The chaplain of San Lorenzo
| Movie | |
|---|---|
| Original title | The chaplain of San Lorenzo |
| Country of production | Germany |
| original language | German |
| Publishing year | 1953 |
| length | 95 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | Gustav Ucicky |
| script | Kurt E. Walter |
| production | Neue Münchner Lichtspielkunst GmbH (Neue Emelka ), Munich Willy Zeyn -Film GmbH, Munich |
| music | Hans-Otto Borgmann |
| camera | Georg Bruckbauer |
| cut | Walter Fredersdorf |
| occupation | |
| |
The Kaplan von San Lorenzo (alternative title: Mea Culpa ) is a German film drama in black and white from 1952 by the director Gustav Ucicky . The script was written by Kurt E. Walter . It is based on an idea by Turi Vasile . The leading roles are cast with Dieter Borsche , Willy Birgel , Gertrud Kückelmann and Ilse Steppat . In the Federal Republic of Germany, the film was shown for the first time on February 26, 1953 in Hanover .
content
Verona in the 1950s. Don Stefano, the chaplain of San Lorenzo, was once a passionate racing driver and tennis player. Under the influence of his war experiences, he had decided to become a priest. He put an end to racing; But every now and then he still plays a game of tennis, preferably with the rich art dealer Catani, whose family he is friends with and whose house he is often a guest. The relationship with the Catanis also made it possible for Don Stefano to place his protégé Gilda, a young girl in need, there as a domestic help. Signora Catani is beginning to look suspicious that Gilda is wearing a new yellow rose on her dress every day. She thinks the girl gets the flowers from her husband; he was her secret lover. This circumstance not only leads to a violent argument between the couple, but also to an argument between the landlady and the maid.
When Don Stefano came to the Catanis one late evening, the police were in the villa. The Signora was found dead in the garage, poisoned by the exhaust of her own car. All the evidence suggests that Gilda was the perpetrator. But she protests her innocence and pours her heart out to Don Stefano and his brother Don Quirino. The two believe her and ask her to face the police. Then Gilda comes into custody. Because the chaplain fails to convince the police of Gilda's innocence, he begins to do his own research.
Don Stefano notices that his friend Catani is in a great emotional distress. He asks him to openly describe his needs; his priesthood finally obliges him to keep the confessional secret. Catani reports that he himself killed his wife. Don Stefano is horrified to see that his innocent protégé is brought to trial and that his hands are tied to help the girl.
One evening Don Stefano confessed to his brother Quirino that he had also fallen in love with Gilda and had sent her a yellow rose every day. As a result, he was at least complicit in the death of Signorina Catani; for if he had omitted this act, the marriage of the Catanis would probably not have been broken. The next day the chaplain claims in the courtroom that he is Isabella Catani's murderer. Hardly anyone believes him, but he is arrested and Gilda released. That is exactly what Catani was waiting for. He urges Gilda to leave the country with him and his son Pepito. You could then start a new life together in South America. He has already ordered the flight tickets. This act, however, ultimately becomes the murderer's undoing: his hasty travel preparations make Commissioner Morro sit up and take notice. In a conversation with little Pepito, the policeman learns that the boy's mother was angry and was therefore locked in the garage by his father. Catani is therefore considered convicted. But he suspects that he is on the trail. To avoid arrest, he goes out of life in the same way as his wife.
Gilda and the orphan Pepito are welcomed into the house of Countess Torri, a friend of Signora Catani. Don Stefano is transferred to a poor community in the country.
additions
The film was made in the Bavaria Film studio in Geiselgasteig , the exterior shots come from Verona and Cavallo. The buildings were created by the film architect Robert Herlth . The costumes come from Elfriede Czerny , Erwin Gitt took over the production management .
source
Program for the film: The New Film Program , published by H. Klemmer & Co., Neustadt an der Weinstrasse, without a number
criticism
The lexicon of international films drew the following conclusion: Religiously disguised, cultivated entertainment based on a skilfully structured script.
Web links
- The chaplain of San Lorenzo in the Internet Movie Database (English)
- The chaplain of San Lorenzo at filmportal.de
Individual evidence
- ^ Alfred Bauer: German feature film Almanach. Volume 2: 19 46–1955 , pp. 342 f.
- ↑ The Chaplain of San Lorenzo. In: Lexicon of International Films . Film service , accessed March 18, 2017 .