Noise in the Secret Annex (1935)
| Movie | |
|---|---|
| Original title | Noise in the Secret Annex |
 | |
| Country of production | Germany |
| original language | German |
| Publishing year | 1935 |
| length | 83 minutes |
| Age rating | FSK 6 |
| Rod | |
| Director | Veit Harlan |
| script |
Maximilian Böttcher , Reinhold Meißner , Carl Junghans |
| production | ABC film ( Walter von Ercert , Kurt Peters ) |
| music |
Will Meisel , Fritz Domina |
| camera | Bruno Mondi |
| cut | Ludolf Grisebach |
| occupation | |
| |
Krach im Hinterhaus is a German comedy film that was shot in 1935 under the direction of Veit Harlan . The black and white film, based on the play of the same name by Maximilian Böttcher , premiered on December 20, 1935 in several cities. The Berlin premiere took place on January 2, 1936 in the Ufa-Theater Kurfürstendamm , Ufa-Theater Friedrichstrasse and in the Titania-Palast .
1941 followed with Krach im Vorderhaus (director: Paul Heidemann ) an indirect sequel with mostly other actors. A remake of Krach im Hinterhaus was made in 1949 under the direction of Erich Kobler . Further adaptations were made for television in 1963, 1966 and 1971.
action
There is a dispute in a Berlin apartment building where August Krüger is the property manager. Briquettes are repeatedly stolen from the coal cellar . There is pressure to clarify, and property manager Krüger directs the suspicion "confidentially" on the laundress widow Bock, who lives with her daughter Ilse. The young, naive “brat” Edeltraut listens to some of these suspicions. Ilse, who meets with Erich Horn, is also denounced by Krüger, because she is pussing over with this "car cavalier" - but he has serious intentions and wants to become engaged to her.
The suspicions spread by Krüger take effect, and widow Bock is cut by the Schulze couple. The roommate, baker Kluge, a womanizer, goes with Paula Schulze, but has intentions on Ilse Bock. In the climate of mistrust that Widow Bock is shown, she decides to take a drastic approach - she prepares black powder briquettes and has them anonymously handed over to the Schulze family with a typewriter letter typed by Ilse, who are supposed to store the briquettes in the coal cellar, so that the unsuspecting thief burns it and blows it up.
Erich Horn, who has now completed his doctorate and is an assessor, introduces himself to widow Bock, as he asks for Ilse's hand. When an explosion can be heard throughout the house, with property manager Kruger shocked but apparently not injured, he is blown up with his theft and dizziness. However, since the type of vigilante justice must be seen with the explosive briquettes as a stop, it comes to the process to family Schulze, who has posted the briquettes in the cellar. In this process, the Schulze family is piqued by assessor Dr. Erich Horn, while the Krüger couple is represented by their father, Justizrat C. Horn. Little does Erich Horn suspect that his fiancée and her mother are also involved in the case.
In the case of a court case, you can also hear District Court Judge Müller and the public prosecutor. The "brat" Edeltraut has partially listened to various conversations and observed various things and can help clarify the situation. The suspected stranger who brought the explosive briquettes into play in the first place remains open. When widow Bock is supposed to testify and obviously wants to make a false statement, her daughter Ilse intervenes, who wants to save her from perjury, and reveals the true facts. The widow Bock then justifies herself and asks, among other things: "Is my honor worth less than an old tiled stove that blows up?"
Finally, the widow Bock is sentenced to 4 weeks probation , the Schulze family to 50 Reichsmarks and the Krügers are imprisoned. There is a brief separation between Ilse and Erich because he is outraged that he has not been informed. However, when he realizes that master baker Kluge is still trying to help Ilse, he rushes to her to renew the connection. Kluge, in turn, learns that Paula, whom he had neglected, is expecting a child from him and then stands by her. The film ends in a conciliatory manner with a scene of the assembled housemates, with baker Kluge saying in his speech that he has now found his right wife via detours.
History of origin
Prehistory and pre-production
Veit Harlan , who had worked as a stage and film actor until then, made his debut as a theater director in January 1935 with the production of the play Hochzeit an der Panke (This was Berlin) . In March followed, also in the Theater am Schiffbauerdamm , the Berlin folk play Krach im Hinterhaus , which developed into a great success.
Already in July of the same year a film adaptation of Krach im Hinterhaus was announced by the Berlin-based ABC film production. In addition to Harlan as director, part of the stage cast should also be taken over, including Rotraut Richter , Reinhold Bernt , Gerhard Bienert and Helmut Weiss . In addition, the former silent film star Henny Porten could be engaged for the main role, while the main actress on stage, Ilse Fürstenberg , was given a larger supporting role in the film. Originally, Carsta Löck , Fritz Kampers and Ida Wüst were also supposed to take part in the film, but this did not happen due to scheduling reasons.
