Bider the aviator

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Movie
Original title Bider the aviator
Country of production Switzerland
original language Swiss German
Publishing year 1941
length 86 minutes
Rod
Director Leonard Steckel ,
Max Werner Lenz
script Friedrich Raff ,
Max Werner Lenz
production H. Theophil Schwank
music Werner Kruse
camera Werner Brandes ,
Georges C. Stilly ,
Franz Vlasák
cut Georges C. Stilly
occupation

Bider der Flieger is a Swiss pilot biography from 1941 by Leonard Steckel . Robert Freitag plays the Swiss aviation pioneer Oskar Bider, who was killed in a plane crash in 1919 . The film was based on the motifs of the book “Bider der Flieger. A book of memories »designed by Otto Walter.

The real Oskar Bider , (photo from 1915)

action

The film takes place in June and July 1913 in Switzerland as well as in Germany, France and Italy. The young, enthusiastic Swiss aviation pioneer Oskar Bider lands in his plane in his home town of Langenbruck in summer after a successful crossing of the Pyrenees , where numerous enthusiastic fellow citizens, friends and family welcome him with bells ringing. Only the grumpy uncle Servatius refuses to applaud because he considers the whole of flying to be "jokes", because the devout Christian means: "Only angels are allowed to fly!"

Bider himself already has other major projects in mind: Next, he plans to fly over the Alps and set up his own airline. When a foreign showman made him a generous financing offer, the Patriot Bider refused, he only wanted to fly for his own country. One day in the anteroom of a banker, Oskar meets Mr. Powler, an American with Swiss roots, who makes him a tempting offer. But this time too, Bider says no, but falls in love with Powler's sister Camille.

The lovers are on a tour of the Jungfrau when Bider watches the German from Veltheim making sketches. Bider quickly realized that he had to be a flight competitor who was preparing to cross the Alps by plane himself. So under time pressure, Oskar ignores all warnings of hasty actionism and, financially sponsored by Mr. Powler, begins hastily with the preparations for his planned alpine flight. His take-off from Beundenfeld airfield turns out to be breakneck, violent gusts of wind force his return. Camille Powler is worried and gives her lover an ultimatum: Either she or the aviation. However, Bider has devoted himself to aviation and will start again a few days later. This time he chooses the overflight of the Jungfrau massif as his route and lands in Milan. In Genoa he meets Camille and her brother again. Camille is sick and wants to travel to the USA by ship. Both finally separate.

Bider's next flight took him over Graubünden at the end of July 1913 . He lands safely in Bern and is received there by the Federal Council, which is ready to finance Bider's aviation operations for the glory of Switzerland.

Production notes

The shooting took place from August to October 1941 in the film studios Rosenhof and Seebach AG (both in Zurich) as well as in Langenbruck, Basel, Bern, Mürren, Au and at the Spreitenbach airfield (all exterior shots). The premiere was on November 15, 1941 in Basel; there was never a German premiere.

Since the Swiss Aliens Police did not want a foreigner as a director for strictly patriotic reasons, the inexperienced Max Werner Lenz was hired, but he only concentrated on directing the dialogue. The esteemed theater man Leonard Steckel, who was supposed to focus on leading actors at Bider der Flieger, had a little more experience in cinematic matters. In addition to the experienced German head cameraman and silent film veteran Werner Brandes co-cameraman Georges C. Stilly , who also tried his hand at Bider der Flieger as a film editor, was responsible for the visual appearance .

The film structures were designed by Fritz Butz , with Walter Zollin at his side . Swissair pilot Hans Kuhn flew the stunts

Worth knowing and criticism

Bider der Flieger is a typical Swiss film that was made in the course of the “ intellectual national defense ” during the Second World War . The Swiss film historian Hervé Dumont wrote: “The subject of the film is a figurehead of the conquering 20th century, a 'role model in a time when self-sacrifice and loyalty to the country are doubly necessary'”, as stated in the opening credits. In view of the cinematic lack of exposure of the numerous film enthusiasts involved in this project and Messrs. Steckel and Lenz, who were also not particularly experienced as film directors, Swiss film experts feared the worst. Despite these adverse production conditions, Dumont found words of praise, at least for the visual design of the film:

«This secret takeover ( meant by the cameraman Stilly, who is experienced in photography ) explains the powerful take-off of the film with its rhythmic images recorded from various angles ... its mass movements dissolved in dynamic settings, for which one looks in vain for an equivalent in other contemporary Swiss products would. Werner Brandes ... is known for his deep perspectives, his frog perspective and his short focal lengths. The historical reconstruction - measured against the very limited resources - is well cared for, and the props are intelligently used. A happy, almost playful tone pervades the first half of the film, which is ... followed with interest. (...) ... but Bider's figure remains colorless. Robert Freitag, a newcomer to the Schauspielhaus, gives him features of typically Viennese delicacy; the enthusiasm and the fire that should rule him emanate primarily from his surroundings. "

- Hervé Dumont : The history of Swiss film. Feature films 1896–1965.

Individual evidence

  1. ↑ The title is wrong with regard to the punctuation : It should actually be called Bider, der Flieger .
  2. ↑ Bider, the aviator. Schweizer Film = Film Suisse: official organ of Switzerland, accessed on June 18, 2020 .
  3. ^ Hervé Dumont: The history of Swiss film. Feature films 1896–1965. Lausanne 1987, p. 309
  4. ↑ The founding initiators of the company Filmkunst-Zürich AG, which was producing here for the first time, were an architect, a dentist and a bandmaster
  5. ↑ Steckel's film directorial debut Miss Huser flopped last year in 1940, and Lenz did until then mainly as a copywriter in the Cabaret Cornichon out
  6. ↑ The History of Swiss Film, p. 395

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