Posts Tagged ‘Winfried Glatzeder’

Der Mann, der nach der Oma kam
The Man Who Replaced Grandma (Der Mann, der nach der Oma kam) belongs to the comedy of errors genre—specifically the sub-genre that finds comedy in the mistaken belief that someone is being unfaithful.1 Some classic Hollywood films have mined this vein for comedy, most notably Preston Sturges in his hilarious 1948 film, Unfaithfully Yours, and many of Doris Day’s comedies. This film has a more feminist perspective than those films, and doesn’t make quite as much of a romp out of the subject as a Hollywood film would. Made shortly after Erich Honecker took over control of the DDR from Walter Ulbricht, The Man Who Replaced Grandma is slightly racy and a more daring film than would have been allowed a few years earlier, but manages to avoid too much controversy.

The film is based on the story Graffunda räumt auf (Graffunda Cleans Up) by Renate Holland-Moritz. Holland-Moritz was sort of the Pauline Kael of East Germany. As well as writing multiple books, she was also the film critic for Eulenspiegel, East Germany’s satire magazine. As a critic, she was remarkably candid in her criticism. If a DEFA film sucked, she wasn’t afraid to say so. The Man Who Replaced Grandma tells the story of the Piesold family. Mom is an opera singer and dad is a TV emcee, and between them, there is little time left to spend with the family. It’s never been a problem because Oma (grandma) always took care of everything, but when Oma suddenly announces that she’s getting remarried, the family starts looking for a replacement and finds that it’s not that easy. They finally settle on a man named Erwin Graffunda, who doesn’t seem to mind the amount of work involved, is very energetic, and doesn’t want much money for the job. The problem is that, being a handsome young man, the neighbors immediately suspect some hanky-panky is going on between him and Mrs. Piesold.

This film is one of those cases where much of the humor is contingent on the German language, and subtitles won’t help. Graffunda’s last name, for instance, becomes a joke when people refer to him as “Graf Funda.” “Graf” is usually translated to “Count” in English, which effectively destroys the joke. In another scene, after Graffunda discover that the Piesold’s young son has put his teddy bear in the washing machine, Graffunda makes a joke about the bear not being a “Waschbär” (“Das ist doch kein Waschbär!“). Waschbär—pronounced “wash bear”—is the German word for Racoon.2 An English subtitle of “He is a not a racoon” would make no sense in this context, and “wash bear” has no meaning in English. Short of adding a parenthetical notes, I see no way to translate this film’s dialog. Even the title of the original story—Graffunda räumt auf—has the added meaning not only of cleaning up, but of dispelling something, such as a myth.

The Man Who Replaced Grandma

Playing Erwin Graffunda is Winifried Glatzeder, best known as Paul in The Legend of Paul and Paula. Glatzeder had been working in films for a few years, when he got his first starring role in Siegfried Kühn’s 1971 film Time of the Storks (Zeit der Störche), the film was popular and people began to take notice of Glatzeder. The Man Who Replaced Grandma was his second starring role and helped further his reputation as a charming and unique-looking leading man, but it was his role in The Legend of Paul and Paula that put him on the map. So much so that he does a cameo as Paul in the 1999 comedy Sonnenallee (usually translated as Sun Alley, although, strictly speaking, an Allee is definitely not an alley).

Playing Mr. and Mrs. Piesold are Rolf Herricht and Marita Böhme respectively. Herricht was already a well-known comic actor by the time he made this film, appearing often on television and in the DEFA classic Beloved White Mouse. Böhme had starred opposite Herricht once before in Hero of the Reserve (Der Reserveheld), and had proven to have a talent for comedy in films such as On the Sunny Side and Carbide and Sorrel. Also appearing in the film are the fine comic actors Marianne Wünscher and Fred Delmare.

Special mention must be given to Katrin Martin, who plays the Piesold daughter Gaby. In her first film role, Martin maintains a perfect balance of a teenager who is sexually aware, but not really ready to know what to do with it. Martin was a graduate of the Rostock drama school, and has appeared in many stage productions. She is best known for her portrayal of Rose Red in the DEFA Märchenfilm Snow White and Rose Red (Schneeweißchen und Rosenrot). After the Wende, film roles became scarcer, so she turned to audio, producing radio plays for children. She currently lives in Berlin.

Katrin Martin

The film is directed by Roland Oehme. Oehme got his start in films by working as an intern under Ralk Kirsten on the Manfred Krug comedy, Follow Me, Rascals! (Mir nach, Canaillen!), Shortly after graduating, Oehme refused to take on a project because he didn’t like the script. As a consequence, he spent a few years working in the DEFA documentary film department before being allowed to start directing his own films. He finally got a chance to direct alongside fellow newcomer, Lothar Warneke with the Rolf Römer comedy, Not to Me, Madam! The Man Who Replaced Grandma was the first film that he both wrote and directed. He continued to have a successful career in film and television in the DDR. After the Wende, he turned to stage directing, working for several years with the Störtebeker Festival in Ralswiek on Rügen. From 2006 to 2013 he worked in the spa town of Waren (Müritz), writing a cycle of plays called The Muritz Saga, a new one of which is performed every year.

The Man Who Replaced Grandma was a popular film and did well at the box office. It is not a classic, but it is an entertaining little film with a likable cast. As with any comedy that mines its gold from puns and double entendres, it is best appreciated by those at least moderately familiar with the German language.

