The Dreimäderlhaus (1918)

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Movie
Original title The Dreimäderlhaus
Country of production Germany
original language German
Publishing year 1918
Rod
Director Richard Oswald
script Richard Oswald
production Richard Oswald
music Franz Schubert
compiled by Kapellmeister Hans Schindler
camera Max Fassbender
occupation

Das Dreimäderlhaus is a German silent film composer biography from 1918 by Richard Oswald , based loosely on the play of the same name by Alfred Maria Willner , Heinz Reichert and Heinrich Berté .

action

Vienna 1826. The story tells a love story of the young composer Franz Schubert and his attempts to finally establish himself as a composer. Schubert's circle of friends includes the young Baron Franz von Schober and the painter Moritz von Schwind. The penniless and shy artist has found a home in the house of the court glazier Christian Tschöll. Tschöll's domicile is usually called the “Dreimäderlhaus” because his three marriageable daughters Hannerl, Heiderl and Hederl also live there. While two of the young women are already promised dapper men with a future, the perky Hannerl is still available. She immediately falls in love with the hunger artist Schubert. The young man, however, does not speak too well of old Tschöll and does not have particularly high hopes of freeing one of Tschöll's daughters, as the old man recently refused to give his music colleague Groh one of his girls as a wife .

A bright future seems to be open to him professionally at the moment when the music publisher Ciabelli presents compositions to the court opera singer Vogl Schubert. He is extremely impressed by the talent of the still largely unknown young composer. Soon Hannerl Tschöll from the Dreimäderlhaus and Franz Schubert also meet and get closer on their first excursion together. In order to be close to her Franzl, Hannerl decides to take piano lessons from him. Now that Vogl has performed Schubert's songs publicly, nothing stands in the way of the composer's breakthrough. Two misunderstandings now lead to the fact that Baron Schober, who recites Schubert's song “I like to cut it into all the bark” at his request in order to woo Hannerl in Schubert's name, now conquers Hannerl's heart. The Tschöll daughter had previously learned from the dancer Grisi that "Franzl", as Grisi says, should have had numerous relationships. Hannerl inferred from Franz Schubert, but Grisi meant Franz von Schober. And so Schubert remains lonely.

The Hannerl is not exactly a loyal soul either. The famous violinist Nicolo Paganini is in Vienna for a concert and delights Hanni beyond measure with his art. Now Schober-Franz is soon forgotten, and Hannerl runs away with the Italian in his homeland. All of this is too much for Schubert's delicate nature, and he becomes seriously ill. He asks to be visited again by Hannerl. Not a very big act for them, as the volatile Italian violin virtuoso has already shamefully abandoned them at home. When Hannerl sees her Schubert for the last time, he is already dying. In pain she sinks against his corpse. Only now does she realize that she had been robbed of her great love by a stupid misunderstanding.

Production notes

The film, occasionally subtitled Schubert's romance novel , was released in 1918 a. a. Filmed in Oswald's hometown Vienna (exterior shots) and had its world premiere on September 22nd, 1918 in Berlin's Tauentzienpalast . With a subsequent censorship, the four-stroke with a length of 1725 meters received a youth ban on April 16, 1921.

Helga Molander , who played one of her first film roles here, still appeared under her maiden name, Ruth Werner.

To the background of the people involved

History: Franz Schubert (1797–1828) was an Austrian composer. He was born the thirteenth of sixteen children. Schubert received violin and organ lessons from an early age. His talent for composition also crystallized early on. Because of his beautiful voice he was accepted as a choir boy . There he met many of his later friends such as Joseph von Spaun , Albert Stadler and Anton Holzapfel. He came into contact with Franz von Schober through his friend Spaun. His circle of friends, which was constantly expanding, included the painter Moritz von Schwind , the poet Johann Mayrhofer and the baritone Johann Michael Vogl , one of the most important singers at the Vienna Court Opera . Schubert also maintained close contact with the brothers Joseph Kupelwieser, his later librettist, and Leopold Kupelwieser , a painter by trade. It was not until 1827, a year before his death, that Schubert was persuaded by his friends to give his own concert, which was a great success.

Films on the same topic:

criticism

“The whole work is based on mood painting. The environment and the costumes are delightful and the interplay is finely toned. The figure of Schubert by Poldi [sic!] Spielmann is carved out in an almost classic faithfulness to nature. (…) A lot of love was used in creating this work and that the German artists were able to lend so much warmth to the Viennese should be acknowledged with thanks. Richard Oswald's direction is obviously careful to capture the character of the time, which increases the impression and ensures success. "

- Neue Kino-Rundschau from October 5, 1918. p. 51

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