I never believe in a woman again

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Movie
Original title I never think more to a woman
The Dirnenlied
Country of production Germany
original language German
Publishing year 1930
length 90 minutes
Rod
Director Max Reichmann
script Curt J. Braun
Walter Reisch
production Max Reichmann Filmproduktion GmbH, Münchner Lichtspielkunst AG (Emelka)
music Paul Dessau
camera Reimar Kuntze
Charles Mètain
occupation

I never believe in a woman again is the title of an early German sound film that Max Reichmann made for Emelka in Munich in 1929 . Curt J. Braun wrote the screenplay based on his own story, which he had edited for the film with Walter Reisch . Anton Kuh and Werner Scheff wrote the dialogues. The leading role in the dramatic singer film, in which Werner Fuetterer , Gustaf Gründgens , Paul Hörbiger and Maria Matray also played, was played by the famous tenor Richard Tauber .

action

The formerly acclaimed singer Stefan was so badly disappointed by a woman that he withdrew into the distance. Now he's hired on a ship to come back home. On the way he befriends the sailor Pieter, who takes him home to his mother. Pieter falls in love with a girl who turns out to be his sister, who now works as a prostitute. Stefan helps the friend, frees his sister and brings her back to her mother. However, the men are so disappointed with this new experience that they are drawn back into the distance. (filmportal.de)

background

The film was a joint production by Max Reichmann Filmproduktion GmbH and Münchener Lichtspielkunst AG ("Emelka"). Production was headed by Manfred Liebenau ( Erik Lund ). Hans Naundorf was the unit manager. Erich Czerwonski built the film structures , and the make-up artist was Carl Eduard Schulz. Reimar Kuntze and Charles Métain were in front of the camera , the sound recordings were made by the technicians Karl Brodmerkel and Erich Lange under the direction of Guido Bagier . The film was composed by Paul Dessau , who was also the musical director.

In the film, several hits were sung by Walter Jurmann , Hermann Krome , Henry Love (actually Hilde Loewy) and Otto Stransky . Richard Tauber composed the melody for the title hit “I never believe in a woman again”. The lyrics were written by Fritz Rotter and Dr. Fritz Löhner under his stage name Beda.

  • The old song . Boston (Henry Love, Beda)
  • Your mother always stays with you. Song u. Boston (Walter Jurmann, Fritz Rotter)
  • I never believe in a woman again. Song u. Boston (Richard Tauber, Fritz Rotter)
  • I greet you across the sea, homeland. Slow-fox (Hermann Krome, Fritz Rotter)

The sound film hits appeared on shellac records and were also successful outside of cinemas and as instrumental titles: the film promoted the record, the latter for the film. And the radio brought both to the people.

The film, which had started under the speculative working title “Das Dirnenlied”, was submitted to the Reich Film Censorship on January 16, 1930 for review. It was premiered on February 3, 1930 in the Premièrentheater Capitol in Berlin. Excerpts of the celebrations were broadcast on the radio.