Almost at the same time as the preparations for the noise in the Secret Annex , Veit Harlan had the first opportunity in the summer of 1935 to work on the film Die Pompadour, directed by Willy Schmidt-Gentner , as a screenwriter and dialogue director.
production
The shooting of Krach im Hinterhaus took place in Berlin from late October to mid-November 1935 . According to director Harlan, the film project only required 11 days of shooting and production costs of 200,000 Reichsmarks (currently around 881,000 euros). The studio recordings were made in the Terra Glass House in Berlin-Marienfelde , where the film architects Hermann Warm and Bruno Lutz created “a completely closed building” with “space for large shots ”. Production manager was Hans Lehmann . Reinhold Meißner, co-author of the screenplay, acted as artistic director , assisting the largely inexperienced Veit Harlan on his debut as a film director.
music
The film music was composed by Will Meisel and Fritz Domina . Will Meisel also contributed the song, sung by Otto Albrecht in the film, But Mariechen, don't be like that (text: Günther Schwenn ).
reception
publication
The premiere of Krach im Hinterhaus took place on December 20, 1935 in the cities of Bielefeld , Bochum , Breslau (Capitol), Danzig , Eisenach , Erfurt and Hildesheim . The Berlin premiere took place on January 2, 1936 in the Ufa-Theater Kurfürstendamm , Ufa-Theater Friedrichstrasse and in the Titania-Palast .
The film was added to the list of films not released for public viewing in 1945 . In fact, the film contains a few scenes that indicate the time it was made. In the trial, the accused accuse the property manager Krüger and his wife of being “ free thinkers ” and “ communists ”. To this she replies that she has already registered “uff det church office” again, and he adds “and also with the party”, the NSDAP , whereupon a spectator calls out: “But we will not take you, Aujust!” Edeltraut Panse, played by Rotraut Richter, asks: "Will the Schulze come to the fortress or the concert camp?" It is possibly the only reference to the establishment of concentration camps in a German feature film from the Nazi era .
In 1960, Krach was shown again in the Secret Annex in the Federal Republic of Germany by the film distributor Transit Film. So far there are no releases on video or DVD.
Reviews and audience response
The film courier was happy about a new milieu in the film that the producers pay too little attention to.
The magazine Der Film praised: "It has become a radiant and strong film boy". Noise in the Secret Annex is “a film of new faces” as well as “a film about the daily fate of hard work people, of whom the crowd has no clear idea.” With his directorial debut, Veit Harlan delivered his “qualifying journeyman piece”.
The German film newspaper ruled: “Let's put it bluntly, we're happy to see Henny Porten again; but let's say it in the same sentence, we would have hoped to see her again in a different way ... She is almost covered over by the others, who feel the Berlin soil more firmly under their feet, because she is not a Berlin washerwoman and ironer. That is the movie's first weakness. His second weakness comes from the direction (Veit Harlan), which is by no means inadequate, but left some cinematic effects unused and turned many scenes that were started on film into theatrical, stage-like characteristics. [...] Especially in this film, atmosphere should be everything. How faltering the court hearing between life and bad theater, how unbalanced is the direction of the director. "
Noise in the Secret Annex surpassed significantly more ambitious, more elaborate films with its grossing results. Among the great box office successes of the 1930s, this was the only low-budget production by an as yet unknown director.
In 1936 Krach was also published as a novel in the Secret Annex .
See also
Web links
- Noise in the rear building in the Internet Movie Database (English)
- Noise in the Secret Annex at filmportal.de
Individual evidence
- ↑ 83 minutes for cinema projection (24 images / second), 80 minutes for television playback (25 images / second), film length: 2283 meters
- ↑ Veit Harlan. In: filmportal.de. German Film Institute , accessed April 1, 2016 .
- ↑ a b c Frank Noack: Veit Harlan. "The devil's director" . Belleville Verlag Michael Farin, Munich 2000, ISBN 3-923646-85-2 , p. 108-112 .
- ↑ Veit Harlan: In the shadow of my films . Ed .: HC Opfermann. Sigbert Mohn Verlag, Gütersloh 1966, LCCN 66-025801 .
- ^ Film-Kurier , October 29, 1935.
- ^ Film-Kurier , January 3, 1936.
- ^ The film , January 4, 1936.
- ^ German film newspaper , February 9, 1936.
- ^ Maximilian Böttcher : Noise in the Secret Annex . Buchwarte-Verlag, Berlin 1936, DNB 57245788X .