Aenne Burda - The economic miracle woman
| Movie | |
|---|---|
| Original title | Aenne Burda - The economic miracle woman |
| Country of production | Germany |
| original language | German |
| Publishing year | 2018 |
| length | 2 × 90 minutes |
| Rod | |
| Director | Francis Meletzky |
| script | Regine Bielefeldt |
| production | Sabine Tettenborn |
| music |
Martin Lingnau , Ingmar Süberkrüb |
| camera | Bella halves |
| cut | Benjamin Hembus |
| occupation | |
| |
Aenne Burda - Die Wirtschaftswunderfrau is a two-part German television film by director Francis Meletzky from 2018. The biopic based on a script by Regine Bielefeldt tells of the rise of the Offenburg publisher Aenne Burda , played by Katharina Wackernagel , who started the Burda group with Burda fashions in 1950 , a fashion magazine with patterns , to great economic success at home and abroad. In addition to Wackernagel, Fritz Karl , Luise Wolfram , Annika Olbrich , Cornelia Gröschel and Jean-Yves Berteloot can be seen in other roles.
The multi-part series was produced by Polyphon Pictures on behalf of Südwestrundfunk for Das Erste . The shooting took place from September to December 2017 in Germany, France and Sicily , including on original locations such as the former publishing house of Aenne Burdas in Offenburg . The production premiered on November 20, 2018 in the Oberrheinhalle, also located there, in the presence of the cast, crew and Burda's descendants. The first broadcast took place on ARD and ORF from December 5, 2018. The fictional film received mixed feedback from critics.
action
Part 1
Offenburg , 1949. The population in the French occupation zone suffers from the economic conditions of the post-war period . The railroad's daughter Aenne Burda, who leads a well-off middle-class life through her marriage to the successful printer and publishing house owner Franz Burda , sees in her business idea of producing a fashion magazine that should offer women models for tailoring as both a profitable and equally longed-for escape out of dreariness . Her husband, who sees himself in economic responsibility for her and their three sons Franz , Frieder and Hubert , does not take his wife's suggestions seriously and admonishes her to fulfill her domestic duties as wife and mother. Aenne accepts his decision.
When she discovered by chance that her husband not only had affairs, but also had a second family with his former secretary Evelyn Holler and an illegitimate daughter in the neighboring town of Lahr , Aenne saw her life thrown out of joint and she quickly traveled to Paris to find there to visit her old friend André Lambert, the managing director of a fashion publisher. In the flourishing fashion metropolis, she found out from Lambert that Holler was running his own small publishing house with Franz's means in Lahr, which published precisely the fashion magazine that Aenne had always wanted. Foaming with rage, she leaves and, hardly having arrived home, gives Franz an ultimatum: Either he hands over the responsibility of the magazine to her or she can divorce him.
Franz is reluctant to get involved. Aenne personally throws her competitor out of the publisher and immediately starts redesigning the small-run magazine in the barren production rooms of the publisher - her favorite fashions should be essentially different from all other fashion publications on the magazine market. After initial reluctance, Aenne was able to convince her employees of her vision and she received significant support from her dedicated assistant Edith Schmidt and the talented chief tailor Lise Schneegass. After all, it is the two who propose to Aenne, even before the first edition is produced, to measure the citizens of Offenburg and Lahr in order to finally determine realistic dress sizes.
Convinced of her project, Aenne plunges deeper into her work - to the chagrin of her children and husband, for whom she can spare less and less time. Repeatedly it comes to an argument between her and Franz, who does not want to distance himself from Evelyn. Finally, Aenne demands that he transfer the publisher to her. In return, she affirms that she will waive all claims from his assets and that she will be solely responsible for all economic risks. Franz gives in again after a long discussion, but when he makes an appointment with his notary, Aenne learns that the publisher has high liabilities that she has to repay to Franz in the event of a transfer. Horrified but confident of victory, she nevertheless signs the submitted contract.
