Posts Tagged ‘Czechoslovakia’

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

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

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

Das Eismeer ruft

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

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

The Arctic Sea Calls

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

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

IMDB page for the film.

Buy or stream film.


© Jim Morton and East German Cinema Blog, 2018. Unauthorized use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Jim Morton and East German Cinema Blog with appropriate and specific direction to the original content.

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

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

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

Cinderella

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

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

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

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

Cinderella

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

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

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

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

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

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

IMDB page for the film.

Buy this film:
DVD
Blu-Ray
Czech with English subtitles.

Stream film on Veoh (German version).

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


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

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