The Schut (film)
“Der Schut” was the first Karl May film of the 1960s to be set in the Orient and is the only one of the Orient films for which Martin Böttcher composed the music. Through the desert , filmed in 1936, was the first volume of the Orient cycle . According to the order of the books, Der Schut should actually have been produced after Durchs Wilde Kurdistan , since it marks the end of the Orient cycle.
The literary model for the film, the story Der Schut , is part of the six-part Orient cycle , which takes place in the Middle East and the Balkans, at that time part of the Ottoman Empire . The main characters are Kara Ben Nemsi , his friend Hajji Halef Omar , the French businessman Henry Galingré and the ruthless villain Schut .
Kara Ben Nemsi and the clumsy Hajji Halef Omar embark on a dangerous adventure through the Balkans, which were then occupied by the Turks. The aim is to hunt down the cruel bandit who, under the name “Der Schut”, terrifies the country. The bandit's trail is marked by murder, torture and arson.
He kidnapped the French Henry Galingré , a friend of Kara Ben Nemsi. Annette, Galingré's wife, joins the search expedition, which penetrates into impassable mountains. In a burning little village they find the sadistic mark of the criminal: an ear nailed to the door and cut off. An old farmer whom the criminals left tied up says that his sons were slain and his daughter Chita was kidnapped by the helpers of the Schut.
The Schut helpers try to make the girl submissive and abuse her. Tschita defends herself desperately. Therefore, they want to lock her in a cell to break her resistance. But she manages to escape. On the run, she asks the carpet dealer Kara Nirwan, who meets her in a carriage, for his help. Nirwan accommodates her in his house and proves to be a gentleman. However, Tschita's suspicion awakens when she learns from him that he witnessed the attack on her father's house and that he is also informed about the whereabouts of the Frenchman Galingré. He is the notorious top villain , the Schut.
Between the group Kara Ben Nemsis and the bandits there is now a life and death fight. The bandits are beaten. However, the protection is not among the criminals. They also find no trace of Galingré.
Exhausted, they lay down to sleep in front of a goatherd's hut. Only Hajji Halef, driven by curiosity, wanders alone through the forest and discovers the goatherd, hung from a tree. After a short time he is attacked by the villains of the Schut and taken to their accommodation. Again there is a fight in which Kara can free his friend. By now it had become clear to Kara that the carpet dealer Nirwan the Schut must be. On the way to his residence there is a fight with the Aladschys, who were hounded on the group around Kara by the riot police. Kara can win the fight. When Kara decides to get official help to put an end to the Schut, he is arrested by corrupt officials and handed over to the Schut.
Hajji Halef succeeds in getting the provincial police to intervene with the help of a personal letter from the Padishah (the Turkish sultan ). So the bandits are eventually overwhelmed. Only the Schut escapes. While Chita and Galingré are being freed, Kara and Halef chase the criminal. In the final pursuit ride, the Schut tries to jump over a ravine with his horse and falls to his death. Kara's horse Rih, on the other hand, makes the jump. After Kara dismounts to check on the barrage, Rih is shot and dies in the arms of Kara Ben Nemsi.
After the success of The Treasure of Silver of Rialto Film planned producer Artur Brauner own Karl May movies . Based on an opinion of his dramaturge Ilona Reszkowa from January 31, 1963, he decided to film the novel The Schut . The author Rolf Schulz, who wrote exclusively for Brauner's studio, began work in May 1963, and the manuscript was ready by Christmas 1963. In his report of January 28, 1964, however, Hans Wollschläger described the draft script as completely unsuccessful. On the other hand, Brauner accepted a script submitted by Georg Marischka without any change requests. After Constantin Film refused to distribute the film out of consideration for Horst Wendlandt , Brauner won Ilse Kubaschewski's Gloria. He envisaged Jürgen Roland as director , but because he had scheduling difficulties, he hired the little-busy Robert Siodmak .
Filming began on March 31, 1964 in Belgrade in the original Konak Knjeginje Ljubice house, which served as the Galingré house. In other ways, too, predominantly existing buildings were adapted. On April 3, 1964, the shooting in Belgrade was finished. The cameraman was initially the Yugoslav Aleksandar Sekulovic, as Siegfried Hold was still in Dubrovnik while filming Freddy and the Song of the Prairie .
The next location was Peć in Kosovo , where the team lived in the Hotel Metohija. On April 6th, the shooting began here in the bazaar district with the scene at the blacksmith's shop. The dealers working as extras did not even have to be specially dressed. Almost all of the recordings that take place in a locality were made in and around Peć. The hostel to which Chita is dragged by the bandit Manach is the Orthodox patriarchal monastery on the outskirts of the city.
The Visoki Dečani Monastery, surrounded by a large wall and provided with a fortress-like gate, was chosen as the Schut estate . Independent construction of the Yugoslav film architect Ivkov Dragoljub was merely a watchtower on the Schut property. Filming began here on April 27th, and the next day the scene in which the soldiers storm the Schut property was filmed using 27 horses. Kara's grinding scene also began here.
On April 29th, Kara's interrogation was filmed on the first floor of the farm building. When Karas jumped on a waiting horse, the monastery church could have been seen in the background, but it was covered by hanging carpets. The raft recordings did not take place at the original location on the Treska , but from May 4th to 7th on the Beli Drim river near Peć. The raft was pulled by a motorboat and steered by a real ferryman, the main characters doubled when they fell into the water.
