Fair (film)
| Movie | |
|---|---|
| Original title | Fair |
| Country of production | Germany |
| original language | German |
| Publishing year | 1960 |
| length | 102 minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | Wolfgang Staudte |
| script | Wolfgang Staudte |
| production |
Real film , Hamburg ( Harald Braun Helmut Käutner Wolfgang Staudte ) |
| music | Werner Pohl |
| camera | Georg Krause |
| cut | Lilian Seng |
| occupation | |
| |
Kirmes is a German feature film from 1960.
action
The film is set in a village in the Eifel in 1944 and 1959 . Every year a fair takes place in this village . A carousel will be set up on the fairground. A skeleton can be found when the carousel is anchored in the ground. Next to it a Wehrmacht helmet and a submachine gun. The skeleton also brings the story of the young Wehrmacht soldier Robert Mertens to the surface.
Robert had deserted in 1944 and sought help from his parents, friends and the residents of the village in his home village. At first he hid in his parents' house. When he was discovered, fear ravaged the village. Nobody, not even the parents or the pastor of the village, dared to help the desperate young man. Ultimately, he saw suicide as the only way out. The boy's body was buried in a bomb crater by the family.
When the skeleton reappears in 1959, the former local group leader of the NSDAP is mayor of the village and does not want to be reminded of the past. But the rest of the town also prefers to see grass grow over history. On the memorial in honor of those who fell in the war, the name "Robert Mertens" is missing. And this place of honor should not be sullied by his desertion at the time.
Location
From May 1960, the film was shot largely in the former Scharzfels domain belonging to Barbis . The Real Film Studios in Hamburg-Wandsbek served as the studio . The premiere took place on July 2, 1960 at the Berlin International Film Festival .
Reviews
- Lexicon of international film : A committed film that wants to work out cowardice and followerism as constant behavior in the Third Reich as well as in post-war Germany, but which suffers from its overly striking arguments. The perpetrators are distorted into a caricature, the plot is textbook-like and viscous. Instead of anger and sadness, a contourless, resigned displeasure is triggered.
- Since Wickis Brücke, this is after all the most important and decent German time film that openly faces the past. Maybe it made an even bigger impression on me because it doesn't end in collapse. The year 1945, thank God, was only a turning point, not an end; How the survivors found their way back to normal life after all that brutality - that is a question that is still moving. Staudte's answer is precise but bitter. Hans Dieter Roos, Süddeutsche Zeitung , September 5, 1960
- One of the few German films of that time that not only seriously grapples with the past, but also wants to learn lessons for the present. Staudte shot this film with noticeable commitment - with the negative success u. a. that he recorded people and situations with disgust. Then suddenly the talented director subverts the usual clichés of the narrow-minded bull-necked Nazis and even of the easy-going French women. The conditions of the milieu in a small Eifel village are so neglected that the viewer has it easy to evade personal use. In his endeavor to be clear, Staudte has become too clear and in the end has deprived his subject of the hoped-for effect.
- In the same year 1960, Staudte completed Kirmes , the first film that he had financed through the FFP production company he co-founded. […] Kirmes is Staudte's most intimate film, less appealing than The Murderers Are Among Us and, unlike Rosen, is not at all intended to be entertaining for the public prosecutor ; Staudte opened up, reflecting on his personal disappointment [...] The political reactions to the film revealed an even more terrifying picture of Germany's intellectual state [...] This time, neither a state censorship nor a for-profit producer intervened in his film. But it became evident that the free market also offered other ways of sabotaging the free exchange of ideas.
Awards
The film ran in the competition at the Berlinale 1960 . Juliette Mayniel received a Silver Bear for best actress.
The German Film and Media Evaluation FBW in Wiesbaden awarded the film the title valuable.
literature
- Günter Bliersbach: The heather was so green ... The German post-war film in a new perspective. Weinheim / Basel 1985, pages 139-147
- Egon Netenjakob u. a .: Staudte (Edition Films 6) . Berlin 1991, pages 75-82 and 218-220
- Uschi & Andreas Schmidt-Lenhard - Courage and stubbornness. On the 100th birthday of Wolfgang Staudte. St. Ingbert: Röhrig Universitätsverlag 2006. pp. 44–49.
Web links
- Fair in the Internet Movie Database (English)
- Fair at filmportal.de
- Kirmes on deutscher-tonfilm.de ( Memento from December 26, 2007 in the Internet Archive )
Individual evidence
- ↑ Notation in the opening credits of the film
- ↑ https://de-de.facebook.com/HarzKurier/posts/672207109551628 ( Memento from June 27, 2016 in the Internet Archive ) : Facebook message from the Harz-Kurier , reference to an article that is subject to an online fee
- ^ CineGraph - Lexicon for German-language film - Georg Krause
- ↑ Fair. In: Lexicon of International Films . Film service , accessed February 25, 2017 .
- ^ Dieter Krusche, Jürgen Labenski, Josef Nagel: Reclams film guide . 11th revised edition. Reclam, Stuttgart 2000, ISBN 3-15-010477-7 , pp. 364-65 .
- ↑ Uschi Schmidt-Lenhard, Andreas Schmidt-Lenhard (ed.): Courage and obstinacy. On the 100th birthday of Wolfgang Staudte . Röhrig Universitätsverlag, St. Ingbert 2006, ISBN 3-86110-415-6 , p. 44-49 .