Posts Tagged ‘Bernhard Stephan’

Für die Liebe noch zu mager?
Too Young for Love? (Für die Liebe noch zu mager?) is a portrait of a girl on the cusp of womanhood. At the start of the film, our heroine Susanne (Simone von Zglinicki) is wide-eyed and still wet behind the ears. She works at a textile plant and is a model worker. Susanne has a crush on Lutz, the town hipster, but he stills sees her a little girl. The German title of this film translates literally to “Still Too Skinny for Love.” It appears in IMDB under the title Too Skinny for Love1, but the DEFA Library at Amherst chose to translate the title based on its meaning rather than a literal translation.

From Delmer Daves’ A Summer Place to Greta Gerwig’s Lady Bird, filmmakers have explored the subject of coming of age for both comedy and drama. In the United States, filmmaker John Hughes practically made it a brand with films such as Pretty in Pink, Sixteen Candles, and Some Kind of Wonderful. In Too Young for Love, Susanne is no longer a teenager, but she’s not quite a woman either. The film follows that journey carefully, step by step. It is never salacious or prurient, and there is, as one might expect from a DEFA film, plenty of interludes where the merits of socialism are discussed.

In a style similar to The Legend of Paul and Paula, the film has some nice musical interludes including the Klaus Renft Combo performing “Als ich wie ein Vogel war” (“When I Was a Bird”). The Klaus Renft Combo, like Wolf Biermann, was a thorn in the side of the East German government. The were banned from the radio in 1962 for their obviously Western-influenced rock music. The ban was eventually lifted in 1967, and the group become extremely popular, but with their songs of social criticism it didn’t take long for them to get on the wrong side of the authorities again, and the band was banned from even existing in 1975. Lyricists Gerulf Pannach and songwriter Christian Kunert were thrown in prison for nine months and then officially “expatriated,” even though both men had been born in East Germany.

Too Young for Love?

Too Young for Love was Bernhard Stephan’s first feature film. Before that he had worked in television, directing an episode of Polizeiruf 110 (Police Emergency Call)2 and the miniseries Täter unbekannt (Offender Unknown). His second feature film, Aus meiner Kindheit (From My Childhood), was the story of the Ernst Thalmann’s youth, recreating pre-WWI Hamburg in Schwerin. Stephan went on to make several more films for DEFA. They usually focused on the lives of ordinary people in the GDR. One notable exception is Jörg Ratgeb, Painter (Jörg Ratgeb, Maler), which explores the life of the Swabian contemporary of Albrecht Dürer at the time of the German Peasants’ War (1524–1525). With the fall of the Wall, feature film opportunities dried up and Stephan returned to television. He has made a name for himself there, primarily for his work on comedies and crime shows.

Originally, Katharina Thalbach was slated to appear in the role of Susanne, but when she became pregnant, the role was turned over to Simone von Zglinicki, who was still a student at the theater school in Leipzig at the time. Von Zglinicki was a good replacement. Both women are excellent actresses, and both have faces that are particularly good at expressing wide-eyed wonder. Von Zglinicki went on to appear in several more East German films, including Hans Roeckle and the Devil (Hans Röckle und der Teufel), Love at 16, (Liebe mit 16), The Flight, and Sabine Kleist, Age 7. Thanks to her relative youth, the Wende had less impact on her career than it did on most of the older East German actors. She has gone on to appear in numerous films and television shows since that time.

Playing the self-absorbed and irresponsible Lutz is Christian Steyer. Steyer practically made a career in East Germany out of playing irresponsible jerks. A year earlier, he had made a splash in The Legend of Paul and Paula playing just such a character. He’s a little more sympathetic here, but still not exactly a role model. He is also a talented composer, creating the music for several movies including Jan on the Barge (Jan auf der Zille), Sabine Kleist, Age 7, Forbidden Love (Verbotene Liebe), and Jana and Jan (for more on Christian Steyer, see Sabine Kleist, Age 7).

Christian Steyer

The film takes some gentle jabs at East German socialism and its restrictions on goods and travel, but the one that resonated the most was the line, “Mensch Opa, das sind echte Levi′s!” (“Man, Grandpa, those are real Levi’s!”). Until the early seventies, blue jeans were frowned upon by the establishment on both sides of the Berlin Wall. In the West, they weren’t allowed in most workplaces, and in the GDR they were seen as a symbol of the invidious influence of western culture and part of the subculture of juvenile delinquency and rock’n’roll. As a result, East German teens coveted jeans, and in particular, Levi’s. Levi’s figure prominently in both the play and novel of Die neuen Leiden des jungen W. (The New Sorrows of Young Werther) by In Ulrich Plentzdorf with one character saying that jeans were the finest trousers in the world (“Jeans sind die edelsten Hosen der Welt”). The East German government railed for years against the garment, but, like so many of the SED’s decisions, it was a lost cause. By 1970, most young people in the West were wearing jeans on a regular basis, including those pro-communist revolutionaries that were causing trouble for the U.S. government. Eventually, East German garment factories started making jeans, they called “Doppelkappnahthose” under names such as “Goldfuchs,” “Wisent,” and “Boxer.” At first, they were brown corduroy knock-offs. The state-owned factories wouldn’t get around to making actual denim jeans until 1978. The East German jeans really didn’t measure up as far as teens were concerned. They wanted Levi’s, not Doppelkappnahthose.

In 1978, the Levi Strauss & Company made a deal with the East German government to ship 800,000 pairs of the popular jeans to the GDR. In spite of the steep price—costing more than twice the price of the East German jeans—and the limit of one pair per person, people lined up to buy them and they sold out quickly. Of course, owning a pair of real Levi’s brought its own perils. It pegged you as a potential troublemaker, which could lead to a Stasi file on you.

The film did well, thanks to its realistic portrayal of everyday life in East Germany. It is worth noting that on IMDB, the film rates much higher with women than it does with men, which, I suppose, would make it qualify as a “chick flick” or a “Frauenfilm.” It is a well-made film with some exceptional performances from its leads.

IMDB page for this film.

Buy or stream this film.


1. The German word mager means lean, and comes from the Latin macer; the same root as our words “meager” and “emaciated.”

2. Later episodes of this series are being shown on MHZ under the title Bukow and König, which is a bit like renaming Law & Order “Lupo and Bernard.” Bukow and König have only appeared in 18 of the Polizeiruf 110 episodes. Compared to other characters such as Leutnant Vera Arndt (48 episodes), Hauptkommissar Herbert Schneider (58 episodes), and Hauptmann Fuchs (85 episodes!) this is a drop in the bucket.

© 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.

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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.