The third location was the Hotel Crna Gora in Podgorica (then Titograd ) in Montenegro . In the Morača Gorge, the burning homestead of Osko, the death of Rih, the fight between Karas and the Alajys, the shooting test and the unmasking of the Mübarek were filmed. The scene with the shepherd at the waterfall and the escape of Chita took place at the Morača monastery . The ride over the original suspension bridge was planned for May 15, but bad weather led to damage to the bridge, which is why Rih's death was depicted on the meadow next to the bridge with the help of a morphine syringe. The bridge scene could only be filmed on May 27th.
On May 29th, the yacht scene was filmed in Petrovac na moru . Sir David Lindsay's yacht shown in the film belonged to Yugoslav President Tito . It was on loan from the Avala. Then the cameraman Siegfried Hold, who had meanwhile arrived and who was given a free hand by Siodmak, staged Kara's grinding scene on the wide plain near Titograd Airport until May 3rd . The Yugoslav Mate Ivancović, who was used as a Barker double, injured himself on May 4th on the Devil's Rock motif, so that the fight scenes with the Aladschys could not be ended.
From May 5th, the Avala Studios in Belgrade created the great hall of the Schut, the scene of Tschitas with the wife of Schut, the Schut cave with the dungeon and next to the studio the bear scene with Lindsay and Archie. On June 16, the last recordings took place in Berlin in the CCC studios with the hostel cellar and the underwater recordings .
In order to make up for the missing parts of the fight with the Aladschy brothers with an artificial background, one went to the studios of the Berliner Union-Film with Lex Barker double Heiko Sembt-Schroer, because they had a rear projection system. The last scene is a trick shot of Kara's jump with Rih over the traitors column. Kara Ben Nemsi's black horse Rih suddenly turned brown while jumping over the gorge, which later became uncomfortable for observant viewers. On June 22nd the recordings were officially finished.
- Lex Barker : DM 196,205.50
- Chris Howland : DM 37,494.00
- Marie Versini: DM 35,000.00
- Dieter Borsche: DM 34,000.00
- Ralf Wolter: DM 31,000.00
- Rik Battaglia: DM 26,000.00
- Friedrich von Ledebur: DM 16,000.00
- Robert Siodmak: DM 80,000.00 for the director, DM 30,000.00 for the script
- Georg Marischka: DM 25,000.00 for the script
- Manfred Korytowski: DM 12,432.88 for production management
Supporting actor Chris Howland received, after Lex Barker, the second highest salary for the film among the actors, which speaks for its popularity at the time.
“It's - in that way - a good film. And probably the best Karl May film that has been made so far. Robert Siodmak is a skilled director who lets his actors act very convincingly. What makes this film rank above others is very clear: It was made with humor and charm. "
“Who is not moved by the brokenness of Hajji Halef Omar, who is abandoned by his friend Kara Ben Nemsi in the end? So much noble friendship remains unchallenged, even in the face of classy Marie Versini. "
"Lex Barker, meanwhile subscribed to the role with the henry socks, is pleasantly taciturn, while Ralf Wolter does not give his adlatus, the eternally chattering Hajji Halef, the right whistle: his jokes and nagging become the literary original." not fair."
“Karl May is turned by the wolf. There is no trace of a precise conception or a consistent style. Although Siodmak is clearly trying to be careful, one cliché follows another; the backdrop of the Balkans remains - apart from a few atmospheric beauties - a colorful postcard. "
"One of the best Karl May films, although the comic elements predominate too much for today's taste."
"Exciting entertainment, loosened up by cheerful passages."
- Golden canvas for over three million visitors within twelve months, awarded on September 28, 1965 in Rivoli, Hanover , on the occasion of the world premiere of Durchs Wilde Kurdistan. At the end of the 1964/65 cinema season, Der Schut was in third place after Winnetou Part 2 and Unter Vultures .
- No movie title was Der Schut by the Film Review Board Wiesbaden . The report stated that even in an adventure film of this harmless kind, too much of the impossible should not be shown. As an example, it was mentioned that after Kara Ben Nemsi's mile-long grinding, not even the hero's suit suffered.
- The name Terence Hill is named as the actor on the video cover . But this does not play in this film.
- In the same year as this film version, a radio play was made under the direction of the German actor Joseph Offenbach , who also played the role of Hajji Halef Omar, alongside Charles Brauer as Kara Ben Nemsi and Uwe Friedrichsen as Schut.
- Co-screenwriter Georg Marischka worked as a director of the Karl May film The Legacy of the Inka in 1966 .
- Literature : Karl May - Collected Works, Vol. 6, Der Schut. Karl-May-Verlag, ISBN 3-7802-0006-6 .
- Michael Petzel: Karl-May Filmbuch , Karl-May-Verlag, Bamberg, second expanded edition 1999, ISBN 3-7802-0153-4 .
- VHS : The Schut
- DVD : Der Schut - In the Orientbox from the Karl May edition by Ufa / Tobis (together with Durchs wilde Kurdistan and Im Reiche des Silber Löwen )
- 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