War of love after notes
| Movie | |
|---|---|
| Original title | War of love after notes |
| Country of production | Germany |
| original language | German |
| Publishing year | 1953 |
| length | 90 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | Karl Hartl |
| script | Karl Hartl Hugo Maria Kritz |
| production | Ludwig Waldleitner |
| music | Peter Kreuder |
| camera | Günther Anders |
| cut | Lisbeth Neumann |
| occupation | |
| |
War of Love after Notes is a German feature film from 1953 by Karl Hartl with Marte Harell and Johannes Heesters in the leading roles.
action
Dr. As a music lecturer at the academy, Käthe Nimrod has earned the reputation of a stiff and uptight maiden. For the Mozart lover, there is only room for classical music in music. Now, as the great niece of the previous owner, she has become the heir of a record publisher that specializes in light muses, hits and revues, and earns good money with it. The bitter Miss Doctor, however, abhores this kind of "music", which she disregards as banal tralala and, as she puts it, "Hottentot-Tschingbum". The acting directors of the music house, Messrs. Rabenfuß, Winkelmann and Scharnagl, have just added Käthe's church music work "In dulci Jubilo", submitted years ago by her confidante Prof. Melchior Quint, to their publishing program, in order to make themselves dear to the new boss, although this composition was previously in the poison cabinet of the rejected manuscripts. Now all board members are worried about their jobs. But Käthe Nimrod is not at all interested in the publisher and makes this clear to the astonished gentlemen. She only changes her decision when she observes her own students having a boisterous dance to the hits and jazz sounds of a certain Ralph Beyron. She is now resolving to put an end to this, in her eyes, cheap music joke, in which she wants to set new standards in the field of music publication by her publishing house.
As soon as she has taken over the reins there, Käthe - her new company motto is "We have to awaken the masses' sense of beauty, have to bring good music closer to the people" - starts with the extremely successful house composer Beyron and his lyricist Carlo Linetti, who are both currently working on a new music revue, in front of the door to give the music publisher back what she believes has been lost seriousness in order to give it a new face. She announces: "After all, a music publisher has to serve art first and not kitsch". Käthe fails to realize, however, that it is precisely the “light muse” that has brought the record company into the black in the past. The young publishing employee Irmgard Schmuck from the registry has the thankless task of informing Beyron and Linetti. The two are very upset about this announcement. When the new owner first met Ralph Beyron, who was previously unknown to her, she was enthusiastic about the piano-playing "natural talent" that she believed she had discovered. She does not know that it is the same composer who has just been fired. In order to give Beyron the "finishing touch" that is supposedly needed, Dr. Nimrod later gave him lessons in serious music. Beyron, who appears opposite her under the name of Rudolf Beyer, participates in this charade with the firm intention of paying her back one day.
Over the course of time, during which Käthe drags Ralph to one classical concert after the other for her musical training, but also takes him to a nightclub so that he can also get to know the "dark side of music", as she puts it, they fall in love gradually into each other. Käthe feels badly deceived when she finds out that Beyron and Beyer are one and the same person. For her part, she is now planning to show off her “model student” Beyer. When Beyron composed a piece in her honor and performed it, Käthe was deeply hurt because she believed that Beyron was playing with her feelings. The following day she hands over the management of the publishing house to Messrs. Rabenfuß, Winkelmann and Scharnagl. But they no longer want to, because complaints from dismissed composers such as Beyron, who were brought up by Dr. Nimrod were put in front of the door in breach of contract. She urgently needs Beyron's new operetta revue "Okay, Baby", which she could save from impending bankruptcy. But Beyron does not want to, because this work, like his other revues, is allegedly of low level, as he angrily recalls. In fact, in a fit of anger, he had torn up the notes by hand. Thanks to Irmgard's commitment, Käthe then receives a copy of the previously spurned "Okay Baby" opus, which has been painstakingly glued back together. Without further ado, Käthe composes the missing passages herself on the piano. The premiere of the play was a great success, and finally there was a reconciliation between Käthe and Ralph. Now Käthe knows that the "light muse" has its place in the music world.
Production notes
War of Love according to notes was created in the film studios of Göttingen and Munich-Geiselgasteig. The exterior shots were made around Göttingen. The premiere took place on August 18, 1953 in Hanover's Aegi-Kino, the Berlin premiere was on October 8 of the same year.
Producer Ludwig "Luggi" Waldleitner also took over the production management. Hans Ledersteger and Ernst Richter designed the film structures. Hannes Staudinger took over the camera work under the direction of head cameraman Günther Anders. Fred Adlmüller and Brigitte Scholz provided the costumes. Heinz Martin took care of the sound, Werner Stammer choreographed the dances.
For Paul Kemp , war of love was according to notes, together with the Austrian comedy Glück ist ein haben, the last cinema production. Both films premiered on the same day; by then, Kemp had been dead for five days.
Reviews
In the mirror it was said: “Despite all the coincidences that keep it going, the duel between classical music and the moderately modern dance rhythms of Peter Kreuders remains as good as free of surprises. Just astonishing: under Karl Hartels [sic!] Direction, Johannes Heesters and Viktoria von Ballasko, who play sparingly and melancholically and who have grown from the affectionate middle-class child of the thirties to a very comical, spinous Middle Ages. "
The lexicon of the international film judges: “A pop composer and a music teacher get together to form a pair of lovers after they have settled the spirited differences of opinion about their views on life and the music. Modest comedy entertainment. "
Individual evidence
- ^ War of love according to notes . Critique in “Der Spiegel” from December 16, 1953
- ^ War of love according to notes. In: Lexicon of International Films . Film service , accessed March 3, 2020 .