Posts Tagged ‘Karel Svoboda’

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
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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.

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Sing Cowboy Sing
American pop singer Dean Reed’s popularity in East Germany cannot be underestimated. He was not called the “Red Elvis” for nothing. He played to packed houses throughout the Eastern Bloc nations, especially in Russia, where he was a huge star. Although he was born in Denver, Colorado, and under contract to Capitol Records, Reed’s big break came in South America, where his song “Our Summer Romance” was a hit in spite of its lack of airplay in the States. Reed started performing in South America exclusively, where he met and became close friends with Victor Jara, the Chilean singer and political activist who was tortured and killed by Pinochet’s goons after the U.S. orchestrated coup d’etat. Later, in East Germany, Reed would direct and star in a TV movie about his murdered friend, El Cantor.

When things got too hot in South America, Reed went to Europe, where he started appearing in films, primarily spaghetti westerns such as God Made Them… I Kill Them, Twenty Paces to Death, and Adios Sabato. In 1973, he starred in his first DEFA film, Aus dem Leben eines Taugenichts (The Life of a Ne’er-do-Well), but it was his next film for DEFA, Kit & Co., that brought him real attention. At that point, Reed decided to move to East Germany.

Dean Reed

This was a public relations goldmine for the GDR; up there with Angela Davis’ visit to the country a year earlier. While the U.S. government continued to paint the communist countries as hellish places that no one would want to have anything to do with, here was an American pop star living in East Germany and loving it. As a consequence, Reed was given a great deal more creative freedom than any East German filmmaker was ever allowed. Nowhere is this more in evidence than in Sing, Cowboy, Sing, the western comedy that Reed starred in and directed.

Sing, Cowboy, Sing follows the adventures of Joe (Dean Reed) and his pal Beny as they travel across the American West, singing in saloons and performing in Wild West shows. It is a silly affair that would be a kids’ film if not for a few gags involving large breasts. There’s a shootout at the end, but nobody suffers anything worse than an injured hand. Occasionally the action stops so that Joe and Beny can perform a song. There’s some political content here but very little. The bad guy is, of course, a rich American, and the one town he doesn’t control is Liebenthal (literally, “Love Valley”), which was founded by Germans.

Sing, Cowboy, Sing is part of a fine old genre, the comedy western. It harks back to the silent era and includes such classics as Destry Rides Again, Along Came Jones, Cat Ballou, and Blazing Saddles; along with some very silly movies such as Ride ‘Em Cowboy, Cockeyed Cowboys of Calico County, and The Apple Dumpling Gang. Sing, Cowboy, Sing falls squarely in the latter category. It is a very light and silly movie, but with touches that show an influence from Reed’s work on spaghetti westerns. Stylistically, it is all over the map. One scene will feature sped up action for comic effect, and the next will be played for high drama with scene that looks like it was shot by Gianfranco Parolini.

Dean Reed as gunfighter

The film uses an international cast, including Czechs, Romanians, and even Dean Reed’s old acting coach and TV director, Paton Price whom Reed had flown to East Germany to help him get through the production. As one might imagine, these actors were all dubbed by Germans. Reed himself was dubbed by Holger Mahlich, an actor often called on for dubbing on both sides of the wall (he left East Germany in 1982). He is often called upon to do the voices for Xander Berkeley and Ed Harris, but he has dubbed everyone from Harvel Keitel to John Candy. His is the voice of John Steed in the German release of The Avengers.

Beny is played by the Czech actor Václav Neckář, who is best known for his first feature film role—that of Milos in Jirí Menzel’s Oscar-winning classic, Closely Watched Trains. Like Reed, Neckář was a successful pop singer, with several hits in his native Czechoslovakia. Some of these songs were originals, while others were Czech cover versions of popular tunes such as “Mrs. Robinson,” “Suzanne,” and “Bungalow Bill.” Unlike Reed, Neckář started as an actor and came to singing later. He had several success singles in the sixties, then joined his brother Jan’s group Bacily (which translates to “The Germs”) in 1971.

In 2000, his named cropped up on a list of informants for the StB—Czechoslovakia’s version of the Stasi. This didn’t help his movie career any. Since the publication of that list, he’s only done one film as a voice in an animated movie, and a small part in the Czech TV show, Gympl. He continues to perform with Bacily, as several videos on YouTube can attest.

Neckar

The lead female love interests of Maria and Susann were played by Violeta Andrei and Elke Martens (née Gierth), respectively. Violeta Andrei is best remembered as the voluptuous cosmonaut Rall who dances with the snake at the party in Gottfried Kolditz’s wild East German science fiction film In the Dust of the Stars, and as Gojko Mitić’s love interest in Severino. She is a Romanian and appeared in several movies in her home country, including The Moment (Clipa) and The Pale Light of Sorrow (Lumina palidă a durerii). She was married to Ștefan Andrei, foreign minister for Nicolae Ceauşescu. She occasionally still appears in Romanian TV shows, but hasn’t done a feature film since the overthrow of Ceauşescu.

Elke Martens, appearing in this film under her maiden name, Gierth, hails from Dresden. Like Reed and Neckář, she is a singer, although she gets no chance to demonstrate it in this movie. She mostly here for cleavage gags. During the seventies and eighties, she performed in the GDR with her band, Megaphone. Occasionally, the band ran afoul of the authorities for its provocative lyrics and faced a year-and-a-half ban in 1980 because of this. More recently, Martens has made a name for herself in Schlagermusik—easily the least provocative music known to man. Martens outed herself as an IM, claiming that she was forced to sign an agreement to provide the Stasi information lest she go to prison. Reed’s original screenplay for this movie was in English. According to one source, it was Martens who created the German script for the film.

The music for the film is by Karel Svoboda, a Czech composer best known for his work on children’s films. Svoboda started out studying to be a dentist, but his love was always music. In 1963, with the burgeoning popularity of bands such as The Beatles and The Rolling Stones, he started the group, Mephisto, who later became the house band for the Rococo Theater (Divadlo Rokoko) in Prague. While the songs in Sing, Cowboy, Sing are adequate but forgettable, the score features some excellent set pieces that a clever director will some day repurpose. Along with his scores for several movies, Svoboda also wrote musicals based on popular fiction, including, Dracula, Monte Cristo, and Golem. In 2007, Svoboda committed suicide in the garden of his home in Jevany.

Critics were unkind to Sing, Cowboy, Sing. Renate Holland-Moritz, the resident film critic for East Germany’s humor magazine Eulenspiegel, found Reed’s directing unfocused and felt he was unable to tell the difference between what’s funny and what’s merely absurd, and West Germany’s Cinema magazine called the film amateurish slapstick. As is often the case with intentionally silly films, the general public found the movie more entertaining than the critics did. The film was a hit. As inane as much of the humor is, Reed’s ingratiating personality and his obvious cowboy credentials carry the movie. This would be Dean Reed’s last film for DEFA before his death.

IMDB page for the film.

Buy the film.