Lucie and the fisherman from Paris

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Movie
Original title Lucie and the fisherman from Paris
Country of production GDR
original language German
Publishing year 1963
length 64 minutes
Rod
Director Kurt Jung-Alsen
script Hans Müncheberg
production DEFA
on behalf of the DFF
music Helmut Nier
camera Helmut Bergmann
cut Bärbel Weigel
occupation

Lucie and anglers from Paris is on behalf of the German Television produced feature film of the DEFA of Kurt Jung-Alsen from the year 1963 after the story by Friedrich Wolf from the year 1939th

action

Henri sits on a summer Sunday in 1939, together with many other people on the banks of the Seine in Paris and fishing . Suddenly a young woman comes swimming and disturbs the anglers, which is why he immediately starts scolding until he realizes that it is Lucie, an art student with whom he was studying at the art college. Her father's fortune allowed her to live a largely independent life, which, in addition to studying painting, also included swimming competitions and car races. Since Henri was different from the men she had met before, they quickly became good comrades . Both have not seen each other for a few months because Henri is away from studying, because since the Radicals under the government of Edouard Daladier , the Popular Front blew up, he must as a Communist in the underground life.

Lucie is aware of Henri's political views, but that is of no importance to her, in fact, she is indifferent to them. She even makes fun of him because he doesn't want to be addressed by his real name in public in order not to be recognized. But she also immediately notices that he is not sitting here because of the fishing, but that he has a conspiratorial appointment, the time of which has long since passed. Lucie is certain that he is embroiled in a dangerous affair again, which worries her, even though Henri has shown her no more than objective interest in the past. She advises him to devote himself exclusively to painting again, which cannot be dangerous to him. Lucie offers Henri to take him to her studio , where she also lives, to show him her new pictures and he can also be sure that he will not be discovered there.

On the way, Henri buys her a bouquet of carnations with his little money and notices that it reminds him of May Day. But Lucie insists that he tell her that he bought the bouquet out of love for her, which he reluctantly does. She prepares a cold platter in her apartment and they both talk about how they met three years ago and became friends over time. The art is the topic that they then deal with in detail, because it is about the pictures that were painted by Lucie and that Henri's recognition received. Only when she mentions that her professor had painted her as a nude does a dispute arise, from which Lucie can infer that Henri is jealous . When she confirms that he hadn't painted him, he calms down again and still stays in the apartment, even though he was just about to leave. Now the conversations start to revolve around politics until they argue again as they have different views. While Lucie goes into the next room to get ready for the night, Henri takes a sketch pad and puts samples of his painting on paper on it, which for Lucie on her return is a good sign that he still has his artistic means of expression.

That evening she meets Henri and they both learn to understand that great feeling that leads them to one another. After the following night of love they both have to part again, because Henri already has another conspiratorial meeting on the Seine in the morning. Lucie makes him sandwiches and takes him part of the way. Here she promises to support him and his comrades in their illegal work in the future.

production

Lucie and the Angler from Paris was shot as a black and white film by the Berlin Artistic Working Group with the assistance of the Barrandov film studio and was first broadcast on German television on November 10, 1963. The scenario comes from Hans Müncheberg and the dramaturgy of the film was in the hands of Günter Kalkofen. The outdoor shots were shot in Prague on the Vltava .

synchronization

role actor Voice actor
Henri John Rees Eberhard Mellies

criticism

In the Critique of the New Age , Mimosa Künzel wrote:

"Author and television dramaturge Hans Müncheberg has skillfully processed the delicate, idiosyncratic love story into a script in which the original dialogues have largely been preserved."

In the Berliner Zeitung , Werner Schwemin said that this film wasn't just broadcast on television, it was made for the screen. It also said:

“Here they weren't trying to convince us that something was going on, rather something was going on between two people. It was a love story, intimate and tender, bitter and powerful, in which the deep connection between the happiness of the individual and the struggle for the happiness of the people became clear. "

Web links

Individual evidence

  1. ↑ Neue Zeit of November 14, 1963, p. 4
  2. ↑ Berliner Zeitung of November 16, 1963, p. 6