Part 2
Despite the mountain of debt it had taken over, Aenne was relentlessly pushing ahead with the production of the first edition of Favorit Moden . In order to keep the unit costs as low as possible, she agrees with Franz, whom she reluctantly has to commission to print the magazine, on the production of 100,000 copies - even though she can only pay the wages of her worried employees with great difficulty after they have finished theirs Has given jewelry to the pawn shop .
The production of the first edition was finally taken a decisive step forward by graphic artist Wilhelm Kemper, who, following an idea by Aenne, succeeded in accommodating different sizes of a pattern on a single sheet and thus keeping the volume of the magazine, which is essential for printing and retail, low.
Almost disaster struck while printing was still in progress: An Austrian publisher already holds the rights to the title Favorit and is threatening legal consequences. Aenne decided without further ado to continue production and then to cover the printed copies with the new title Burda Moden . Hardly in stores, the first issue of the magazine sold out surprisingly quickly. Aenne sees her vision confirmed and tirelessly drives further production forward. Even the skeptic Franz, who from now on counts Burda Moden among his most lucrative print jobs, pays her his tribute. Only in the fashion industry does Aennes magazine initially meet with rejection. It was only when she made high investments and bought clothes on a large scale from her favorite fashion designers that she could earn their recognition and appreciation.
When, thanks to the great success of Burda Moden , she was able to inaugurate a new building in Offenburg for her publishing house four years later , she decided for the first time to take a long overdue break. She leaves the business to her assistant Edith and travels without family to her artist friend Hans Kuhn in Sicily .
The now detached Aenne met the local Italian Massimo Russo on site. While the two fell head over heels in love, Franz decided in favor of his wife and had his long-time lover Evelyn and their daughter move to Wiesbaden . When, to her surprise, he wants to pick up Aenne in Sicily, she confronts him with her lover. Franz falls from the clouds. But although Aenne is not ready to give up the relationship with Massimo, the two decide to stay together.
production
The creation of Aenne Burda was initiated by Regine Bielefeldt. The screenwriter knew the publisher's name primarily from her mother's pattern packs, who sewed with a passion and owned a great many of them. Bielefeldt described her approach to Aenne Burda as an "exciting process": "I read everything I could find about her, met people who worked with and for her or knew her privately." Producer Sabine Tettenborn said that the "project was a stroke of luck" for her in many respects, because as a producer based in Baden-Württemberg she is always looking for projects that are "located in the region and at the same time have a nationwide, international appeal". She was immediately convinced of the project idea after Bielefeldt approached her.
Finding the most representative excerpt from Burda's eventful life for a game story turned out to be difficult. Ultimately, the team decided to focus on the years 1949 to 1953.
Was produced Aenne Burda of Polyphonic Pictures, one in Baden-Baden based participation of Poly Film and Television Company , on behalf of the SWR for the first . Biographer Ute Dahmen, author of the work Miracles are feasible about the life of Aenne Burda, was on hand as a consultant during the implementation of the project until its completion. The director took over Francis Meletzky at the request of the producer and the SWR also a woman. In addition to Tettenborn, Maike Delbos appeared as a producer, the editing was done by Manfred Hattendorf and Friederike Barth.
The SWR financed the film without taking any funding. The shooting of the two-part series lasted from September to December 2017. In Germany, the film was shot in Offenburg , Berlin and Baden-Baden, including preserved original locations such as the headquarters of the Hubert Burda Media group. Other shoots took place abroad in Paris and Sicily . More than 2000 items of clothing were loaned or produced for around 1250 extras.
Reviews
Rainer Tittelbach wrote in his review for Tittelbach.tv : “As the film title suggests, in the 180 minutes almost everything revolves around the successful publisher.” This is not least due to her actress Katharina Wackernagel, “who is henceforth will inevitably connect with this role ":" She gives this public woman an enormous physical presence and makes her what she was: a personality [...] Wackernagel gives Aenne Burda something irresistible [...] Even if the plot is not bursting with originality and the small-town local color and the way the bourgeoisie tears their mouths over this woman, not exactly bubbling over with sexiness, as a spectator you are immediately with this heroine of everyday life and look forward to the pleasures that simply come got to."
