The big tattoo
| Movie | |
|---|---|
| Original title | The big tattoo |
| Country of production | Germany |
| original language | German |
| Publishing year | 1952 |
| length | 100 minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | Georg Hurdalek |
| script |
Kurt Heuser Georg Hurdalek Carl Heinz Járosy |
| production | Como-Film GmbH, Munich ( Conrad von Molo ) Royal-Produktions-GmbH, Frankfurt |
| music | Theo Mackeben |
| camera | Georg Bruckbauer |
| cut | Margot von Schlieffen |
| occupation | |
| |
The Great Zapfenstreich is a dramatic fiction film from 1952 based on the play of the same name by Franz Adam Beyerlein . Directed by Georg Hurdalek , Johanna Matz and Jan Hendriks play the leading roles in this film drama, which premiered on October 3, 1952 in the Residenz Theater in Düsseldorf .
action
Klare Volkhardt is engaged to NCO Fritz Helbig, who is currently on a course lasting several months in a riding school. Kläres father is a sergeant in an ulan barracks ; Father and daughter live in the barracks. Despite her engagement, Klare secretly meets with Lieutenant Christian von Lauffen. Both keep their love a secret, as the difference in class between the two partners stands in the way of a public confession.
Before meeting Klare, Christian had an affair with Baroness Madeleine von Hügener. Her husband, the owner of the manor, Baron von Hügener, has secretly bought out Christian's promissory notes for a large sum. He is now demanding from his previous rival a release of the sum that Christian had lost in the game of chance . Christian tries in vain to get money from his father, who is already financing his education. When Christian confides in Klare, she finds a way to help him. This deepens their love for one another.
In July 1914 , Klare's fiancé Fritz Helbig suddenly returned to the barracks, whose course was originally supposed to end in autumn. In addition to the political crisis that will culminate in the First World War , Fritz is also concerned with the changed behavior of his fiancée. He suspects that she has a relationship with Christian von Lauffen, and a little later he catches them both together in Christian's room. There is an argument between the two men, in which Fritz forgets himself and attacks the officer in charge of him. Fritz is brought to court martial and sentenced. Christian realizes his wrongdoing and is now campaigning for Fritz to be released. As a result, he incurs the displeasure of the officer corps and is subsequently ready to renounce social conventions: He wants to marry Klare, but the outbreak of the First World War thwarted his plans. Christian is one of the first to be drafted into the war. When he says goodbye to Klare in the barracks yard, neither of them know whether they will ever see each other again, but Klare will wait for Christian's return.
production
Franz Adam Beyerlein was very successful with his drama Zapfenstreich from 1903. It is one of the most popular German-language works before the First World War. In the novel, Beyerlein paints a critical picture of the Wilhelmine army after the turn of the century from the contrasting point of view of a common soldier and a professional officer. Abuses are bluntly denounced here.
The film is based on Beyerlein's play. The production companies were Royal-Produktions GmbH (Frankfurt am Main) and Como-Film GmbH (Munich). The film was shot in the Flandernkaserne in Ingolstadt and in the Bavaria Filmstudios Geiselgasteig . The buildings were created by Robert Herlth and Kurt Herlth . Producer Conrad von Molo also took over the production management.
In Austria the film ran under the distribution title Zapfenstreich . In Germany, Zapfenstreich was the working title. Alternatively, the film was also shown under The Great Zapfenstreich . In the United States, the film premiered on February 4, 1956, the local distribution title was The Sergeant's Daughter .
criticism
“Summer 1914: In an ulan barracks on the French border, the easy-going noble lieutenant wins the affection of the bourgeois sergeant's daughter. Moved by the girl's loyalty, he rebels against the rigid nobility and casino conventions and breaks through the two-pronged moral standards, which ultimately brings him human understanding and recognition from his father - a general - and his superiors. Carefully worked through dramatic film with a socially critical tone; good representation. "
Web links
- The large tattoo in the Internet Movie Database (English)
- The big tattoo at filmportal.de
- → DER SPIEGEL 51/1952 «Das Liabe in der Matz»
- Illustrated film stage No. 1720
Individual evidence
- ↑ The great tattoo. In: Lexicon of International Films . Film service , accessed March 2, 2017 .