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.
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.
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.
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.
