Heather
| Movie | |
|---|---|
| Original title | Heather |
| Country of production | Germany |
| original language | German |
| Publishing year | 1916 |
| Rod | |
| Director | Franz Hofer |
| script | Franz Hofer |
| production | Julius Kaftanski for Apollo-Film, Hübsch & Co. |
| camera | Ernst Krohn |
| occupation | |
| |
Heidenröschen is a German silent film from 1916 by Franz Hofer .
action
In the center of the action is the rose, a pretty, very young girl who is heavily courted by some admirers. But she has long since lost her heart to the one. It is about the handsome Count Brödersdorf, who is as in love with her as she is with him. But both have to be careful, because Röschen's uncle, the cantor, should not know anything about the secret love affair.
One day, however, the uncle finds out everything and forbids his niece to interact with the 'high lord'. In order to “get around” Roses and finally conquer her for himself, the young count is even ready to promise her marriage. But now his old man, who insists on class consciousness, is taking a stand and forbid Graf juniors requests. Uncle Kantor has to bring her the terrible news, and Röschen is devastated. She dies of a broken heart.
Remarks
The short film had a length of three acts and passed the film censorship in September 1916. A premiere date is currently not verifiable.
The film title refers to a well-known song "Sah ein Knab 'ein Röslein stehn" ( Heidenröslein ) - Text: Johann Wolfgang von Goethe , music including Franz Schubert - whose motifs he takes up in his story.
classification
Franz Hofer chose the banal story as a means to an end. With this staging, his most artistically significant, he not only abandoned the rigidity and cinematic artificiality that had previously prevailed in German film, but also promoted the use of nature as a stylistic device as well as a completely new narrative style that was almost revolutionary at the time.
In the biography of Franz Hofer, Kay Weniger's Das Großes Personenlexikon (The Film's Big Personal Lexicon) says: “In 1916 he shot his artistically most important work with the emotional melodrama“ Heidenröschen ”:“ Heidenröschen ”impressed above all with its lighting and architectural design, but also with one special, narrative style. "
criticism
Paimann's film lists summed up: “Material is simple, plain, but just as good as the game, photos and scenery. (Especially for a simple audience.) "
literature
- Andrea Dittgen: Franz Hofer. State capital Saarbrücken, Office for Municipal Film Work a. a., Saarbrücken 1999, p. 38
- Thomas Elsaesser , Michael Wedel (Hrsg.): Kino der Kaiserzeit. Between tradition and modernity. Edition text + criticism, Munich 2002, ISBN 3-88377-695-5 , chapter Franz Hofer.
Individual evidence
- ↑ Kay Less : The film's great personal dictionary . The actors, directors, cameramen, producers, composers, screenwriters, film architects, outfitters, costume designers, editors, sound engineers, make-up artists and special effects designers of the 20th century. Volume 4: H - L. Botho Höfer - Richard Lester. Schwarzkopf & Schwarzkopf, Berlin 2001, ISBN 3-89602-340-3 , p. 7.
- ↑ Heidenröschen in Paimann's film lists ( Memento of the original from January 11, 2017 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.
Web links
- Heideröschen in the Internet Movie Database (English)
- Heidenröschen on earlycinema.uni-koeln.de