Miss Lilli
| Movie | |
|---|---|
| Original title | Miss Lilli |
| Country of production | Austria |
| original language | German |
| Publishing year | 1936 |
| length | 86 minutes |
| Rod | |
| Director |
Hans Behrendt Max Neufeld Robert Wohlmuth |
| script |
Ladislaus Vadnay Stephan Békeffy Siegfried Geyer |
| production |
Oskar Glück for Opus-Film, Vienna |
| music |
Artur Guttmann Hans J. Salter Fritz Spielmann Stephan Weiß Barbara Bory |
| camera |
Willy Goldberger Ernst Mühlrad |
| cut | Ladislaus Vidor |
| occupation | |
and Anny Burg , Grit van Elben , Viktor Franz , Dario Medina , Benno Smytt and Wilhelm Schich | |
Fräulein Lilli , also known as Fräulein Lilly , is an Austrian feature film from 1936 with Franziska Gaal in the title role. It was directed by three directors with a Jewish background who had been expelled from Germany, which was to lead to both chaotic and unworthy conditions during the shooting.
action
After a long period of unemployment, pretty Miss Lilli can finally get a job as a saleswoman in a jewelry store. In order to boost sales, the owner Höfer sends Lilli and the authorized signatory Seidl to Monte Carlo. Lilli is supposed to wear the company's own jewelry in the casino there, thereby promoting his business and offering the jewelry he has worn for sale. But Höfer and Seidl have a secret. In truth, the general manager keeps the real jewelry, while the unsuspecting Fraulein Lilli only wears a worthless imitation. Jeweler Höfer wants to achieve the sale with a trick: Seidl is supposed to spread the rumor that Lilli has gambled away badly and therefore has to sell her necklace.
Meanwhile Lilli met the bon vivant Fredy Scott and quickly fell in love with him. The suspicious Seidl suspects the young, handsome man to be a cunning cheat, because he has just had to give up the apartment that Lilli has now moved into due to high losses in the casino. Seidl, on the other hand, trusts a man, a certain van Eyben, who is actually supposed to prove to be a con man. To make matters worse, Seidl confidently tells him about the background to his and Lilli's trip to Monte Carlo. Höfer's and Seidl's jewelry plan is thwarted by Lilli's luck, which Seidl doesn't notice. Seidl therefore relentlessly spreads the false rumor about Lillis Casinopech, which Fredy promptly hears about. The latter then set out to prevent the young woman who was fond of him from gambling.
Fredy Scott, who is still being supplied with money by his wealthy parents, returns to the gaming table at Lilli's side. Seidl is finally lucky because Miss Lilli's bad luck has just started. When the general manager found out, he made the hotel management an offer to sell the real jewelry on commission. When Lilli is in her bathroom, van Eyben, the real crook, sneaks into her room and steals the imitation. Meanwhile, Fredy wins a small fortune in the casino. He goes back to his hotel, learns about the upcoming jewelry sale and buys the real jewelry to give to his lady of the heart. Fredy enters Lilli's hotel room when she discovers the theft of her imitation jewelry and now believes that Fredy is the thief. Lilli then leaves Monte Carlo immediately. Finally, at the border, the misunderstanding clears up at a customs post and the two lovers find each other.
Production notes
Miss Lilli is considered to be the penultimate Austrian film production that did not submit to the conditions imposed by National Socialist Germany on Jewish artists working in Austrian film. In order not to bring his production company Projektograph-Film into the sights of anti-Semitic race fanatics, producer Oskar Glück decided to produce this production with a short-lived start-up, Opus-Film GmbH. To this end, he hired a number of Jewish artists, including Franziska Gaal, Hans Jaray and Szöke Szakall , who were no longer allowed to perform or film in Germany.
The German emigrant Hans Behrendt , who came to Vienna from Spain in April 1936, was hired by Glück for the production, and later the producer brought in two other directors, Max Neufeld and Robert Wohlmuth .
The film was shot from June 6th to July 8th, 1936 in Monte Carlo , Menton and Ventimiglia (exterior recordings) and in the Tobis Sascha studios in Vienna - Sievering (studio recordings). The world premiere took place on September 25, 1936 in Vienna. Because of the large number of Jewish employees in front of and behind the camera, the film was not approved for the German Reich. On June 1, 1948, the film was shown again in Austria. In post-war Germany, the comedy passed censorship on August 18, 1949 under the slightly different title Fräulein Lilly and was only shown briefly in Munich in January 1950. The film received almost no attention in the newly founded Federal Republic.
The production line was Robert Reich . It was his last film; he was gassed in Auschwitz during World War II. The film structures were designed by Franz Meschkan . As with many Austrian emigrant productions before 1938, Arthur Gottlein was assistant director . The texts for the individual film songs by the various composers were written by Fritz Rotter , who is meanwhile also ostracized in Germany .
