Hanna Amon (film)

from Wikipedia, the free encyclopedia
Movie
Original title Hanna Amon
Country of production Germany
original language German
Publishing year 1951
length Theatrical
Version 101 Alternative Version 108 minutes
Age rating FSK 16
Rod
Director Veit Harlan
script Veit Harlan based
on an idea by
Richard Billinger
production Willy Zeyn -Film GmbH, Munich
music Hans-Otto Borgmann
camera Werner Krien
Georg Bruckbauer
cut Walter Boos
occupation

Hanna Amon is a German feature film directed by Veit Harlan in Agfacolor . Hanna Amon, identified by Kristina Söderbaum embodied, preserves her brother Thomas ( Lutz Moik ), whom she adores, before a murder of Vera Colombani ( Ilse Steppat ), the woman he has fallen by it kills them. The literary template for the film is based on an idea by Richard Billinger .

action

Hanna Amon and her brother Thomas live on the farm of their deceased parents. While Hanna is secretly adored and coveted by the local veterinarian Brunner and Thomas by the mayor's daughter, the siblings only have eyes for each other. But Thomas falls for the much older, seductive Vera Colombani, a castle owner. He follows her (defying his sister's warnings) to the south, where she spends the winter. Thomas is subsequently dropped by the Colombani and returns ruefully to his home farm. When he meets his former lover there again, he causes a catastrophe to which the Colombani and finally Hanna fall victim.

production

Filming for Hanna Amon began on August 16 and lasted until November 23, 1951. The Göttingen film studio served as the studio . The outdoor shots were taken in Hohenaschau im Chiemgau , Possenhofen , St. Heinrich , Geitau near Bayrischzell and on the road to Sudelfeld . The Murnau riding school was responsible for designing the driving tournament. The recordings of the migratory birds come from the animal filmmaker Eugen Schuhmacher .

It premiered on December 21, 1951 in Stuttgart im Universum, and on January 29, 1954, the film was released in West Berlin . From January 1952, demonstrations against Harlan took place on the occasion of the demonstrations, similar to those with Immortal Beloved . In front of the cinemas there were protests at most a few hundred people, who often triggered counter-actions, in Freiburg im Breisgau they escalated to violent riots. Local bans have been issued in various cities.

Versions

In 2003 , the home channel of the German pay-TV broadcaster Premiere broadcast a previously unknown alternative version of the film for the first time. This differs from the cinema version in that it has a different cut, different lengths of the same scenes and the use of alternative takes for scenes with the same content. It is not known whether this newly emerged version is a working copy or a rough cut. It is also conceivable that the alternative cut served as a template for the export version. The copy of the alternative cut is in a better state of preservation than the theatrical version and was therefore probably not distributed by German distributors.

Comparison of the cinema version / alternative version

In the theatrical version, both the confrontation between Hanna and Colombani and Hanna's dream sequence are much shorter. On the other hand, the film contains a short sequence in which Rosl looks after Thomas driving away in the rain, which is not included in the newly emerged version of the film. Further differences can be found in the use of music and the rhythm of the editing. Furthermore, the alternative version begins with an overture of black images and music, whereas the cinema version starts directly with the opening credits. A direct comparison of scenes in the two versions with the same content also shows that the version of the film, which was unknown until 2003, consists largely of alternative takes with the same takes. The theatrical version was created using extremely extreme takes, so that the overall impression is a consistently "shrillier" one. It is possible that the alternative version was created as a basis for cinema use abroad. This would explain the unmotivated long introductory sequence of black images in which one could have put explanatory foreign-language titles as required.

criticism

  • metamovie: "Outwardly a Heimatfilm, [Hanna Amon] is a film noir of the purest water despite Agfacolor."
  • Filmdienst : "A pathetic evocation of pure sibling love, full of dripping sentimentality and misplaced Christian symbolism."
  • Filmmuseum Potsdam : “The film is the escape of its outlawed director into madness. Not 'Jud Süß', not 'Kolberg' should be his legacy, but 'Hanna Amon', a film so grotesque, extravagant, over-staged and laden with symbols, tasteless and absolutely fascinating like no other by Harlan. And the whole family has to go on the bad trip: wife Kristina Söderbaum, both son Caspar and Harlan's daughter Susanne from his first marriage to Hilde Körber. "

Web links

proof

  1. ^ CineGraph - Lexicon for German-language film - Veit Harlan
  2. ↑ Jürgen Kniep: “No youth release!” Film censorship in West Germany 1949 - 1990 , Wallstein Verlag, Göttingen 2010, p. 60
  3. ↑ Hanna Amon at kabeleins.de
  4. ↑ Hanna Amon. Retrieved March 29, 2020 .