The legacy of the Inca (film)
| Movie | |
|---|---|
| German title | The legacy of the Inca |
| Original title | The legacy of the Inca / El último rey de los incas / Viva Gringo / Заветът на инката ( Sawetut na inkata ) |
 | |
| Country of production | Germany , Spain , Italy , Bulgaria |
| original language | German |
| Publishing year | 1966 |
| length | 99 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | Georg Marischka |
| script | Georg Marischka; Winfried Groth ; Franz Marischka |
| production |
Franz Marischka Film, Munich PEA, Rome / Naples Orbita Film, Madrid in collaboration with Cinematographie-Filmstudio, Sofia with the support of the Corporacion de Turismo del Peru, Lima / Ministerio de Fomento y Obras Publicas, Cuzco |
| music | Francesco Angelo Lavagnino |
| camera |
Siegfried Hold , Juan Mariné |
| cut |
Anneliese Artelt , Enzo Alabiso |
| occupation | |
| |
The legacy of the Inka is a movie based on the book of the same name by Karl May (see Karl May films ). The premiere took place on April 9, 1966 in the "Stachus-Filmpalast", Munich .
action
Just as the Inca king Tahuca informs the brothers Jan and Karl Hansen that he wants to send his son Haukaropora to the capital of the white people to enable him to get an education, he is murdered by the bandit Gambusino . He also steals part of a quipu , an old knotted cord that contains the encrypted route to the legendary Inca treasure. The priest Anciano considers the Hansen brothers to be the murderers, swears eternal vengeance on the whites and from now on takes care of the training of the last Inca himself.
Ten years later, Haukaropora's training is over. The Gambusino and his accomplice, the bullfighter Perillo, support Anciano's plans to overthrow the government and install Haukaropora as the new Inca king. They hope that this will make it easier for them to get hold of the still-not-found Inca gold. Now Karl Hansen returns and is commissioned by President Castillo to mediate in the conflict, although conspirators in the government accuse him of the murder of the old Inca king. But Castillo trusts Karl Hansen, known to the population as "Father Jaguar".
On the way to Anciano, Jaguar is pursued by Gambusino, but receives help from his niece Graziella and the German professor Morgenstern with his assistant Fritze Kiesewetter . With the lousy Indian Don Parmesan as leader, both are actually looking for fossils when they suddenly get caught up in the conflict. Professor Morgenstern is even mistaken for the missing Colonel Glotino and he finds a hidden arsenal of the rebels on the side. The weapon housing then turns out to be the armor of an extinct giant armadillo.
Graziella meets the Inca prince Haukaropora, they begin to like each other, and Graziella can convince him that a new edition of the old Inca empire is hopeless. The old priest Anciano, however, absolutely wants to crown Haukaropora in the old Inca mountain fortress Machu Picchu as Inca king and thus give the starting signal for the uprising. There father Jaguar meets Gambusino again, recognizes in him the murderer not only of the old Inca king, but also of his brother and can kill him after a violent fight. During the coronation ceremony in Haukaropora, the latter throws his crown of feathers into the abyss, making it clear that he wants peace. The angry Indians kill Haukaropora, and the last hope for a new Inca empire is over.
additional
After Georg Marischka had tried in vain to film the successful novel with Artur Brauner , he and his brother founded their own film company in order to realize the project. Since Karl May films were seen as a guarantee of success, producer Franz Marischka had no problems with the help of Carl Szokoll and the Wiener Stadthalle to raise the necessary loans and to find a film distributor at Nora Filmverleih .
The film was partly shot on original locations in Peru, including Machu Picchu, and partly in Bulgaria in the Belograchik Nature Park . Franz Marischka chose the completely unknown leading actor William Rothlein because he was wrongly recommended to him by an American friend as the model and lover of Salvador Dalí , who would also paint the film poster. The female lead with the Israeli Geula Nuni was also given to a hitherto little-known actress.
Angelo Francesco Lavagnino's score was originally composed for an Italian western, but it was used so skillfully in the film that you don't even notice it. On movie posters it is wrongly stated that the Old Shatterhand composer Riz Ortolani composed the music, but this was only intended in the preliminary planning and was not retained.
After the premiere, which received little comment from the press, public interest in the film was limited. Franz Marischka commented:
“ When I got the visitor numbers on Tuesday after the holidays, I thought the rental company was kidding me, they were so shockingly low. "
Soon afterwards, Franz-Marischka-Film had to file for bankruptcy. The film's financial failure hastened the demise of the Karl May films.
The German and the international cut version differ in countless places in the length of the individual scenes and the choice of shots.
Reviews
“Walter Giller and Heinz Erhardt take part from the German actor reservoir. They remain foreign bodies in the action. Anything else that is active in the acting is sometimes blown by the touch of Austrian smear. After all, an impressive attempt to break the scheme of the current Karl May films. "
“The best thing about the film is the weird bits of it. Marischka thought of all kinds of cinematic tricks (time lapse, circular aperture) to optically consolidate the humor. A Karl May film that is well worth seeing. "
“Georg Marischka is successfully looking for a way off the well-trodden paths of previous films. He sticks very closely to the novel, looks for the landscape he needs in the ancient Inca empire of Peru, in Spain and Bulgaria, and thus provides a great backdrop to an event in which tension is a top priority. The colors are splendid. The play of all actors is relaxed and spirited, and the courage to reach the tragic end is remarkable. One of the best and most exciting films in the Karl May series, even without the routine faces Pierre Brice and Lex Barker. "
“The Karl May series can hardly get much more primitive or worse. It has already reached the level of the inferior Maciste films. "
"THE LEGACY OF THE INKA is the best Karl May film ever made and undoubtedly one of the most successful commercial German post-war productions."
“The generous effort in every respect and the certainly not cheap recordings in Peru, Spain and Bulgaria are in no relation to the result. But you can feel comfortable in the wild gorges of the Inca Empire and in the duel between good and evil, between white and red. Guy Madison is a splendidly sinewy Jaguar and Rik Battaglia a Perillo of stature. The twelve-year-olds and the older children in the stalls read this visual Karl May cheerfully from the screen, even if this May 39 is not the best legacy of the immortal romantic. "
"Quite cleverly trimmed film version of the well-known novel by Karl May, which tries to stop the uniformity of the series with a few new actors and outdoor shots at the South American Inca sites."
"A shot in the oven."
“THE LEGACY OF THE INCA is probably the Karl May film that is most underestimated. [...] To today's viewers who do not expect Lex Barker and Pierre Brice from the outset, it appears surprisingly modern and fresh. "
"Very free, inexperienced film adaptation of a lesser-known novel by Karl May, which tells a confused and fantastic adventure story from Peru."
media
- Literature : Karl May - Gesammelte Werke, Bd. 39, Das Vermächtnis des Inka , Karl-May-Verlag, ISBN 3-7802-0039-2
- DVD : "The legacy of the Inca" - Koch Media
- Music : "Wild West - Hot Orient" - Karl May film music 1936–1968 - Bear Family Records BCD 16413 HL - 8 CDs with 192 pages of film book
Web links
- Legacy of the Incas in the Internet Movie Database (English)
- The legacy of the Inca at filmportal.de
- Sound carrier with the film music
Individual evidence
- ^ Franz Marischka: Always smile , Amalthea, 2001, p. 214
- ^ Franz Marischka: Always smile , Amalthea, 2001, p. 216
- ↑ The legacy of the Inca. In: Lexicon of International Films . Film service , accessed October 10, 2016 .