Miss Lilli was Franziska Gaal's last German-language film before she left for Hollywood (1937). The Mimin, who is considered capricious and diva-like, played “a highly unfortunate role in the turbulent filming. Franziska Gaal wore a total of three directors - all Jews expelled from Germany - because she did not want to work with the first (Hans Behrendt) and the second (Max Neufeld) was not prepared to give up his name for this pure exile production. The third director (Robert Wohlmuth), who had the smallest share in the finished film, thus became the figurehead. This farce, which is not atypical for a lack of solidarity among those persecuted in those years, commented on June 25, 1936 in the emigrant publication Pem's-Privat -berichte with bitter words: “Now a Mr. Wohlmuth is camouflaging, a Jew, Mr. Neufeld, a half-Jew and Behrendt has to sue for his fee . The fact that such things - Gaal's starry airs, lack of collegiality, Neufeld's and Glück's behavior - are discussed in public and thus create a mood against the only independent German film, i.e. arouse new anti-Semitism, is simply unqualified. ” “ Other sources also prove Gaal's tendency too capricious airs. When a lawsuit came in January 1937 in which an Austrian film company asked her to repay an advance payment of 40,000 Austrian schillings for a four-film contract, which she did not intend to honor due to various differences in the roles offered Neufeld also heard the production manager Eugen Kürschner , who came from Rome . The lawyer for the production company stated “that Ms. Gaal was feared in the film industry because of her stormy temperament. During the recording of " Miss Lilly " she is said to have suddenly given a director a resounding slap in the face, so that he stopped work. "
Reviews
In the edition of September 27, 1936, the Neue Freie Presse read the following: “This one is a“ typical ”Gaal film, that is, of harmless amusement, neatly worked, with pretty outdoor shots and good actors. Pleasant music is pleasantly performed and the entanglements are plentiful. […] Hans Jaray is her partner again - nice, ironic, casual, and Szöke Szakall has undoubtedly won in the long time he was not in the film. Karl Paryla still did not get the big and real role he deserved. Richard Eybner is a very cheerful hotel thief. "
In the same publication, this aspect of the Gaal film was also discussed in the “Fashion” section: “Even the travel dress is made to attract attention in train bleu. Handbag and tartan hat, gloves and shoes complete the adorable youthful ensemble. The film shows more clearly than many other examples what toilets mean when they are designed with fashion experience and culture in mind. A black evening dress made of velor sans peur is modeled in special lines. The bright, large-scale fixed model, yellow crepe reversible in matt-glossy contrasts, has a magical effect. The train and the ruffles create a charming silhouette. The lens of the film apparatus is honest, but it brings high performance to a special effect, in the play of the artists and also in the fashion they wear. A blue and white Complet looks particularly “riviera” -fast and looks lovely on the “Franzi”. […] The harmony of style is particularly emphasized by the correspondence of the clothes with all the little things that accompany them; it also makes the new Gaal film a great fashion event. "
The Wiener Zeitung of September 29, 1936 wrote: “Ladislaus Vadnai and Stephan Bekessi have written a nice, entertaining comedy for Franziska Gaal that gives her a grateful, amiable role. […] Franziska Gaal and Hans Jaray get each other after the most charming difficulties; partly through the charm, temperament and wit of her fluid, pointed game, partly through the magical images of the Riviera, the audience is conveyed to Miss Lilli's journey into marriage. "
Individual evidence
- ↑ usually the name Hans or HJ Salte n is incorrectly given
- ↑ Kay Less : "In life, more is taken from you than given ...". Lexicon of filmmakers who emigrated from Germany and Austria between 1933 and 1945. A general overview. ACABUS Verlag, Hamburg 2011, ISBN 978-3-86282-049-8 , p. 17.
- ↑ Kay Less : "In life, more is taken from you than given ...". Lexicon of filmmakers who emigrated from Germany and Austria between 1933 and 1945. A general overview. ACABUS Verlag, Hamburg 2011, ISBN 978-3-86282-049-8 , p. 178.
- ^ "From the courtroom" section in Neue Freue Presse
- ↑ "Miss Lilli". In: Neue Freie Presse , September 27, 1936, p. 19 (online at ANNO ).
- ↑ "Miss Lilli". In: Neue Freie Presse , September 27, 1936, p. 14 (online at ANNO ).
- ↑ "Miss Lilli". In: Wiener Zeitung , September 29, 1936, p. 9 (online at ANNO ).
Web links
- Miss Lilli in the Internet Movie Database (English)
- Miss Lilli at filmportal.de