Love wins (1934)

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Movie
Original title Love wins
Country of production Germany
original language German
Publishing year 1934
length 87 minutes
Rod
Director Georg Zoch
script Sybille Pietzsch
Georg Zoch
production Westropa film, film
music Harald Boehmelt
camera Ewald Daub
occupation

and Hans Albin , Traute Bengen , Heinz Berghaus , Erich Fiedler , Annemarie Hase , Antonie Jaeckel , Inge Kadon , Ernst Legal , Gustav Mahncke , Hadrian Maria Netto , Josef Reithofer , Arthur Reppert , Otto Sauter-Sarto , Felicitas Scholz , Hermann Schröder , Valeska Stock , Emmy Wyda

Die Liebe siegt is a German feature film from 1934 by Georg Zoch with Trude Marlen , Willy Eichberger and Susi Lanner in the leading roles.

action

Advertising photographer Willy Schneider and musician Max Brehmer live poor but content under one roof, in a studio. When the caretaker Neumann wants to collect the rent demanded, Willy is being seized by the head of advertising for the Berger silk syndicate, Döring. He would like to have some of his advertising photos to present to his boss, Director Berger. At Mr. Berger's domicile, he sees Renée Neumann, the daughter of his caretaker, who works as a stenographer in a car dealership, leaving the director's house. Both drive on together in their car, and one begins to fall in love. As the passionate photographer he is, Willy naturally also takes a photo of Renée. For the following day, the two lovebirds meet in a café. On the next day, however, Renée committed a faux pas, because she did not bring back the dress that her sister Elli had secretly borrowed for yesterday's visit, so that Elli, who needed the dress for an interview as a prospective singer in a theater, did not get the job she had hoped for got. In order to be at least useful for anything, Elli wants to relieve her old father and now collect the urgently needed rent from Max and Willy. Elli gets to know Max in the process and they both enjoy each other. When Max finds out about Ellis Malheur and the botched theater engagement, he wants to help her and says she should accompany him on his next engagement as a musician, he will somehow accommodate her in this variety theater.

Meanwhile, Renée, who is supposed to look after the old Seiden-Berger in her boss's car dealership, who is interested in a new car, is stopped by the same, so that she misses the appointment with Willy in the café. The photographer is angry about this and leaves the Berger Group disappointed with the photo taken yesterday by Renées. Her likeness is promptly used for advertising purposes and is soon emblazoned on all posters in the city, which Renée is very angry and disappointed because she really did not expect this from her new acquaintance. Due to further entanglements, Willy soon feels again deceived by his great love. He wants to be reconciled with her, but he fails completely. Neumann's father notices that Renée is also kinked and guesses the reason for it. When musician Max invites his friend Willy to perform at the Odeon Theater, old Neumann also drags his daughter there with him. To his great surprise, he realizes that his daughter Elli is also present and is on stage with Max. Even more surprising for him is the information that Max and Elli have become engaged in the meantime. Now he can turn to the reconciliation work of Renée and Willy, but the two have long since found each other on their own and cleared up all misunderstandings.

Production notes

Love wins was filmed from mid-July to mid-August 1934 in the UFA studios and in the Carl Froelich sound film studio and premiered on November 22, 1934 in two UFA cinemas in Berlin (Kurfürstendamm and Friedrichstrasse).

Composer Harald Böhmelt was also the musical director. Erich Czerwonski designed the film structures. Hans Conradi took over the production management. Adolf Jansen provided the sound.

State reception, prohibition, political effects and significance in terms of film history

The content-wise completely banal film is of film-historical importance for only one reason and, unique in the National Socialist cinema scene of the Third Reich, made history for extremely unusual and completely different reasons: On January 12, 1935, it was banned from showing by the film inspection agency, but not for political or ideological reasons or because it was subsequently discovered that Jews were involved in the creation of Love wins . Rather, love wins hit the very personal ban beam of Propaganda Minister Joseph Goebbels , who wanted to make an example of this film and the comedy A Child, a Dog, a Vagabond, which was launched exactly one week later in exactly the same cinemas : Goebbels found that the artistic quality of these two strips, produced by two small manufacturing companies, was bad underground.

In the justification for the ban already pronounced by Goebbels at the end of November 1934, which was confirmed after a renewed submission by the supervisory authority and finally became legally binding in January 1935, the official announcement said: Both films were "shallow and." tasteless works ”. In both cases, according to the judgment, “completely unimaginative means were used, the artistic forces working on film were misused to produce the tasteless, level-less and mindless dumb goods, and to bring about work that was too police and censorship measures gave no cause, but raised the strongest taste concerns. ”It was also pointed out that the bans had been issued to make it clear to the German film producers that the Reich government was no longer willing to sell below-average film products from, as it was said,“ artistically Unscrupulous film producers “to continue to tolerate without contradiction, even if this were justified by the fact that only such lightweight material could be sold abroad. These films were, so it was also to be read, so bad that one could not have changed anything in the quality, which was perceived as unsatisfactory, by changing the script, cutting or re-shooting. In the grounds for the prohibition, the hope was expressed that this prohibition would be a salutary warning signal to the German film industry to pay more attention to quality in the future.

As was criticized in the following analysis by the Österreichische Film-Zeitung (ÖFZ), this significant intervention in German film production by the German Propaganda Ministry is only intended to counteract the uncertainty in the cooperation between artistic forces on the one hand with financially strong financiers and the Goebbels authority on the other to promote extremely. So far, every script had to be submitted to the Reichsfilmdramaturgen for approval of a film adaptation in order to get the hoped-for police censorship clearance, so now other, namely artistic characteristics, which meant quality promises that could hardly be guaranteed beforehand, must now also be taken into account. The ÖFZ also criticized the intensification of political influence on script production that the German government had forced. The cause of love wins and a child, a dog, a vagabond would also mean that the Reichsfilmdramaturg, unlike before, would have a strong influence on any script-making and there would hardly be any more options to save a film from being banned because later script corrections were made a ban would no longer prevent it. Compromises would therefore be impossible in the future, and a script rejection by the authorities could no longer be averted by subsequent changes. The Österreichische Film-Zeitung further pointed out that, as a result of this new legal situation, film financiers would henceforth consider investing their money in the production of films at all, as the risk of a total loss of the investment made had become too great.

See also

Individual evidence

  1. Report on the confirmation of the ban in: Österreichische Film-Zeitung of January 25, 1935, p. 5
  2. a b c d reprinted in: Österreichische Filmzeitung of December 8, 1934, p. 4

Web links