Posts Tagged ‘Konrad Petzold’

On the Sunny Side

On the Sunny Side (Auf der Sonnenseite) is an entertaining little film about a man named Martin Hoff, who goes from working in a steel foundry to taking drama classes, only to be kicked out because of his behavior. It stars Manfred Krug, who, like Hoff, was working as a steelworker when he started taking drama classes at the State Drama School in Berlin (now the Ernst Busch Academy of Dramatic Arts), and like Hoff was kicked out for his behavior. Krug, however, eventually found his way into Bertolt Brecht’s Berliner Ensemble, and from there into movies. But that is not what this film is about. Most of the plot concerns Martin Hoff’s attempts to woo Ottilie Zinn, the pretty architect who is in charge of a project on which Hoff is working. Zinn’s aloof indifference toward him provokes Hoff to take a bet from his compatriots that he can woo her. It’s an old plot that has been used in films from Guys and Dolls to How to Lose a Guy in 10 Days, and with similar results.

On the Sunny Side was a popular film that—along with Midnight Revue, released a few months later—helped cement Manfred Krug’s reputation as a singer as well as an actor. Mr. Krug started in films in 1957, usually playing the heavy. He starred in several TV-movies at the start of his career, playing everything from the reprehensible Locky McCormick in the East German made-for-TV version of Johnny Belinda, to Mephisto in a TV adaptation of Faust.

In 1966, he turned in a performance as Hannes Balla in Trace of Stones that would have been a career-defining role for most actors, but the film was quickly pulled from theaters as a result of the idiotic 11th Plenum. While the Plenum was a career ender for several people at DEFA, the banning of Trace of Stones had little effect on Krug’s career. He continued to appear in films and released several albums on the GDR’s Amiga label. He often collaborated with jazz musician and film composer Gunther Fischer, with Fischer writing the music and Krug writing the lyrics under the pseudonym, “Clemens Kerber.”

Then in 1976, he was joined the protest against the expatriation of leftist singer, Wolf Biermann. For most of the DEFA actors, directors and writers who signed this protest, the move proved to be the end of their film careers in East Germany, but Krug didn’t stick around to find out. Born in Duisberg in 1937, Mr. Krug was a West German by birth and was able to use this fact to leave the GDR as soon as it became apparent that the SED was not going to respond to the protest with anything other than repression and surveillance. Mr. Krug quickly established a new career in West Germany, primarily in television, where he made a splash as truck driver Franz Meersdonk in the popular TV series, Auf Achse (On the Axle) and later as the lawyer Robert Liebling on Jurek Becker’s Liebling Kreuzberg. (For more on Manfred Krug, see The Trace of Stones.)

On the Sunny Side was written and directed by Ralf Kirsten. After studying theater at the Humboldt University in Berlin, Kristen went to Prague, where he studied directing at the Film and TV School of the Academy of Performing Arts in Prague, and joined fellow DEFA directors Konrad Petzold and Frank Beyer to create the short film, Blázni mezi námi (Fools Among Us). On the Sunny Side was Kirsten’s first bona fide hit. He teamed up with Manfred Krug again the following year to make Beschreibung eines Sommers (Description of a Summer), which also was also a hit with the public. He went on to make several more popular films, including Mir nach, Canaillen! (Follow Me, Canaillen!), Frau Venus und ihr Teufel (Venus and her Devil), Die Elixiere des Teufels (The Devil’s Elixir), and Unterm Birnbaum (Under the Pear Tree). After the Wende, Kirsten found it more difficult to find work as director and began teaching at the film school in Babelsberg. He died in 1998 in Berlin.

Playing the independent and lovely Ottilie is Marita Böhme. After training to be a pre-school teacher, Ms. Böhme began studying theater at the State Drama school in Berlin. A gifted singer, she often appeared in musicals and operettas. She appeared in several movies, in roles of varying importance. She appeared the year after On the Sunny Side in Ralf Kirsten’s Beschreibung eines Sommers, although this time not as Manfred Krug’s love interest. She is best remembered for her role in Carbide and Sorrel. After the Wende she became a regular on Polizeiruf 110 as Opera director Edith Reger.

In spite of being released in the middle of winter, On the Sunny Side was a big hit. The public was looking for something cheerful to take their minds off the increasing tensions between east and west and the recent construction of the Berlin Wall, and Kirsten’s film fit the bill. Today it seems like very light fare, but its importance to the times should not be underestimated. It was the right film at the right time.

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Dean Reed and Renate Blume

From time to time, East German filmmakers looked to America for source material. Bellboy Ed Martin was based on Albert Maltz’s play, Merry-Go-Round, and Chingachgook, the Great Snake took most of its story from James Fenimore Cooper’s Leatherstocking book, The Deerslayer. Jack London was a natural choice for DEFA. He was an ardent socialist, writing often about the struggles of the working class and the problems they faced in a capitalist society. London’s writing style is well suited to cinematic interpretation. It started in 1908 with some short films by D.W. Griffith and went on from there. Nearly everything he wrote has been made into a movie somewhere in the world. The Iron Heel—with its indictment of the way corporations help a select few scoop up all the money while the rest of the world struggles to get by—seems like a natural for film interpretation in the Communist Bloc, but it was only made twice, first as a silent film in Russia, and then again in Russia in 1999 (I’m not including the Ben Turpin and Paddy McGuire comedy reel, The Iron Mitt, which IMDB claims is also based on the book).

