Blue guys - blonde girls

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Movie
German title Blue boys - blonde girls
Original title A girl in every port
Country of production United States
original language English
Publishing year 1928
length 1,676.4 m (6 rolls), corresponds to 69 minutes at 22 frames per second
Rod
Director Howard Hawks
script Seton I. Miller based on a story by Howard Hawks
production William Fox
music Pasquale Perris (world premiere)
camera Rudolph J. Bergquist ,
L. William O'Connell
cut Ralph Dixon
occupation

also

Blaue Jungs - blonde Mädchen is one of the German titles in the American silent film A Girl in Every Port , which Howard Hawks shot for Fox Film in 1928 . The film was shown in Germany as In each port a bride and in Austria as The damned heart - two funny sailors .

For Louise Brooks , the actress who played Marie, it was the film that was to help her breakthrough in Europe: the director Georg Wilhelm Pabst hired her a short time later as "Lulu" for his Wedekind film Die Büchse der Pandora and as a pharmacist's daughter Thyme for the Diary of a Lost Woman , both 1929. German moviegoers already knew the male lead actor Victor McLaglen as a hero from Raoul Walsh's World War I film What Price Glory? from 1926, which was shown in Germany under the title Rivals . The camera work was done by Rudolph J. Bergquist and L. William O'Connell . The film structures were made by William S. Darling, while Sam Benson took care of the cloakrooms. The burlesque dancer Sally Rand was seen in a role as exotic.

action

The “blue boys” are called Spike and Salami and at first don't like each other. Because the lanky sailor Spike discovers when checking his love account, which is kept like a household book, that all of his former brides have been taken over by the sailor Bill, who is nicknamed Salami, is rather small and calm and everyone worships a gold-framed anchor as a parting gift. When the opponents get to know each other in a harbor bar in Panama, they first fight each other hard, but only in order to then become the best friends.

In Marseille, Spike falls in love with Marie, who at the fair as “Mlle. Godivah ”performs while Salami is sitting at home with a toothache. When Spike later introduces her to him, he recognizes her as one of his ex-girlfriends, but doesn't dare to tell his friend about the lady's true character. She wants to approach him again and even moves into the booth that Salami shares with Spike. Salami doesn't like that at all, takes hat and coat and leaves the place. But when Spike comes home, he finds her in front of Bill's unmade bed, and on her arm a tattoo with Bill's mark, the anchor. He misunderstood the situation and, furiously, went in search of the buddy he met while he was in another brawl. He knocks him out of it, only to beat him up himself. But when Spike sees him lying there, feelings for him take hold again; Salami can, after recovering, clear up the matter and both swear eternal loyalty in the future - without women. Because they're not worth it.

background

Blue Boys - blonde girls had its German premiere on November 30, 1928 in Berlin in the Tauentzien Palace . The background music there was conducted by Pasquale Perris. It was not shown in other cinemas until December 1928, and only then was it reviewed in newspapers.

At the US premiere on February 18, 1928 at the Roxy Theater in New York , the Roxy Symphony Orchestra played under the direction of its conductor Ernö Rapée . The music pieces "Il Guarany", "Tableaux Americana" and " Among My Souvenirs " were performed at the stage show before the film . The violin artist Frederic Fradkin could be heard with "The Old Master".

Advertisements indented by the Fox film claimed the film set a new house record - and world record - on February 22 alone, with daily revenues of $ 29,463.

The film was also met with great enthusiasm in France; in Paris it was shown in the original version and has been repeatedly extended.

reception

The film was reviewed by CR under the heading "A Girl in Every Port in the Roxy Theater." In the New Yorker Volkszeitung on February 22, 1928 in German. In 2013 Richard Brody wrote in The New Yorker that Hawks was a "master of his time" who "slowly built up his films and made a leap forward from one moment to the next"; the unsteady tempo of the films balances the plot on the sharp line between tragedy and comedy.

In a review by Mordaunt Hall in the New York Times , which appeared on February 20, 1928, the acting performance of Robert Armstrong is mentioned: “ Robert Armstrong's acting is natural. It gives a good impression of the figure's fearlessness. "

The lexicon of international films judged: "A film-historical silent film treasure about the role of the sexes and an early forerunner of 'buddy-movies', the film friendship between two actually incompatible men."

