The last recipe
| Movie | |
|---|---|
| Original title | The last recipe |
| Country of production | Germany |
| original language | German |
| Publishing year | 1952 |
| length | 95 minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | Rolf Hansen |
| script |
Hans Joachim Meyer Juliane Kay Tibor Yost |
| production |
Heinrich Jonen Friedrich A. Mainz |
| music | Mark Lothar |
| camera | Franz Weihmayr |
| cut | Anna Höllering |
| occupation | |
| |
The last recipe is a 1951 German film drama by Rolf Hansen with Heidemarie Hatheyer and OW Fischer in the leading roles. The ballerina Sybil Werden played the key role of a morphine addict and made her film debut. The story was based on the play of the same name by Thomas B. Foster (a common pseudonym of Otto and Egon Eis ).
action
In Salzburg , the city of everyone , it is festival time. The morphine-addicted prima ballerina Bozena Boroszi, who came for a guest performance, urgently needs drugs because her supplier Brendel was arrested by the police. The responsible doctor Dr. Steininger refuses to prescribe her the drugs, makes it clear to her that he can only help her if she agrees to go through a withdrawal, and issues her a referral. But Bozena is so suffering from drug withdrawal that she takes a different path. The exotic, petite woman turns to the young, married pharmacist Hans Falkner, bewitches him, who at times threatens to succumb to her advances, and in a moment of Falkner's carelessness steals several morphine ampoules from his poison cabinet. Dr. Steininger, an old student friend of Falkner, does not believe that Bozena made long fingers, but rather assumes that Falkner was seduced by the dancer and that the prima ballerina gave the drug of her own accord.
With these assumptions, he also spreads discord in the marriage of the falconers, who are also parents of an underage son. Steininger's insinuation is not entirely unselfish, as there has been a great rivalry between the two men for a long time. Hans Falkner married him, Steininger, once his great love Anna, now a married falconer, under his nose. Steininger's love for Anna was not affected by this fact. Even if Anna's husband is now twice under suspicion - first: to have given drugs to the Boroszi, and second: not to take the marital fidelity too seriously - Anna Falkner is loyal to her Hans and with his attempts, advises Steininger disavowing her husband. Falkner's father, the old medical officer, himself a doctor of medicine, is of no real help to his son: The old man never got over it that Hans, unlike Dr. Steininger, did not get to the doctor through his studies, but "only" became a pharmacist. According to the gnarled old man, Anna is solely to blame for this. But Medical Councilor Falkner has long since become a problem itself due to his age. Dr. Steininger urges his colleague to finally give up his job because he is obviously making mistakes in his craft.
One of these mistakes threatens to turn into a catastrophe. Sanitary Councilor Falkner issues the last prescription that gives the title, the dose is far too high. The old falconer mistakenly prescribed a lethal dose of strychnine for prima ballerina Boroszi. Anna and Hans Falkner noticed. Hans confronts his father, an overdue confrontation ensues: “Did you write that?” He asks the old man with tears. Even more than this fatal error, Hans Falkner seems to throw the fact off track that his father, a living monument to him, has at that moment lost his role model function. Anna Falkner gets to grips with this conflict because she has to choose between two conflicting feelings: Should the pharmacist mix the recipe according to her father-in-law's instructions and let him, the recipe writer and constant critic of her marriage, run into the open knife and, a pleasant side effect, at the same time exposing the potential rival for her husband, Bozena Boroszi, to poisonous death? Or should she obey her conscience, morals and professional ethics? After a brief internal struggle, Anna decides to ignore the instructions of the medical council and puts the drug together in the correct dosage.
Production notes
The shooting took place in midsummer 1951 during the festival in Salzburg (exterior shots) and in Wiesbaden (studio shots). The premiere took place on March 13, 1952 in Frankfurt am Main. The German television first broadcast was on February 19, 1962 on ARD .
Max Koslowski was production manager. Fritz Maurischat designed the film structures implemented by Paul Markwitz . Alfred Bücken designed the costumes, Benno Locher provided the sound. Heinz Hölscher served Franz Weihmayr as a camera assistant as did his son Richard "Ricci" Weihmayr.
The Munich Philharmonic played under the baton of Mark Lothar . The film received the rating “valuable”.
The last recipe was the German contribution to the Cannes International Film Festival in 1952 .
Although only named second in the cast list, this film marked Fischer's final breakthrough as one of the leading film stars in Germany in the Adenauer years (1949 to 1963).
Reviews
In its issue of March 19, 1952, Der Spiegel found: "Lacrimal gland specialist Rolf Hansen (" Dr. Holl ") filmed conflict substance pharmacist-morphinist according to a tried and tested, somewhat dusty UFA recipe for success. Salzburg, the ever film-effective and relational "Jedermann" game and intense actors, including the uniquely strange dancer Sybil Verden [sic!] , Are additional attractions of the mildly dramatic "Kammerspiel". Guaranteed harmless and bloodless. "
In 1958 , Curt Riess wrote about the debutante Sybil Werden : “In every scene in which she plays you can feel the foreign, the strange, the shrouded in mystery about this woman. She doesn't act, but whenever she appears on the screen, the others - and they're all good actors, Hatheyer, Wery, René Deltgen, Hilde Körber - have a hard time asserting themselves next to her. OW Fischer has the hardest time. "
In the lexicon of the international film it says: "Typical problem film of the 50s: A drug case becomes the focal point of a melodrama routinely staged with stars in front of an effective backdrop, which suggests to the well-entertained audience that it is witnessing a moral argument."
On newfilmkritik.de it says: “Rolf Hansen is a woman director; in the 1940s he directed Zarah Leander, now Heidemarie Hatheyer is playing the redeemer, mother of a small son, wife of a sad husband, and finally the big, all-important figure. She walks through high, narrow alleys, is bathed in light and dark, turns her eyes close-up to the sky and stands in the window frame as an icon of purity. The rooms in the pharmacy and the house are narrow and oppressive, but the outside world is even more threatening. "
literature
- Curt Riess: "There's only one available". The book of German films after 1945 . Henri Nannen Verlag, Hamburg 1958. Section “The last recipe”, pp. 302–305
Individual evidence
- ↑ The last recipe on Der Spiegel, 12/1952
- ↑ Curt Riess: There's only one. The book of German film after 1945. Henri Nannen Verlag, Hamburg 1958, p. 303
- ↑ The last recipe. In: Lexicon of International Films . Film service , accessed February 3, 2019 .
- ↑ The last recipe on newfilmkritik.de
Web links
- Finally a new face . Report on the new discovery of Sybil Werden in: Der Spiegel , issue 23/1952
- The last recipe in the Internet Movie Database (English)
- The last recipe at filmportal.de