Kit & Co is based on several of Jack London’s “Kit Bellew” stories, first published in Cosmopolitan magazine, and later compiled into book form under the title Smoke Bellew. Many of the stories hark back to the folklore tradition of the trickster that we’ve seen before in the form of Till Eulenspiegel. Other stories are flat-out adventure tales. The film concentrates primarily on the trickster tales, and it follows these stories remarkably well. Kit’s first encounters with Joy Gastell are taken nearly verbatim from the book. Likewise, the roulette wheel caper, the egg grift and the dogsled race are presented here virtually intact.

You could hardly ask for a better cast. Manfred Krug, Armin Mueller-Stahl, and Rolf Hoppe were all popular stars by the time this film was made, but, of course the real draw was Dean Reed. Here was an American—ein echter Amerikaner—starring in an East German movie. Reed was the perfect choice to play Bellew. His combination of boyish charm and rugged good looks suited the part to a tee.

Kit & Co was Dean Reed’s first East German film, but it wouldn’t be his last. The film was a major hit and ensured a highly successful career in the GDR for the American pop star. Reed went on to star in four East German films, directing the last two himself. His popularity extended past the borders of East German to the USSR as well. He was equally popular in Russia and was nicknamed “The Red Elvis.” The moniker was used for the title of a 2007 documentary about Reed. [See also, El Cantor and Blood Brothers.]

In 1986, Reed was interviewed by Mike Wallace on Sixty Minutes. Reed saw this as an opportunity to bridge the gap between the east and the west, and get back to making films in America, but years of living in East Germany had deprived Reed of the perspective he needed to conduct a successful interview with the likes of Wallace. When the episode aired, Americans were appalled by Reed’s defense of the Berlin Wall and the Soviet invasion of Afghanistan, and his comparison of Ronald Reagan to Stalin. Hate mail flooded in and angry right-wing DJs derided him on the radio. Shocked and desolate, Reed committed suicide at Zeuthener Lake near his home in East Berlin. He left a note apologizing for his suicide, but the Stasi hid the note from the public, preferring to let the public to think that his death was part of conspiracy rather than the cold hard truth that Reed killed himself.

Monika Woytowicz, Manfred Krug and Renate Blume

Joy Gastell is played by Renate Blume. Blume’s career got off to a roaring start with Konrad Wolf’s spectacular film, Divided Heaven, but after that her star dimmed a bit. She was married to director Frank Beyer for five years, and lived with Indianerfilm star Gojko Mitic for two years after that. For most of her time in East Germany, she primarily appeared in TV shows and stage plays. In 1984, she married Dean Reed, and they remained married until his death. After the Wende, she continued this career path, acting on stage and appearing occasionally on television. She has appeared in several popular TV shows, including Edel & Starck, In aller Freundschaft, and, Tatort, and Polizeiruf 110—both before and after the Wende.

Kit’s pal Shorty is played by the popular East German actor, Rolf Hoppe. Hoppe was one of the most popular character actors in East German. He appeared in dozens of films and TV-movies. He had a special knack for villains, and was often seen as the bad guy in the Indianerfilme. He received international acclaim in 1981 for his portrayal of the  Göring-like Tábornagy in the classic Hungarian film, Mephisto. In Kit & Co, Hoppe gets to engage in a different western stereotype: the sourdough—that grizzled prospector of the California and Klondike Gold Rushes. He has fun in the role and makes the character as engaging as he is on the page. Hoppe still appears in films from time to time, and he resides in Dresden’s Weißig section.

As with many of the better films from DEFA, the music for this film was by Karl-Ernst Sasse. Sasse, a classically-trained composer, normally followed a classicists approach to his scores, using lots of strings and full orchestration. Sasse felt, however, that this wouldn’t work well in a film like Kit & Co. Instead, he created a score that imitated the music of the period, with minimal orchestration. Some songs consist of nothing more than a bass viol, trap set, and a banjo. Other tunes add horns to mix with a sound reminiscent of a Salvation Army band. [For more examples of Sasse’s work, and further information on the composer, click on his name at the top of this post.]

Critics were divided on Kit & Co, but the audiences weren’t—they loved it. The Soviet Union made their own version the Smoke Bellew stories the following year (Smok i malysh) and DFF, the East German television company, made two more movies based on Jack London’s works (Alaska-Kids großer Coup and Der Mexikaner Felipe Rivera). Most recently, Bellew and Shorty returned to the small screen in the French mini-series, Chercheurs d’or. Considering the enduring popularity of Jack London’s work, we’re certain to see more films based on the exploits of Kit and Shorty. Kit & Co remains one of the best.

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 Buy this film.