Today we play the boss - where is the film going?
| Movie | |
|---|---|
| Original title | Today we play the boss - where is the film going? |
| Country of production | Germany |
| original language | German |
| Publishing year | 1981 |
| length | 82 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | Peer ravens |
| script | Kurt Raab |
| production | Peter Kern for Luxor-Film, Oceanic-Film, Karl Spiehs for Lisa Film |
| music | Peer ravens |
| camera | Michael Ballhaus |
| cut | Helga Borsche |
| occupation | |
| |
Today we play the boss - where is the film going? is a German comedy film by Peer Raben starring Kurt Raab and Peter Kern from 1981.
action
Konrad Reichenstein and Fritz Paulig have one thing in common: their great love for film. You dream of stepping into the spotlight. Because they are extras, small actors who somehow muddle through from film to film and yet never get the chance to become a star themselves. Reichenstein, the crazy and yet somehow also sympathetic, crawls deep into dreamed-of film roles and builds his illusory world in which he becomes a role, a portrayed figure, so that soon he can no longer distinguish his actual identity from the hoped-for speaking role. For him, all of life is a film, and of course he has nothing else in mind than the main role in it. Paulig, on the other hand, a sedate, clumsy guy with good manners but bizarre qualities, only resembles the antipode Reichenstein in his fascination with the celluloid industry. Despite constant setbacks, the two diminutive mimes have not given up their dream of being in the center of the filmic events. Over the years, each of them developed their own quirks and ticks. Reichenstein walks around in different disguises, sometimes as a historical personality, sometimes as a fantasy figure. In these moments he becomes one with the character portrayed. Paulig is cultivating a cult with newspapers, on the margins of which he persistently takes notes everywhere and which he then carefully keeps in his small room, which he always keeps locked. Paulig is a mess, his middle name is disorder. Here Reichenstein is completely the opposite: a pedant and fanatic of neatness.
One day, on the way to a film production, Paulig meets the buxom and pretty blonde secretary Rita Kaiser on the bus. He is already wearing his costume for an interview - a "corpse in a tuxedo" is to be cast. Rita, not too bright, thinks he is a fine gentleman of good company and begins to show interest. He hands Rita a business card from the artist agency, which specializes entirely in casting extras. Paulig thinks the busty blonde should just introduce herself there, maybe they could help her. In fact, Rita quits her job and intends to go to film. There she met Reichenstein, both of whom were engaged for the film in which Paulig would “play” the dead. Rita befriends Reichenstein, who takes her home, where, to her surprise, she sees Paulig again. The two get engaged on the first night. Rita moves into the men's apartment and brings with her the tame great ape Alexander von Freiligrath, who will not only cause a lot of confusion in the following years, but also show Reichenstein all his affection.
Rita and Fritz want to get married soon - Reichenstein, Paulig and the other extras find the ideal opportunity to make a film about it and this time to be the boss themselves. But Rita's mother, a tough and suspicious businesswoman from the German provinces, immediately becomes suspicious when she learns of her marriage to an allegedly influential “film producer” and arrives immediately. Paulig and Reichenstein's bold plan is to build a perfect Potemkin village, the cinematic implementation of a dream wedding in which only Frau Kaiser has no idea. Full of satisfaction and with thieving joy, all extras take over the functions of the previously imprisoned production workers. Finally, the second and third row are in the foreground! As soon as Ms. Kaiser has arrived, the perfect illusory world of a flourishing company is played to her. The following day Rita and Paulig's wedding is celebrated in a luxurious apartment, but it comes to an abrupt end due to a traitor. However, Rita's mother is emotionally touched and believes in her daughter's happiness with the unfortunate. Finally, the police appear at the train station where the mother has been brought home. In their company is also the director of the new, the real film. Because the whole event is a film-within-a-film, which will soon catapult the three into the front row of the cast.
Production notes
Today we play the boss - where is the film going? is a rare excursion that numerous members of Rainer Werner Fassbinder's entourage took in the spring of 1981 into the comedy field. The film premiered during the San Sebastian Film Festival in September 1981, with Dolly Dollar being named Miss Festival. In Germany today we play the boss - where are the films here? depending on the source, on November 13th or 27th, 1981.
criticism
"A cramped, cumbersome comedy without any joke."
Web links
- Today we play the boss - where is the film going? in the Internet Movie Database (English)
- Today we play the boss - where is the film going? at filmportal.de
Individual evidence
- ↑ Today we play the boss on www.deutsches-filmhaus.de. Retrieved December 3, 2016.
- ↑ Today we play the boss - where is the film going? in the lexicon of international film