Posts Tagged ‘Willy A. Kleinau’

Kleinow und Treff
The Invincibles (Die Unbesiegbaren) was originally intended as the second of three films. The first was to chronicle the introduction of the Communist Manifesto, and the last was to follow Karl Liebknecht’s story up to the development of the Spartacus League, forerunner to the German Communist Party (KPD). The Invincibles was the only one of the three that got made. Its story takes place in 1889—one year after the “Year of the Three Kaisers” (Dreikaiserjahr) and toward the end of the period when the government’s anti-socialism laws (Sozialistengesetze) were in force.

The action in the film centers around the Schulz family. Mr. Schulz works as a train mechanic during the day, and uses his spare time to help workers organize. Schulz’s daughter Gertrud spends her evenings helping her friend Franz distribute socialist literature. Things come to a head when an informer breaks into the Schulz home and locates the socialist pamphlets. Mr. Schulz is sent to prison, but is released less than a year later when this silly law is finally repealed and Otto von Bismarck, the law’s main proponent, is sent packing.

Die Unbesiegbaren

DEFA films from this period are often extremely didactic, and this one’s no exception. In truth, DEFA was just following Hollywood’s lead. Since Hollywood had come under attack as a hotbed of communist revolutionaries, film producers were bending over backwards to demonstrate their patriotism. As a consequence, there was hardly an American film made during that period that didn’t trot out anti-communist sentiments somewhere along the line. One could argue that DEFA was simply following suit. This approach led to a lot of mediocre Hollywood films, and a perception in the West that all East German films were nothing but propaganda. A perception that, sadly, still persists.

The screenplay was written by the film’s director Artur Pohl and DEFA official Heino Brandes. Alongside Wolfgang Staudte and Kurt Maetzig, Pohl was one of DEFA’s go-to guys during its early years (for more on Pohl, see The Bridge). Brandes was hired to oversee DEFA’s short film department, then later moved to the science film section. He worked closely with stage director Hans Rodenberg, who was in charge of DEFA’s feature film unit during the early fifties, and the two of them wrote a treatise on socialist realism in theater and film together.

The cast features some of the best actors from the early years at DEFA. Playing Frau Schulz is Alice Treff, who already had a thriving career in Nazi Germany. She made a few films for DEFA, but primarily worked in West Germany after the war, both as an actress and as a popular voice dubber for American films. As a West German, Treff received flak for portraying the good socialist housewife Mrs. Schulz. Perhaps this is the reason for her strangely uncomfortable demeanor in the final scene at the rally where the socialists celebrate the end of the anti-socialism laws. While everyone else seems happy, Treff’s character looks oddly ill at ease. Or perhaps this was just the filmmaker’s way of letting us know that the battle wasn’t over yet. Treff managed to get past this mini-scandal and continued working in films in West Germany into her nineties. She died in 2003 at the age of 96.

Kleinow und Treff

Playing her husband is Willy A. Kleinau, so memorable as “Mr. Lawson” in The Council of the Gods. Unlike Treff, Kleinau stayed in East Germany, although he did appear in West German productions as well, most notably, The Captain from Köpenick, starring Heinz Rühmann (a popular star in West Germany and during the Third Reich). Kleinau continued to perform in films and on stage until his death following an auto accident in 1957.

Werner Peters—who turned in a spectacular performance in The Kaiser’s Lackey—plays the police informer Köppke. Most of Peters’ early films were from DEFA, although his first time in front of the camera was in the West German Rubble Film, Zwischen gestern und morgen (Between Today and Tomorrow). In 1955, Peters left East Germany, settling at first in Düsseldorf, then later in Berlin. Besides his work at DEFA, Peters also starred in some of the better West German films of the fifties, including The Devil Strikes at Night (Nachts, wenn der Teufel kam), Rosemary (Das Mädchen Rosemarie), and Roses for the Prosecutor (Rosen für den Staatsanwalt). He regularly shows up in West Germany Krimis (crime films), and made regular appearances in the Dr. Mabuse and Edgar Wallace films so beloved by West Germans. He also appears in a few U.S. productions, usually as either a Nazi or an evil doctor. You can also spot him doing a turn as an antiques dealer in Dario Argento’s classic Giallo film, The Bird with the Crystal Plumage (L’uccello dalle piume di cristallo).

