Posts Tagged ‘Gerhard Siebholz’

Spring Takes Time
Spring Takes Time (Der Frühling braucht Zeit) was one of the twelve films banned in the wake of the notorious 11th Plenum. Along with The Rabbit is Me, it is one of the only films that actually made it into the theaters before the ax came down. While some of the 11th Plenum bans seemed downright silly (see Hands Up or I’ll Shoot!), the banning of Spring Takes Time is understandable. After all, it’s a movie about how the state’s demanding quota system could lead unscrupulous management to put the lives of the workers in danger and then blame the same workers when things go south. At its heart, the film is an indictment of the very economic system the folks at the 11th Plenum were so loathe to discuss.

At the start of the film, a gas company manager named Heinz Solter is arrested for negligence that resulted in the failure of a pipeline, and the serious injury to a worker. Most of the rest of the film is told in flashbacks, where we learn that Solter is just the fall guy for decisions made by his higher-ups, in particular Chief Operations Officer Erhard Faber, who is determined to meet the state’s quotas come hell or high water.

Spring Takes Time

It doesn’t help Solter’s case that he’s a reticent fellow who refuses to point the finger at anyone else, feeling that everyone in a position of power—including himself—shares some of the responsibility for what happened. It also doesn’t help that he has very short fuse, and isn’t averse to knocking someone through a glass door if he doesn’t like what they’re saying. Besides Solter’s story, much of the film revolves around his doe-eyed daughter Inge, who is dating one of Faber’s lackeys.

The film is directed by Günter Stahnke, an extremely talented director whose frequent run-ins with the authorities led to him being ostracized from DEFA. He was first criticized for his television short, Fetzers Flucht (Fetzer’s Escape), but that one was eventually allowed to be broadcast in 1962. Not so with his next short film, Monolog for a Taxi Driver (included on the Spring Takes Time DVD from the DEFA Library), which was banned outright for its pessimistic, every-man-for-himself look at life in the GDR. That film remained unscreened until the Wall came down. His first feature film, From King Midas (Vom König Midas), was met with some criticism, but made it into the theaters. Spring Takes Time was his next film. After that, Stahnke was essentially banned from DEFA and relegated to television, where he spent the rest of his career directing comedies and kids’ films. One might think the Wende would give Stahnke another chance to spread his wings, but such was not the case. His career as a director effectively ended with the dissolution of East Germany.

The movie is cast against type—perhaps as a way to show how topsy-turvy things had become in East Germany. Rolf Hoppe, who was almost always cast as a villain, appears here as a sympathetic worker in danger of being scapegoated for the failures of the gas line project. Günther Simon, who was usually cast in heroic roles—having first made a splash as East Germany’s number one hero Ernst Thälmann in the Kurt Maetzig films—here plays the devious Faber.

Der Frühling braucht Zeit

Solter is well played by Eberhard Mellies. While Solter is a good guy, he is also short-tempered and reticent. Mellies’ strong features and stern countenance lend themselves to this type of role. Mellies’ career in films started with a small role in Der neue Fimmel (The New Craze), after which he started appearing in various television productions. Spring Takes Time was his next feature film and almost his last. Aside from voiceovers in My Zero Hour (Meine Stunde Null) and Apaches, Mellies didn’t appear in a DEFA feature again until 1978. Like his brother Otto, who is one of the most well-known voiceover actors in Germany, Eberhard does most of his work in front of a microphone these days.

Doris Abeßer plays Solter’s waif-like daughter Inge, who obviously didn’t inherit any of her father’s stoicism. She is played here as a raw nerve, sensitive to every things that happens around her. With her enormous, dark eyes, she appears at times like a Keane kid (one reviewer compared her appearance to mask-wearing Louise (Alida Valli) in Eyes Without a Face, but I think this is pushing it). By the time she made this film, Abeßer had already appeared in nearly a dozen movies and a few TV films. Her performance in Konrad Wolf’s film Professor Mamlock as Mamlock’s daughter Ruth was especially powerful. Abeßer was married to director Stahnke. I could find no date for their marriage, but their son born in 1963, so they were already a couple by the time they made this film together. As with nearly everyone else involved with Spring Takes Time, Abeßer’s career after this film was restricted almost exclusively to television. After the Wende, she did what many East German actors did, moving from film and television to legitimate theater. She started appearing in film and television regularly again 2001, finally retiring in 2012. Abeßer died on January 26, 2016.

Much of this film’s cinematic value comes from its production design which is as angular and pristine as Stanley Kubrick’s 2001: A Space Odyssey. The production designer was Georg Kranz, a versatile designer whose work can be seen in Ursula, The Devil’s Three Golden Hairs, and Murder Case Zernik. Spring Takes Time was his first feature film, and is probably the reason the next six productions he worked on were for television. He returned to feature films with the popular Time of the Storks, and worked mainly in feature films after that. After the Wende, when most East German film technicians were effectively shut out of the film industry, Kranz found work as the series production designer for the popular TV series Für alle Fälle Stefanie.

Der Frühling braucht Zeit

Juxtaposed with the film’s stark look is the jangly rock’n’roll score, played by a band called “The Sputniks.” The composer is listed as Gerhard Siebholz, who also did the scores for the musicals No Cheating, Darling!, and Wedding Night in the Rain. Siebholz was a very successful composer in East Germany, penning several hits songs. Unlike much of work, which has a penchant for the schmaltzy Schlagermusik so popular with older Germans, The music for Spring Takes Time sounds very much of its era, but it is also a strangely dissonant and heightens the effect that things are not quite right.

Although the term “Rabbit Films”—named after Kurt Maetzig’s The Rabbit is Me—was given to the films that were banned during the 11th Plenum, I suspect that Spring Takes Time is film that really set off the purge that followed. Especially considering that it premiered a few weeks after the Plenum, and was effectively, albeit accidentally, an indictment of the very behavior that the folks at the Plenum had just demonstrated. How could they not ban it? A look at the film histories of many of the people who worked on this film show that they were more severely punished than the people on most of the other banned films. Stahnke, Mellies, Abeßer, and cinematographer Hans-Jürgen Sasse were all relegated to television after this, with DEFA feature film opportunities for them few and far between, if at all. Günther Simon probably avoided similar treatment because he was, after all, the embodiment of Ernst Thälmann and the West German press would have had a field day if it could be proved that the man who played Thälmann was no longer being cast in films. While the SED could rail against specific aspects of the other banned films, claiming they contained anti-socialist elements, Spring Takes Time was a virtual exposé of their hypocrisy. I can’t help but wonder if some of the films that were banned in the Kahlschlag (a term meaning “clear-cutting,” often used in reference to the films banned during this period) were banned as a smokescreen to hide the fact that Spring Takes Time was the movie they really wanted to be rid of, but to ban it by itself would have called too much attention to the film.

IMDB page for this film.

Buy this film.1


1. The DVD also includes Stahnke’s short film Monolog for a Taxi Driver (1962).

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.