The angels of St. Pauli

from Wikipedia, the free encyclopedia
Movie
Original title The angels of St. Pauli
Country of production Germany
original language German
Publishing year 1969
length 102 minutes
Age rating FSK 18
Rod
Director Jürgen Roland
script Werner Jörg Lüddecke
Karl Heinz Zeitler
production Studio Hamburg
music Siegfried Franz
camera Petrus Schloemp
cut Herbert Taschner
occupation

The Angels of St. Pauli is a German crime and gangster film from 1969, set in the Hamburg harbor and prostitution milieu. Directed by Jürgen Roland , Horst Frank and Herbert Fux play the bosses of two rival gangster gangs.

action

Gangster war in the neighborhood on St. Pauli . The long-established Hamburger Lude Jule Nickels, a cultivated gentleman over the prostitutes on St. Pauli, who always appears in a fine manner , has had tough competition from Austria. A certain Hollek, a Viennese with a lot of abuse, but no less brutal in achieving his goals, has spread out on the Reeperbahn and the surrounding area and wants to get a piece of the big cake of the oldest trade in the world. He brought his own Viennese whores with him. Both rival gangs have unpleasant encounters, and their thugs have their hands full to decimate the competition or at least to beat them to hospital maturity. Nickels also gives Hollek the direction of the march: "This is St. Pauli and not a Viennese confectionery and if you don't want to eat that, we just have to take the big spoon!" In this mixed situation, one of Jules' prostitutes is murdered : A certain Herbert Priel, a suitor with erectile dysfunction and an under-developed self-confidence, strangles the whore Lisa Naumann, who cannot make herself noticeable in her agony : She is deaf and dumb.

The investigating detective commissioner Beringer from Hamburg has two problems: a German-Austrian, or rather a Hamburg-Viennese gang war that threatens to escalate. a. a gay gang member gets under the wheels of the (subway) train, and a prostitute murder. That, in turn, doesn't fit Jule Nickels at all into the concept, because that means increased police presence on the streets. And so, following the tradition of the cabinet maker in Fritz Lang's classic film M , the underworld king orders the allegedly psychopathic harlot murderer to be hunted down and rendered harmless. It soon becomes a game hunted on all sides. Beringer's ace up his sleeve, his informer Blinky, who is supposed to infiltrate the underworld, is not very good, because he is finally exposed and brutally tortured by the sadistic Radensky: Lashed to ropes between two vehicles with hands and feet, his mutton legs are literally long drawn. Until Lisa's murderer is caught, Nickels and Hollek agree that there should be a kind of truce between the two gangs. But Hollek only sticks to it to a limited extent and is already planning the final blow against his annoying Hamburg competitor. Even Nickels, in whose arms Lisa died, does not remain idle, as he blames the presence of Hollek for this prostitute murder and its consequences.

Production notes

The Angel of St. Pauli was created in the late summer of 1969 in Hamburg-St. Pauli and was premiered on October 24, 1969.

In addition to numerous Hamburg actors (including several from the ensemble of the Ohnsorg Theater ), Roland brought together his two stars of the then popular TV crime film series Dem Perpetrator on the Trail , Günther Neutze and Karl Lieffen , again for this film . As in the ARD mystery crime format, Neutze plays a police inspector. The catcher Hansi Waldherr was recorded live during one of his fights in August 1969, and the material was cut into this film.

F.-Dieter Bartels created the film structures.

Reviews

In Films 1965–70 the following can be read: "The routinely staged story is only a means to an end, to portray the relevant milieu in an ostensible, end-in-itself."

cinema.online writes: “Criminal folklore that makes St. Pauli look like Soho and the Bronx. Conclusion: Exciting only for neighborhood nostalgics. "

Even the Protestant film observer does not think much of the film: “Despite technical perfection, a film without substance, as the social references are ignored. Totally unnecessary."

Individual evidence

  1. ^ Films 1965/70. Handbook VIII of the Catholic film criticism. Volume 1. Cologne 1971, p. 78
  2. The Angels of St. Pauli on cinema.de
  3. Evangelical Press Association Munich, Review No. 476/1969

Web links