with each other, and she sings an ode to the mayor titled “Ich bring ihn um” (“I’ll kill him”). As is often the case in movies, these two end up romantically involved. Likewise the leaders of the men’s and women’s soccer teams (Frank Schöbel and Chris Doerk) engage in similar love/hate antics.

Schoebel and Doerk

Joachim Hasler directed three films starring Frank Schöbel (for more on Joachim Hasler, see The Story of a Murder). Mr. Schöbel and Mr. Hasler first worked together on Reise ins Ehebett (Journey into the Nuptial Bed) with Anna Prucnal as the romantic interest. Mr. Schöbel also made a film under a different director—Hochzeitsnacht im Regen (Wedding Night in the Rain)—which, like this film, did well enough at the box office, but couldn’t match Hot Summer’s numbers. It wasn’t until the singer was paired with his then wife, Chris Doerk, that Hasler and Schöbel had their first box office smash. Hot Summer remains one of the top-selling East Germany films of all time and was reinvented as musical theater in 2005.

For Reise ins Ehebett and Hot Summer, Mr. Hasler used Gerd Natschinski and his son Thomas to compose the music. For No Cheating Darling!, the music is more of a collective effort with songs by Gerd Natschinski, Frank Schöbel, and Gerhard Siebholz. Mr. Siebholz had composed the music for Hochzeitsnacht im Regen—Frank Schöbel’s feature film that Joachim Hasler did not direct. Mr. Siebholz was a very successful composer who worked often with Mr. Schöbel and Ms. Doerk. He didn’t often write music for movie soundtracks, but he did compose many hit songs for popular East German singers, including Ruth Brandin, Hauff & Henkler, and Britt Kersten. His musical style is more in keeping with the schlager-style of music that is popular with older people in Germany. As a consequence, the songs here don’t have the punch of the Gerd and Thomas Natschinski’s rock-inflected tunes in Hot Summer.

No Cheating, Darling! features Chris Doerk with her best haircut ever, and Mr. Schöbel with his worst. During the late sixties and early seventies, Doerk and Schöbel were two of the most popular singers in East Germany. They won the Schlagerwettbewerb der DDR (an East German song contest) twice, and for most of the late sixties and early seventies they were the darlings of East German television. After they split up, they each continued with successful music careers. Mr. Schöbel was the bigger star in East Germany, but Ms. Doerk was very popular, and was also a big star in Cuba. She later wrote a book about her travels there (La Casita, Geschichten aus Cuba).

Chris Doerk

After the Wende, Frank Schöbel continued to perform, primarily in the eastern half of the country. His Christmas album, Weihnachten in Familie which he sang with his second ex-wife, Spanish singer Aurora Lacasa, was also a hit and continues to sell well at Christmas time every year. Chris Doerk suffered problems with her voice quite performing for a while. She is now singing again, but only intermittently, and she occassionally appears with Mr. Schöbel. Her most recent album, Nur eine Sommerliebe, was released in 2012 on the Buschfunk label.

Playing the headstrong school director is the beautiful Dorit Gäbler. Ms. Gäbler came to films with a background in musical theater. She is a strong singer and a fine actress. She started appearing in TV movies in the late sixties, and made her first feature film appearance in Nebelnacht (Foggy Night) in 1968. She appeared in several TV movies and feature films throughout the seventies and eighties, including a fun bit in Motoring Tales—a daffy movie that combines fairytales and cars. Since the Wende, her on-screen career has been restricted to television. Like many other East German actors, she showed up in a few episodes of the Leipzig hospital drama, In aller Freunschaft. She continues to perform in cabaret programs, and just finished a tour in October of Rote Rosen für Mackie Messer (Red Roses for Mack the Knife), an evening of songs and stories about the criminal underworld in the days of The Three Penny Opera. She also does tribute programs dedicated to the songs of Marlene Dietrich and Hildegard Knef.

Gäbler and Fiala

Playing opposite Ms. Gäbler is Karel Fiala, a Czech singer/actor, who, like Ms. Gäbler, came from a musical theater background. He started his film career playing the title role in the film adaptation of Smetana’s Opera, Dalibor, but he made his biggest splash in the mind-bendingly nutty comedy-western, Lemonade Joe (Limonádový Joe aneb Konská opera). He also put in a  brief appearance in Amadeus as the actor in the title role of Don Giovanni. After the Velvet Revolution in 1989, Mr. Fiala found it nearly impossible to secure film roles, but continued to perform on stage. In 2013, he received  a lifetime achievement award at the Czech Thalia Awards (Ceny Thálie) for his work in musical theater.

But the real stars of this film are the costumes and the dancing. The costumes were created by Helga Scherff. Ms. Scherff had already proved her talent for pop clothing design in Gottfried Kolditz’s entertaining musical Midnight Revue, and she would prove it again in Hostess. Like Star Trek and I Dream of Jeannie during the sixties, there seems to be a conscious effort here to cover up the navels of the women. You catch glimpses of them early in the film, but they are very fleeting. This is tricky business since several of Ms. Scherff’s outfits feature bare midriffs, In one case, decorative belts are worn that seem to have the sole purpose of hiding the navel. It is such an odd detail, that I can’t help but suspect that these belts were added during production to placate the censors.

Nicht fummeln, Liebling!

The dance numbers are choreographed by Gisela Walther, who did the choreography for Hot Summer and Hochzeitsnacht im Regen. Ms. Walther was the ballet director at the Friedrichstadt-Palastes in Berlin, and won the National Prize of the GDR (Nationalpreis der DDR) in 1977 for her work there. Dancers from the Friedrichstadt-Palastes appear in the film doing the type of synchronized, Rockettes-style dancing for which they are justifiably well-known. Also appearing are the children of Dresden’s Kinderballett Morena in a short but entertaining synchronized rope jumping routine.

No Cheating, Darling! came out a month after The Legend of Paul and Paula, one of the most beloved films to ever play in East Germany. This surely impacted its success. The inevitable comparisons to Hot Summer didn’t help either. Taken on its own, No Cheating, Darling! is an entertaining little comedy, with some great costumes and dance routines. Ironically, its theme about the problem of channeling funds away from education to sports is much more relevant in modern America than it ever was in East Germany.

 

IMDB page for this film.

Buy this film.

 

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