The violet from Potsdamer Platz
| Movie | |
|---|---|
| Original title | The violet from Potsdamer Platz |
| Country of production | Germany |
| original language | German |
| Publishing year | 1936 |
| length | 89 minutes |
| Age rating | FSK 6 |
| Rod | |
| Director | YES Hübler-Kahla |
| script | Bobby E. Lüthge , Helene von Fortenbach , Otto Ernst Hesse |
| production | Lothar Stark |
| music | Jim Cowler |
| camera | Georg Muschner , Paul Rischke |
| cut | Walter Wischniewsky |
| occupation | |
| |
The violet from Potsdamer Platz is a feature film with the character of a Berlin folk play by JA Hübler-Kahla . Rotraut Richter played the main role of a flower girl with a heart and a Berlin muzzle . The premiere took place on November 16, 1936, the film was released for young people.
action
The old Gravelotte is a cab horse that once served in the war. Now she is tired and rickety and in the possession of Father Pietsch, a cab driver. He owes the horse slaughterer Oskar Knallkopp, who is also his landlord, 230 marks in rent. It stands to reason that Gravelotte should soon come under the butcher's knife in order to settle at least part of Pietschen's rent debts.
But there is Mariechen Bindedraht, a bright, cheeky and compassionate flower seller from Potsdamer Platz. Her heart is in the right place and she tries everything to save the animal she loves from its terrible fate. Father Pietsch's cab stand is right next to her own flower stand, and everyone gets along well. Together with Fritz, the no less cheeky and alert shoe cleaner, the flower girl tries to raise money to redeem Gravelotte, which is currently being used as a deposit.
Mariechen had already wagered her measly savings on the racetrack in order to save the horse with the hoped-for profit - in vain. At least she managed to find a new subtenant for father Pietsch who pays immediately and without hesitation. But this man, a certain Otto Schnöcker, is a crook and a fraud and, together with his friend Seidewind, tries to take people out on a regular basis. The next victim is said to be the homeowner Knallkopp, who offers Seidewind the post of sub-director in the role of an alleged consul Poppe, allegedly the head of a property management company, for a bail of 5000 marks. Meanwhile Schnöcker also finds the time to hit Pietschen's granddaughter Rosa, a shorthand typist. But she recently made friends with a police officer named Lemke who was on duty at Potsdamer Platz .
When one day almost all of the people involved meet for the festival of the swimming club "Nixen", of which Rosa is a member, Gravelotte also brings the Knallkopp family over at a leisurely trot. Schupo Lemke has also arrived. As a member of the police swimming club, he wants to measure his strength against the swimmers of the mermaids. Lemke recognizes Schnöcker, who has just been released from prison, and refers him to the ceremony. A little later, Schnöcker and his "sub-director" Knallkopp got into each other's hair because they both had an eye on one and the same girl, Rosa.
When Knallkopp finally wants to take Gravelotte with him to cover the next day, because Pietsch has still not paid his rent, Mariechen heroically throws herself between the two of them and bites the house owner's hand. The police can prevent worse things than wanting to take Knallkopp with you for interrogation on a completely different matter: his subtenant Schnöcker did not spend the night in his room and is as if swallowed by the ground. The situation is entirely in Mariechen's sense; Last night, for unselfish reasons, she organized the floor key of the house for Schnöcker so that he could run away over the roofs of Berlin. Mariechen is full of doubts. Was your decision correct? After all, Knallkopp is now even suspected of murder! In an interview with Gravelotte, she weighs the pros and cons: “Would you like to hang him up or not? Do you want to go on living with murder uffs Jewissen? ”Gravelotte shakes her head, and Mariechen's tears roll down with so much animal wisdom. Your decision has been made.
In the end, the long arm of the law decides. Schupo Lemke has not remained inactive in the meantime and has managed to arrest Schnöcker and his friend Seidewind. Knallkopp is twice as lucky. He is released as innocent and even gets his 5000 Mark bail back. But Gravelotte has the greatest luck: Out of gratitude, Knallkopp Pietsch waives the rent, and the four-legged war veteran can look forward to a quiet retirement with oats at the expense of the state.
Production notes
This film, which was unusually successful with audiences, was shot in August and September 1936 in the Berlin districts of Marienfelde and Tempelhof .
The violet from Potsdamer Platz was Hübler-Kahla's last film during the Nazi era. Immediately after filming was over, it emerged that he had forged his Aryan proof and had left the Reich Filmkammer in the dark about his mother's Jewish roots.
This was also the last work for the film producer Lothar Stark , who lives in exile in Denmark . His production company Lothar Stark-Film had to cease production in the Reich as a result of the Hübler-Kahla scandal. Otto Lehmann took over the production management for this film .
Even the actor Alfred Beierle was no longer allowed to film after 1936. Members of the German embassy in The Hague recognized him in the autumn of the same year in Das Veilchen vom Potsdamer Platz and complained to Propaganda Minister Joseph Goebbels that Beierle was still involved in German films, even though he had contacts during a temporary stay in the Netherlands emigration circles there.
The violet from Potsdamer Platz was the greatest film success of the actress Rotraut Richter, who founded her image as a “Berliner Jöre” primarily with this popular piece.
criticism
Between the stage and the barracks, Das Veilchen vom Potsdamer Platz called a "folk piece from the little people's milieu"
6000 films, critical notes from the cinema years 1945–58 described the film as "a cinematic treasure from the early days of talkies" and praised the achievement of Rotraut Richter.
In zweiausendeins.de it says: "Based on the style of Charlie Chaplin, a humorous game develops that is sometimes sentimental, but never slips into plump sentiment."
Ikdb.de found the film to be "funny, entertaining and amusing"
See also
Individual evidence
- ↑ Kay Less : Between the stage and the barracks. Lexicon of persecuted theater, film and music artists from 1933 to 1945 . With a foreword by Paul Spiegel . Metropol, Berlin 2008, ISBN 978-3-938690-10-9 , p. 58.
- ↑ Kay Less : Between the stage and the barracks. Lexicon of persecuted theater, film and music artists from 1933 to 1945 . With a foreword by Paul Spiegel . Metropol, Berlin 2008, ISBN 978-3-938690-10-9 , p. 184.
- ↑ 6000 films, critical notes from the cinema years 1945-58. Handbook V of the Catholic Film Critics, edited by Klaus Brüne. 4th edition Düsseldorf 1980, p. 454
- ^ The violet from Potsdamer Platz. In: Lexicon of International Films . Film service , accessed March 2, 2017 .
- ^ The violet from Potsdamer Platz in ikdb.de