Audio documents

  • I greet you across the sea, homeland. Slow-fox ad film "I never believe in a woman again" (Hermann Krome, Fritz Rotter) Saxophone Orchestra Dobbri . Parlophone B.12 188-I (Matr. 38 338), attach. 1930
  • I greet you across the sea, homeland. Slow-fox ad film "I never believe in a woman again" (Hermann Krome, Fritz Rotter) Tenor Marcel Wittrisch , posted in the Beethoven Hall in Berlin. Electrola EG 1767 / 60-510 (Matr. BLR 6020-II)
  • I never believe in a woman again. Song u. English Waltz (Richard Tauber, Fritz Rotter) ad film "I never believe in a woman again". Chamber size C. Richard Tauber. Dajos Béla Orchestra . Odeon O-4956 (Matr. Be 8336-2)
  • I never believe in a woman again. Song u. English Waltz (Richard Tauber, Fritz Rotter) ad film "I never believe in a woman again". Carl Jöken , tenor with orchestral accompaniment. Tri-Ergon TE 5785-A (Mat. 03193) [02.1930]
  • I never believe in a woman again. Boston (Tauber / Rotter) Bernard Etté and his orchestra. Kristall Electro No. 3052 (C 359, a), apply. Berlin, March 1930
  • Your mother always stays with you. Song u. Boston (Fritz Rotter, Walter Jurmann) Kammersgr. C. Richard Tauber. Dajos Béla Orchestra. Odeon O-4955 a (Be 8734-1)
  • Your mother always stays with you. Song u. Boston (Fritz Rotter, Walter Jurmann) from the Richard Tauber sound film "I never believe in a woman again". Tenor Marcel Wittrisch, Marek Weber Orchestra . Electrola EG 1614 (Matr. BNR 820 II), apply. in the Singakademie Berlin, November 1, 1929
  • Your mother always stays with you. Boston (Jurmann-Rotter) Sam Baskini and his Jazz Symphoniker. Kalliope K 1517 (Matr. Zw?)
  • Your mother always stays with you. Boston (Jurmann-Rotter) Theo Mackeben and his orchestra. Ultraphon A 239 (Matr. 10 358). Oct. 1929
  • The old song. Song u. Boston (Henry Love, text Beda) Richard Tauber sings and accompanies himself on the piano. Odeon O-4920 (Be 7469-1). Oct 25, 1928
  • The old song. Song u. Boston (Henry Love, text Beda) Raoul Aslan , on the piano Hilde Loewy-Flatter. Columbia 14 139 (Mat. WA 7239)
  • Audio sample from the Tri-Ergon record soundtrack : The following spoke: Richard Tauber, Paul Hörbiger , Werner Fuetterer . After the intro and some confusion of voices [...] Tauber sings "I greet you over the sea, home country" (Text: Fritz Rotter)

reception

“I never believe in a woman again” was Richard Tauber's first sound film, which was followed by others under the direction of Max Reichmann: 1930 “The great attraction”, “The luring goal” and “The land of smiles”, 1931 “How will I rich and happy ”, and 1932“ Melody of love ”. With his cousin and consultant Max Tauber, the singer founded his own production company in 1930, the “Richard-Tauber-Tonfilm-Gesellschaft”, which ceased operations in 1931 because Tauber had fallen out with the managing director Manfred Liebenau and left the company .

Reviews of the sound film published by:

Herbert Jhering discussed the premiere celebrations in the “Berliner Börsen-Courier” and said: “I will never believe in a woman again - the low of the film, the low of the feeling, the low of the spirit.”

Hans Wollenberg: The interaction of record and film, in: “Film und Ton” (weekly supplement of the “Lichtbild-Bühne”) from February 1, 1930: “Three records from the first Tauber sound film have already been released by Lindström:» Over the sea , über Meer ”, the“ Mutterlied ”and the title hit, composed by Tauber himself,“ I never believe in a woman again ”. These records are already beginning to act as a pacemaker for the sound film, distinguished by their own emotional appeal, to which Tauber's cultivated voice owes its particular popularity. "

ps (= Poldi Schmidt) in: “Lichtbild-Bühne”, No. 30, February 4, 1930: “The recording technicians succeeded in all linguistic, instrumental and vocal recordings to the best of their ability, the direction of the language and the music documents a modern apex Sound film technology. "

In his review in the Frankfurter Zeitung of March 1, 1930, Siegfried Kracauer described the sound quality of the Tri-Ergon recordings as the outstanding feature of the film: “Tauber's tone in this film sounds immaculately pure, the nuances are reproduced accurately and all voices come from the mouths belonging to them. «, but immediately added skeptically:“ If only the content of the sound films were perfected to the same extent as their technical implementation! ”

Whereabouts of the film

This film from the early days of German talkies is considered lost. It is still the moving image, but eleven 40 cm cinema records from Tri-Ergon, which are part of the pin-tone copy of the film, were found during rearrangement work in 2015. They have been digitized and are currently in the Jewish Museum Berlin . A copy of the digitized film sound was given to the Deutsche Kinemathek - in case the picture of the film should reappear.

