Ten on each finger

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Movie
Original title Ten on each finger
Country of production Germany
original language German
Publishing year 1954
length 104 minutes
Age rating FSK 12
Rod
Director Erik Ode
script By Schwenzen
Joachim Wedekind
production Georg M. Reuther
music Bobby Callazo
José Carbo Menendez
camera Ekkehard Kyrath
cut Walter Wischniewsky
occupation

On every finger ten is a German hit film by Erik Ode from 1954.

action

Fips Kluger, Franz Hempel and Trumpeter Macky are picked up by the police because, as a gang, they have been dragging tall blond men into their cars for some time for no apparent reason and later releasing them again. The fear was already widespread in the city, but Fips explains what the real reason for her action was:

Fips is the manager of an orchestra around the composer Bert Martin. The group is currently engaged in Club Lido when Fips introduces a new discovery to Bert and the others: the young dancer Margit Rameau is said to have had worldwide success, at least says her manager Lony Lehmann. Since Margit was able to convince the musicians of her skills despite her being unknown, she was hired as a dancer. Margit would like to act normally, but Lony sells her as a diva-like, aloof star. Margit Bert is not allowed to show how much she likes him, has to reject his shy flirtations and harshly reject his gifts. Men have to be treated badly, is Lony's motto, as she was once abandoned by a man herself and had to close her theater on the Rumpelplatz as a result.

Not only Bert is in love with Margit, but Franz Hempel too. When Franz Margit proposes marriage, Lony has had enough. At her instruction, Margit now pretends to have an unreachable lover. She says that it is a man from the next house who has a very distinctive tattoo ; the musicians only see the man briefly. She calls him Alexander and describes him as a man in the moon. Bert especially suffers from Margit's crushes, especially since after a kiss on stage she only exclaims “Alexander!”. In order to bring Margit to a decision, Fips, Franz and Macky now intercepted every man who lives in the neighboring house and who vaguely fits Margit's description. The group has been jailed for a few days for their behavior. The “dream man” Alexander seen in the house is found again and introduces herself to Margit as Gregor Bruchsal. She pretends to love him, but sends him away when Bert is no longer there. Gregor still appears around her, which leads Bert to believe that they have a stable relationship. It's also bad professionally: Because his musicians are in prison, Bert's contract at the Lido is terminated.

After their release, the orchestra members move into rooms in Mr Kroll's guesthouse, who lives here with his little niece Cornelia. The group has no assignments and so Bert finally takes on small gigs in small towns. With such a telegram promise, he meets Margit in office, who is currently preparing for a tour of Switzerland. Although Bert pretends to be good at business, she realizes his plight. She gets Lony Lehmann to anonymously make her disused theater on Rumpelplatz available to them as a revue theater through an intermediary. In addition, she commissioned Bert to produce a ballet based on a title he wrote.

The musicians happily begin to whip up the theater. They are replacing a planned revue with a new kind of celebrity soirée, as Josephine Baker has announced that she will be in town for a day. Fips also hopes to be able to win Rudolf Schock for an appearance, as he once served him as a waiter in Vienna . When Margit picks up the scores for the ballet from Bert, she wants to make up, but he reacts angrily when he sees Gregor Bruchsal, who has been secretly following Margit, waiting in front of the theater and Margit suggests that he should tell the story of the man in the moon in the ballet want. Both part in anger. Since the soirée evening is not well planned, chaos ensues during the event. According to Josephine Baker, Cornelia fills the program with a song, although she was supposed to be selling sweets. After Rudolf Schock, orchestra director Okay steps in with a song, and Hans Albers , who appears by chance , spontaneously performs a sketch. Fips finally succeeds in persuading Margit to cooperate by confessing to her how bad the show is going. Your appearance will be a great success. In the ballet, Margit depicts how she sees the man in the moon and meets with him, but rejects him and flees from him, but cannot escape him despite all the efforts. Bert recognizes what she is trying to tell him and appears in the ballet herself. She falls around his neck and they make up.

production

Ten on each finger was produced by Melodie-Film Berlin and shot in the local CCC studios . The costumes were created by Trude Ulrich , the film structures are by Hanns H. Kuhnert and Theo Zwierski . The film had its premiere on October 28, 1954 at the Hanover World Games . On June 22, 1969, the film was shown for the first time on ZDF on German television.

Numerous stars can be seen in cameo appearances in the film. Hans Albers and Ruth Stephan can be seen with a sketch. The twins Isa Günther and Jutta Günther , who became known with Das doppelte Lottchen , are in the audience of the celebrity soirée. One of the orchestral directors for the film is Woody Herman , who takes over Bert's engagement at the Lido . Among others, Claus Cristofolini dances ; the big dance scenes were choreographed by Ernst Matray .

The following songs can be heard in the film, which was announced in the press as the Neue Schlagerparade :

In addition, the song can be heard music crazy.

criticism

"The singing and dancing celebrities this time are tolerably dosed", wrote Der Spiegel on the occasion of the film's premiere in 1954, and called the film a "fluidly staged revue with broad mass dance scenes [...], the usual minimum of plot and a busy comedian [ie Loni Heuser] ".

For the service movie- was on each finger ten a "revue and Schlagerparade with several guest star appearances, the entlanghangelt be long-winded on a dry story and tinny jokes." "Other guest appearances and revue numbers do not release the film in motion," was also cinema .

Even the Protestant film observer does not think much of the film: “A mediocre revue film with a rather mindless love story. If you don't watch the film, you've lost nothing. "

Erwin Kreker praised Erik Ode as a skilful director who "apparently just shook gags and ideas off the wrist" and "effortlessly strings his many stars into a popular, very pleasing hit, dance and star parade".

literature

  • Ten on each finger . In: Manfred Hobsch: love, dance and 1000 hit films . Schwarzkopf & Schwarzkopf, Berlin 1998, p. 119.

Web links

Individual evidence

  1. ↑ a b New in Germany: ten on each finger . In: Der Spiegel , No. 51, 1954, p. 40.
  2. ↑ Ten on each finger. In: Lexicon of International Films . Film service , accessed March 2, 2017 .Template: LdiF / Maintenance / Access used 
  3. ↑ See cinema.de
  4. ↑ Evangelischer Presseverband München, Review No. 6/1954
  5. ↑ Manfred Hobsch: Love, Dance and 1000 Schlagerfilme , p. 119