IMDB page for the film.

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1. Of course, German, being the Lego language that it is when it comes to building words, it is possible to construct a word that specifically addresses this sub-genre: Eifersuchtsverwechslungskomödie.

2. One of the more entertaining aspects of the German language is how it seems, at times, like the duties of naming animals was given to a five-year-old. A bat is a “flying mouse” (Fledermaus), a skunk is a “stink animal” (Stinktier), a groundhog is a “mumbling animal” (Murmeltier), and—my personal favorite—a slug is a naked snail (Nacktschnecke).

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The late 1960s were a time of great changes in German Cinema.  Starting with Volker Schlöndorff’s Young Törless (Der junge Törleß), and followed soon after by the almost experimental films of Fassbinder and Herzog, filmmaking in the west was experiencing a creative renaissance. In the GDR, filmmakers were still trying to maintain their artistic freedom, but it was getting harder all the time. The revolutionary ideals that inspired and informed DEFA were now considered a threat to the system. With the banning of Kurt Maetzig’s The Rabbit is Me (Das Kanninchen bin ich), it was apparent that any attempt to push the limits would be met with repression (more on this later).

The East German government was turning DEFA into a relic, completely out of touch with the public. More and more, people turned to the west for entertainment. Some attempts were made to placate people with films like Hot Summer (Heißer Sommer), but even here the filmmakers were treading on thin ice, politically.

Then in 1971, Erich Honecker replaced Walter Ulbricht as the General Secretary of the Socialist Unity Party. Ulbricht was beginning to make waves with the Russians. He got along fine with the Soviet leader, Nikita Kruschev, but things weren’t so rosy between him and Kruschev’s successor, Leonid Brezhnev. Honecker was a hard-liner, whose approach to communism was more in tune with Brezhnev’s. Honniger wanted his leadership to signal a new page in the history of the GDR. It is ironic that it is only after the conservative Honecker came to power that the restrictions on film content in the east began to soften.

One of the first films to challenge the status quo was The Legend of Paul and Paula (Die Legende von Paul und Paula). The film follows the exploits of a blue-collar supermarket worker named Paula and her white-collar neighbor from across the way, an aspiring bureaucrat named Paul. It begins with the demolition of a building—a motif that will recur throughout the film, followed by a catchy little tune by the East German rock band, The Puhdys.

When we first meet Paula (Angelica Domröse), she is flirting with Martin (Jürgen Frohriep), an Afro-headed hippie that runs the caterpillar ride at a carnival. She stares at him longingly until he whispers a suggestion in her ear. This is met with a slap, causing him to back off. We see in Paula’s eyes an immediately regret for her action, and she follows up by waiting after the carnival to meet with him. At the same time, Paula’s neighbor from across the street, Paul (Winfried Glatzeder), is at the shooting gallery, winning cheap prizes, which he promptly gives to Ines (Heidemarie Wenzel), the shooting gallery owner’s daughter.

It is apparent from the start that both Paula and Paul’s choices for mates are bad ones. We sense that Martin will be a louse from the moment we see him, and when Ines smiles, she looks like a snake. Never in the history of cinema has a smile seemed so horrifying. Martin is incapable of commitment, and Ines is only interested in Paul after she learns of his earning potential. Paula soon has a baby boy with the repulsive Martin, who has moved in with her. Meanwhile Paul marries Ines, and also has a baby boy. For Paul, things come to a head when he returns from boot camp to discover another man in bed with Ines. Things are worse for Paula who, upon returning from the hospital with her baby boy, finds Martin in the arms of a teenage girl.

The choice of Angelica Domröse to play Paula was inspired. She exudes sensuality and passion. Her earthy good looks are well-suited to the role of a working class woman who is attractive without ever seeming out of place. Winfried Glatzeder is a little more problematic. When the film came out, the lantern-jawed Winfried Glatzeder was referred to as the East German Jean-Paul Belmondo, but that is stretching things a bit. He a frankly goofy-looking guy. He also has the unenviable task of playing the stodgier half of this relationship.

Paula seems to have no impulse controls. Her choices are not predicated on any kind of logic, or even basic sense. She works entirely from her emotions, and like her emotions, she can change directions on a whim. Paul, on the other hand, is all about control. The parameters of his job are never fully spelled out, but we know he works in the government. Appearances and protocol are important to Paul. In one scene, He takes Paula to an open-air concert. Moved by the music, she starts applauding after the first movement. When Paul tries to stop her, telling her that clapping after the first movement is simply not done, he ignores him and continues to clap.

The overt message of the film is that it is better to feel and hurt, than rationalize yourself into numbness. But there is a subtler message about the limitations of the GDR’s attempts to control human passions that was not lost on the East German public. The film was a big hit and remained popular up until many of the lead actors left for the west in response to the GDR exiling of  the popular singer Wolf Biermann. At that point, the film was officially banned, but it was too late. As soon as the wall came down, the film found its way back into the movie houses and is one of the films that signalled the Ostalgie movement of the 1990s. Lake Rummelsburger See, where Paul and Paula go with Saft and Paula’s daughter, has been renamed “Paul and Paula beach”; and the band, The Puhdys, became one of the most popular rock bands in East Germany thanks to this film.

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