Appearing as the police captain, is Arno Paulsen, first seen by audiences as the evil Brückner in The Murderers are Among Us. Like Peters, Paulsen starred in several early DEFA productions, but eventually settled in the West. Paulsen worked with Peters again on the West German classic, Rosemary, both playing corrupt, fat-cat capitalists. He became the voice of Oliver Hardy for the German releases of the Laurel and Hardy alongside Walter Bluhm, who had been doing Stan Laurel’s voice since Hollywood stopped attempting to have the duo redo their routines in other languages.1

Youg rebels

Portraying the feisty young Gertrud is Tamara Osske. Primarily a stage actress, Osske only has three film credits to her name. Since her name shows up as part of the cast for a 1980 production of Peer Gynt at the Saarländisches Landestheater, I have to assume she left the GDR at some point after 1960. Also here, playing Wilhelm Liebknecht, is Erwin Geschonneck.

The same year that this film came out, West Germany formed the Interministerial Committee on East-West film questions (Interministerieller Ausschuß für Ost-West-Filmfragen), created for the purpose of banning films that promoted socialism, but pushed their mandate to include any films that attacked colonialism, imperialism, and, sadly, even Nazism in some cases. The Invincibles was one of the first films they banned, along with other DEFA classics, such as The Council for the Gods and The Kaiser’s Lackey. The irony of banning a film about Germany’s repressive anti-socialism law because of its socialist content makes it impossible to satirize.

IMDB page for the film.

Buy the film.


1. A little-known fact about the early sound films. Back during the silent days, it was easy enough to distribute a film internationally. All you needed was to switch the intertitles to the language of choice. With the advent of sound, that was no longer an option. At first, movie producers tried to solve the problem by having the lead actors redo each scene in other languages. The best known example of this is The Blue Angel, which was first made in German, and then in English a year later. For some actors, speaking both English and German wasn’t a problem. Having grown up in a Yiddish-speaking household in Romania, Edward G. Robinson’s spoke excellent German, as did his co-star in A Lady to Love, Vilma Bánky, so the two of then reprised their roles in the German version (Die Sehnsucht jeder Frau), while most of the rest of the case was replaced. Laurel and Hardy’s German, on the other hand, was atrocious, but there was no way to replace them. They were already famous as “Dick und Doof” in Germany from their silent shorts. Rather than have the two comedians memorize their lines, the duo read the words spelled phonetically on cue cards, reenacting the same scenes in up to four different languages. Producers quickly realized that this approach was not going to work, and so dubbing was born.

The Story of a Young Couple

If I were going to show somebody their first East German film, it would not be this one. One common misconception among Americans—and all westerners, for that matter—is that East German films are nothing but propaganda, intended to promote the state and nothing more. The misconception doesn’t come from any knowledge of the subject, or even selected examples. It’s more a case of formless and gormless prejudices thoroughly drummed into our brains during the Cold War. The Story of a Young Couple, however, would do nothing to disabuse people of this notion. It really is propaganda. It wears its politics on its sleeve, and its politics are those of Stalin. He is championed as a hero throughout this film, and his portrait hangs in public places. It is one of the sad legacies of East Germany that the leaders hitched their wagons to Stalin’s star instead of returning to the ideals of Rosa Luxemburg and Karl Liebknecht. It was certainly inevitable, considering the Soviet Union’s part in the foundation of the GDR—a link going all the way back to Ernst Thälmann—but it meant that future failure was already in the cards before the ink was dry on the country’s constitution.

The film follows the story of Agnes Sailer and Jochen Karsten, two young actors who become involved the theater scene that springs up in Berlin after WWII. They are surrounded by idealistic people who see theater as a way to promote anti-fascist sentiments and ensure that nothing like the Third Reich ever happens again in Germany. Funding their efforts is Dr. Ulrich Plisch, an old-school capitalist who has less interest in politics than doing whatever’s profitable. Surrounding them are other actors and directors who run the political gamut from devoted socialists to amoral golddiggers. As the gulf between east and west becomes wider, Agnes and Jochen find themselves on opposite sides of the chasm. Agnes, a committed socialist, would rather starve than take a part in a play or film she found morally reprehensible, while Jochen starts letting his policies take a backseat to a steady paycheck.