Web links

literature

  • Thomas Blubacher: As it used to be: beautiful things and interesting facts from grandmother's time . Suhrkamp Verlag, 2013, ISBN 978-3-458-73359-1 .
  • Thomas Blubacher: Gustaf Gründgens . Verlag Henschel, Leipzig 2013, ISBN 978-3-89487-702-6 .
  • Bernhard Jensen: "I never believe in a woman again" - the tone of the film. In: Blogerim. From everyday life at the Jewish Museum Berlin, on February 5, 2015, online at jmberlin.de
  • Karin Messlinger (ed.): Herbert Ihering: film critic (= film & writing. Volume 12). Verlag ET + K, Edition Text + Critique, 2011, ISBN 978-3-86916-074-0 .
  • Moritz Oriole: Halalí 2 ; Volume 2 by Halalí, Moritz Pirol a theme with twenty variations / Moritz Pirol. Books on Demand Verlag, 2010, ISBN 978-3-938647-18-9 , p. 240.
  • Karin Ploog: When the notes learned to run ... Part 2: History and stories of popular music up to 1945 composers - librettists - lyricists. Books on Demand, 2016.
  • Corey Ross: Media and the Making of Modern Germany: Mass Communications, Society, and Politics from the Empire to the Third Reich. Oxford University Press OUP, Oxford 2010, ISBN 978-0-19-161494-1 , p. 1813.
  • Michael Wedel: The German Music Film: Archeology of a Genre, 1914-1945 . Verlag ET + K, Edition Text + Critique, 2007, ISBN 978-3-88377-835-8 , pp. 284–86.
  • Friedrich von Zglinicki: The way of the film. History of cinematography and its predecessors . Rembrandt Verlag, Berlin 1956.

Individual evidence

  1. ↑ cf. Blubacher, Gründgens p. 26.
  2. ↑ Source: German sound film ahead, in: Das Kino-Journal, No. 991, July 27, 1929, p. 10
  3. ↑ composer, conductor, musician, songwriter, folk song researcher. Born: May 27, 1888, Berlin. Died: July 22nd, 1955, Baden-Baden, cf. deutsche-digitale-bibliothek.de
  4. ↑ cf. »Flood of light music«, in: Film-Kurier, January 14, 1931: “Max Hansen steered for the» cabinet of Dr. Larifari «a number and his tenor colleague Richard Tauber confirmed after notes» I never believe in a woman again «", quoted. to richard-tauber.de , also at cinegraph.de
  5. ↑ cf. Hans Wollenberg: The interaction of record and film, in: “Film und Ton” (weekly supplement to “Lichtbild-Bühne”) from February 1, 1930, p. 1813: “The film functioning as an advertisement for the record, the record for the film, and the radio publicizing both ” .
  6. ↑ so Thomas Blubacher: As it used to be: beautiful things and interesting facts from grandmother's time . Suhrkamp Verlag, 2013, Wedel, Musikfilm p. 285.
  7. ↑ listen on YouTube
  8. ↑ listen on YouTube
  9. ↑ listen on YouTube
  10. ↑ listen on YouTube
  11. ↑ listen on YouTube
  12. ↑ listen on YouTube
  13. ↑ listen on YouTube
  14. ↑ to be heard at dismarc-audio
  15. ↑ to listen to at jmberlin.de
  16. ↑ cf. his memories at richard-tauber.de  : “We optimistically founded the“ Richard Tauber-Tonfilm-Gesellschaft ”, whose director I became […] We were able to finance the first film with the rest of the“ Lindström advance ”. It was entitled: "I will never believe in a woman again". Other films soon followed: “The alluring goal”, “The land of smiles” and “The big attraction”. Millions, who only knew Richard through the record, saw their idol for the first time on the movie screen. He achieved international popularity through the film. "
  17. ^ The conflict between Tauber and his film company, in: Neue Freie Presse, No. 24081, September 29, 1931, p. 20
  18. ↑ No. 58 of February 4, 1930, p. 144.
  19. ↑ richard-tauber.de . Posted on Jun 13, 2011 in Press
  20. ↑ at cinegraph.de FilmMaterialien 6 - Paul Dessau. Tauber sound film
  21. ↑ cf. jmberlin.de