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Oliver Junge from the Frankfurter Allgemeine Zeitung described the production as an “off the peg” that offers “old-fashioned emotional television”. The drama is limited to “a few pleasing basic motifs” and its characters are “unfortunately much too one-dimensional”: The “often attested bossy, glamorous and ruthless Aenne Burdas was almost completely idealized away, although (or because) it would have roughened the all too lovely film . ”However, Junge found praise for the play of his leading actress:“ With such a powerful and accomplished actress like Katharina Wackernagel, who dominates the film in every moment despite the impressive performance of Fritz Karl as Filou and husband Franz, one sees such a mythicalization even when the emancipation scenes seem to repeat themselves for the tenth time. "
Spiegel editor Oliver Kaever called the two-parter "explosive material - but carefully staged". It seems strange, “how downright fluffy and conventional the TV film Aenne Burda tells of this radical break with values and conventions. The thoroughly artificial setting gives the impression that the story is set in an open-air museum from the 1950s. "The staging occasionally sinks to" dream ship level ", although Bielefeldt's script follows the rules of television dramaturgy and does not come with any major surprises," but in Concentration on the central issue of emancipation is just as stubborn as his heroine ”and thus produces discrepancies that“makes Aenne Burda interesting ”.
“The film looks as if the plot wasn't enough for 180 minutes. If Aenne Burda were to be cut by all those scenes that do not contribute anything to the story, the result would probably be an exciting two-hour television film, ”said Tilmann P. Gangloff in his review for the Frankfurter Rundschau . Wackernagel is “a fitting cast for the publisher, but too often gives the feeling that she has not internalized the role, but has slipped on like a costume. A lot of dialogues sound declaimed. ” Despite the“ opulent image design ”, Aenne Burda lacks both speed and“ a certain bite ”and“ especially in the first part, despite the pleasing music, seems like one of those public service themed films in which casualness is frowned upon seems. Part two is told much more densely and accordingly more entertaining. Aenne's extensive excursion to Sicily, where she falls in love with an Italian, seems, however, as if one had discovered during the script review that there was an urgent need for a little more heart in the story. "
success
Part 1 by Aenne Burda - Die Wirtschaftswunderfrau celebrated its first broadcast on December 5, 2018 . With 6.25 million viewers and a 21.2 percent market share, the feature film secured prime-time market leadership on that day . In the advertising-relevant target group of 14 to 49 year olds, 890,000 viewers tuned in; this resulted in a market share of 9.9 percent. Part 2 of was broadcast on December 12, 2018 by the broadcaster and, with 6.35 million viewers, increased by around 100,000 compared to the previous week. The market share was 20.7 percent. Among the 14 to 49 year olds, a market share of 9.9 percent was achieved.
Web links
- Aenne Burda - The economic miracle woman in the Internet Movie Database (English)
Individual evidence
- ↑ a b c d e f SWR two-parter “Aenne Burda - Die Wirtschaftswunderfrau” on the shoot . SWR .de. Retrieved December 8, 2018.
- ↑ a b c Statement by Regine Bielefeldt . The first . Retrieved December 8, 2018.
- ↑ a b c d Statement by Sabine Tettenborn . The first . Retrieved December 8, 2018.
- ^ A b Frank Heine: Sabine Tettenborn on "Aenne Burda": "Let your personality shimmer". In: Blickpunkt: Film . December 5, 2018, accessed December 10, 2018 .
- ↑ a b TV film "Aenne Burda - Die Wirtschaftswunderfrau" . Tittelbach.tv . Retrieved December 6, 2018.
- ↑ Oliver Junge: A woman makes her cut . Frankfurter Allgemeine Zeitung . Retrieved December 6, 2018.
- ↑ Oliver Kaever: "My wife doesn't work!" . Spiegel.de . Retrieved December 8, 2018.
- ^ Tilmann P. Gangloff: middle of life . Frankfurter Rundschau . Retrieved December 6, 2018.
- ↑ "Milk & Honey" continues to lose, "Aenne Burda" triumphs . dwdl .de. Retrieved December 6, 2018.
- ↑ "XY" with younger ones in front, "Aenne Burda" is still growing . dwdl .de. Retrieved December 13, 2018.