The Story of a Young Couple was made in 1951, and came out in January of the following year. Up until this time there was a healthy (or unhealthy, depending on your outlook) infusion of West German filmmakers into the film studios at Babelsberg. As mentioned elsewhere in this blog, most of that influx came from the fact that the U.S. military authorities did everything they could to discourage German film production. After West Germany became a sovereign state in May of 1949, the shackles on West German film production were removed and West Germans no longer needed to migrate eastward to make their movies. This made any West German directors who did go to DEFA immediately suspect. The Cold War had heated up and it wasn’t uncommon for the intelligence agencies from both sides of the border to use agents and sympathizers to commit acts of sabotage to erode the other country’s infrastructure. This was a prominent plot point in Castles and Cottages, and was also part of the justification for the building of the Berlin Wall (see Look at This City!).

By 1951, companies such as Real-Film, CCC-Film, and, Constantin-Film were in full swing and West German filmmakers were no longer welcomed with open arms into the DEFA ranks, but rather, were viewed with suspicion. Once the cross-pollination between east and west was effectively stemmed, both sides started to polarize. In the United States, movie such as The Red Menace, I Was Communist for the F.B.I., and Pickup on South Street were effectively pushing the notion that communist agents were everywhere. In East Germany, it meant more films directly attacking the United States, or, more accurately, the large corporations that controlled the U.S. governments agendas (and still do, truth be told).

To its credit, one rarely saw the level of viciousness exhibited in DEFA films that one saw in the Red Scare films from Hollywood, but the role of film as a tool for teaching socialistic values became as important as its entertainment value. Thus began one of the duller periods of filmmaking in the GDR. In charge of DEFA during these doldrums was Hans Rodenberg a talented theater director and occasional actor, but also a hardcore Stalinist. How much input Rodenberg had into this stricter approach is hard to say, but he was a loyal party man, and certainly did nothing to rock the boat. The Story of Young Couple was made before Mr. Rodenberg became the general director at DEFA—and, in fact, features a brief performance by him as the American film director shooting an anti-communist film in West Berlin—but this film is a sign of things to come.

The Story of a Young Couple wasn’t the first DEFA film to promote a socialist agenda, but it was the most strident about it. At least until the Ernst Thälmann films, made a few years later (also directed by Kurt Maetzig). The low point comes when Agnes recites an ode to the newly named Stalinallee and the gloriousness of Stalin by the East German poet, KuBa (Kurt Barthel)—a cinematic moment that would assign the film to the closet after Khrushchev’s 1956 speech, “On the Cult of Personality and Its Consequences,” in which Khrushchev denounced Stalin.

At times, the attacks on the west in this film resemble the he said/she said nature of a divorce dispute. In one scene a sad-looking girls choir is forced to perform because they’ve been tricked by West Berlin agents into coming to the west, only to find it wasn’t what they expected. At this time, western media were accusing “East German spies” of kidnapping people off the streets of Berlin and taking them back to the GDR. There are plenty of verified cases of people in West Berlin unwittingly going to the east, only to find themselves arrested and imprisoned—primarily by the Russians (for more on this, see Ursula Rumin’s story in Destinies of Women)—but the idea of people hopping out of cars and dragging people off to the other side of the border was more urban myth than reality, and is used here to take a poke fun at Hollywood’s propaganda machine.

Reportedly, The Story of a Young Couple was made as a response to Jean-Paul Sartre’s play, Les Mains sales (Dirty Hands).1 Sartre was a Marxist, and had even defended Stalin from time to time, but he had little use for the political repression being carried out in the name of communism. As far as he could tell, it was the situation of “meet the new boss; same as the old boss,” Les Mains sales was his response. Fellow Marxists were not happy with Sartre. In East Germany, it hit a little too close to home. In the film, the play is mentioned by name and attacked by Agnes after she is given a copy to see about performing in it.

One of the more entertaining aspects of this film is that it is a roman à clef (or film à clef if you prefer). Many of the characters in the film are based on real people and are only thinly disguised. According to the German Wikipedia page for this movie, Möbius is based on Wolfgang Langhoff, and Burmeister is based on Boleslaw Barlog. From what I know of these men, I suspect that this is exactly backwards. Like Barlog, Möbius is a wild-haired theater director, while Burmeister, like Langhoff, is clean-cut and shows more support for the GDR. The thinnest disguise of all is that of the Nazi-sympathizing director Hartmann, who is unmistakably Veit Harlan—the man who directed Kolberg and Jud Süß. Although they changed the name of the director, they discuss his films under their actual titles. Alwin Lippisch’s performance as Hartmann is a wicked parody of Harlan, who never did acknowledge any culpability for what happened in Germany during the Third Reich, and was later allowed to start making films again in West Germany (for more on Veit Harlan, see Harlan: In the Shadow of Jew Süss).