literature

  • Herbert Birett: Silent film music. Material collection. Deutsche Kinemathek, Berlin 1970.
  • Philip C. DiMare (Ed.): Movies in American History: An Encyclopedia. Volume 1, Verlag ABC-CLIO, 2011, ISBN 978-1-59884-296-8 , p. 679.
  • Lea Jacobs: The Decline of Sentiment: American Film in the 1920s. University of California Press, 2008, ISBN 978-0-520-94153-3 .
  • Cathrin Kahlweit: women of the century. Icons - idols - myths. Verlag CH Beck, Munich 1999, p. 171.
  • Horst Knietzsch: Film - yesterday and today: Thoughts and dates on 7 decades of the history of film art. 3. Edition. Urania Publishing House, Freiburg 1967, p. 478.
  • Thomas Koebner (Ed.): Film directors: biographies, work descriptions, filmographies. 3. Edition. Reclam, Ditzingen 2008, ISBN 978-3-15-010662-4 , p. 315.
  • Günter Krenn, Karin Moser: Louise Brooks - rebel, icon, legend. Filmarchiv Austria, Vienna 2006, ISBN 3-902531-12-6 , pp. 47, 259.
  • Gene D. Phillips: Major Film Directors of the American and British Cinema. revised edition. Lehigh University Press, Bethlehem, PA, 1999, p. 42.
  • Thomas J. Saunders: Hollywood in Berlin. American Cinema and Weimar Germany. (= Weimar and Now: German Cultural Criticism Series. Volume 6). University of California Press, 1994, ISBN 0-520-91416-3 , pp. 67, 276, 297, and the like. 306

Web links

Illustrations:

  • Showtimes at the Roxy Theater, New York City, New York on February 18, 1928 (accessed April 26, 2014)

Reviews of the film:

  • Discussion with detailed synopsis by Thomas Böhnke on November 27, 2006 at beepworld
  • Review by Barbara Eichinger at stummfilm.at
  • Discussion of HT at filmmuseum.at
  • Review ( memento from June 15, 2014 in the web archive archive.today ) by Richard Brody in the New Yorker (English)
  • Meeting by Thomas Gladysz at starts-thursday (English)
  • Review of Matthew Thrift on January 3, 2011 at cinephile-uk

Individual evidence

  1. ↑ in the “excellent American film that loudly accuses the horror of war itself from every picture”, he embodied Captain Flagg, cf. Leo Hirsch : Tauentzien Palace: Rivals. In: Berliner Tageblatt. August 7, 1927, number 370, morning edition, 3rd supplement.
  2. ↑ UFA premiere cinema in the house at Nürnberger Straße 57–59 from 1913 to 1945, which after the Ufa-Palast am Zoo had the most seats of the more than 300 cinemas in Greater Berlin with 995 seats.
  3. ↑ cf. Advertisement “2 FOX premieres in the Tauentzien Palace” from the Berlin daily newspaper from November 1928 1.bp.blogspot.com
  4. ↑ cf. Birett p. 140 on “House No.17”, which is announced as the second premiere film in the Fox November advertisement; see. see filmportal filmportal.de
  5. ↑ cf. Gladysz: However, as Berlin newspaper reviews show, Blaue jungens, blonde Madchen (the German title for A Girl in Every Port) was not shown in the German capitol until December of 1928
  6. ↑ cf. Showtimes for the Roxy Theater, New York City, New York on February 18, 1928, and Mordaunt Hall's New York Times review of February 20, 1928: Overture, "Il Guarany"; "Tableaux Americana"; "Among My Souvenirs," with Harold Van Duzee and Jeanne Mignolet; "The Old Master," with Frederic Fradkin, Lillian La Tonge and others. At the Roxy Theater. nytimes.com
  7. ↑ cf. Gladysz: Trade ads placed by Fox claimed the film set a “New House Record” - and a World Record - with Daily Receipts on February 22 of $ 29,463.
  8. ↑ cf. Gladysz: The film enjoyed an extended run in the French capitol, and would linger for decades in the French consciousness.
  9. ↑ cf. R., C .: "A Girl in Every Port at the Roxy Theater." New Yorker Volkszeitung, February 22, 1928. (United States) [review in German-language, New York City newspaper]. Source: The LOUISE BROOKS SOCIETY: A Girl in Every Port: A Bibliography pandorasbox.com ( Memento from June 15, 2014 in the web archive archive.today )
  10. ^ Richard Brody: Critic Review for A Girl in Every Port. (No longer available online.) New Yorker, September 16, 2013, formerly original ; accessed on January 30, 2015 (English): “Hawks was a master of time, with slow builds that leap dizzyingly ahead in the flash of a glance; the unstable pace keeps the action balanced on the sharp edge of tragedy and comedy-and, in the years to come, he'd use this setup for both. "
  11. ↑ cf. nytimes.com nytimes.com
  12. ↑ Blue boys - blonde girls. In: Lexicon of International Films . Film service , accessed June 20, 2017 .Template: LdiF / Maintenance / Access used