What elevates The Story of a Young Couple above mere propaganda is the skill of its director, Kurt Maetzig. Maetzig was born with film in his blood. Maetzig’s father ran a company that made copies of films, and young Kurt would hang around and learn everything he could about the technical side of film production and development. Later, he studied chemistry and engineering at the Technical University of Munich, where he graduated with a doctorate degree with a dissertation titled “Das Rechnungswesen einer Film-Kopieranstalt” (“Accountancy of a film printing lab”). After college, returned to his father’s company for more hands-on work in the film industry. While there, he began making his own short films, cartoons, and movie title sequences.

As mentioned in the article on Marriage in the Shadows, Kurt Maetzig’s mother was Jewish, which made Maetzig an undesirable person. During the war, he joined the KPD (the German Communist Party), which, at that point, was essentially an underground organization. After the war, Mr. Maetzig saw an opportunity to rebuild the German film industry and return it to its pre-Hitler glory. He met with a group of like-minded filmmakers—including Boleslaw Barlog—at the Adlon Hotel and founded Filmaktiv, which spawned DEFA.

Maetzig was still a young director at this point. In The Story of a Young Couple, we see him experimenting with different techniques of editing, frame composition, camera angles, and the use of music. It doesn’t hurt that his cinematographer here is Karl Plintzner. Plintzner would go on to become the absolute master of vivid Agfacolor/Orwocolor films (see The Golden Goose), but here he shows that the he is no slouch when it comes to black-and-white filming either.

Yvonne Merin

Playing the noble and unwavering Agnes Sailer, is Yvonne Merin, a striking actress who might have been one of the leading lights at DEFA, had she the stomach for it. At the time of this movie, she was married to Kurt Maetzig. She was discovered by Gerald Lamprecht and cast to star in Quartett zu fünft (From Quartet to Five). She caught the eye of Kurt Maetzig, who immediately cast her in his next two films, Girls in Gingham and The Council of the Gods. They were soon married, but by the time they made The Story of a Young Couple, the marriage was ending. Like the couple in the film, they were going in different directions. Ms. Merin was finding that acting wasn’t really her passion, and Mr. Maetzig already knew that filmmaking was his. They divorced and Ms. Merin dropped out of the film community, appearing only occasionally in films (she appeared briefly as the “lady with the dog” in A Lively Christmas Eve). She continued to work in theater, but found that her interesting in acting wasn’t as intense as the fire one needed to do a good job. She became an apprentice gardener at the Karl Foerster Garden in the Bornum borough of Potsdam. Although she continued to garden, the job paid poorly and she returned to DEFA as a dramaturge and occasional scriptwriter—primarily for educational films. It was during this time that she met Armin Georgi, a script editor at DEFA and also directed short films and documentaries for them. They were married and stayed married until her death in 2012. Kurt Maetzig died a month later.

You may recognize Willy A. Kleinau, who plays the opportunistic Dr. Plisch. He is one of the more memorable characters in The Council of the Gods. In that he played Mr. Lawson, the representative from Standard Oil who helps the Nazis fund their war effort. Mr. Kleinau seems custom-made to play capitalist pigs and he does it well. He manages to make Mr. Pitsch simultaneously reprehensible and likable, which is no small feat. He appeared in both West German and East German films, right up until his death in a car accident in 1957.

As one might expect, The Story of a Young Couple was thoroughly drubbed by the western press when it came out, but East German critics found it a bit too much to take. Like the overwrought dramatic style of the silent era, or the garish fashions off the seventies, this film’s main value today is as an historical document and a kitschy eyewitness to a different time. It is a testament to Maetzig’s talent as a director that it is still enjoyable and engaging almost sixty-five years later.

IMDB page for this film.

Buy this film.


1. Die anderen deutsch-französischen Beziehungen. Die DDR und Frankreich 1949 – 1990, Ulrich Pfeil, Böhlau, January 2004.