Mackie Messer - Brecht's Threepenny Film

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Movie
Original title Mackie Messer - Brecht's Threepenny Film
Country of production Germany , Belgium
original language German
Publishing year 2018
length 135 minutes
Age rating FSK 6
Rod
Director Joachim A. Lang
script Joachim A. Lang
production Michael Souvignier ,
Till Derenbach
music HK Gruber
camera David Slama
cut Alexander Dittner
occupation

Mackie Messer - Brechts Dreigroschenfilm (working title: Brechts Dreigroschenfilm ) is a German-Belgian feature film by Joachim A. Lang from 2018 with Lars Eidinger as Bertolt Brecht , Tobias Moretti as Macheath / Mackie Messer, Hannah Herzsprung as Polly / Carola Neher and Robert Stadlober as Kurt Weill . Based on works and writings of Bertolt Brecht, including biographical and historical elements, the film is intended to represent the attempt to implement the artistically and politically radical concept of the poet for his “Threepenny Opera”. This extremely successful “Threepenny Opera”, premiered in 1928 in the Theater am Schiffbauerdamm in Berlin , four adaptations of the operatic material, the film exposure Die Beule - A Threepenny Film, the theoretical text “The Threepenny Trial” and the Threepenny Novel (1949) were created for the director Joachim A. Lang the basis of his work. The framework plot, which takes place in the 1920s, shows the development of the script against the background of the global economic crisis and the rise of fascism . Brecht's ideas are illustrated by the discussion with the film producer, to whom he presents his concept in stages, up to a finale that far exceeds the radicalism of social criticism in the opera. However, his ideas for the film were never implemented. The framework plot is a kind of making-of of the prevented film and at the same time tries to put the stage play and Brecht's filming ideas into a current context.

The premiere took place on June 28, 2018 as part of the Munich Film Festival , where the production was shown as the opening film. The film was released in German cinemas on September 13, 2018.

action

The film begins with a first sentence quote from Bertolt Brecht's work, which is followed by a number of other quotes:

"How can art move people if it is not moved by people's fate?"

Due to the great success of Bertolt Brecht's Threepenny Opera, which premiered in Berlin in August 1928, with music by Kurt Weill , the material is to be filmed. Contrary to expectations, Brecht's work has become the most successful theater play of the 1920s. The astonished audience went wild, enthusiastic about the play's wealth of allusions, its excessive musicality and, above all, the cheekiness that the director took over the conventions of the time.

Brecht celebrates the success together with his closest circle. In addition to his wife Helene Weigel, these include Kurt Weill and Elisabeth Hauptmann , Weill's wife Lotte and the celebrated actress Carola Neher . The press is interested in the genesis of the opera and asks about Hauptmann's part in it, because it was thanks to its knowledgeable translation - The Beggar's Opera by John Gay and Johann Christoph Pepusch from English  - that Brecht's “Threepenny Opera” was possible. Even before the piece becomes a global success, the press asks Brecht challengingly why he is not bringing it to the screen. Although he basically loves the cinema, he answers sharply:

"The film industry is too stupid and has to go bankrupt first."

An offer from producer Seymour Nebenzahl to film the opera does not come as a surprise. But Brecht does not intend to have his piece adapted one-to-one for the big screen. His ideas of how the material could look like as a film differ greatly from those of Nebenzahl. The film producer strives to make the greatest possible profit without risk from the production. He just wants to give the film consumers what they are used to anyway. Brecht's intention, on the other hand, is to explicitly break with viewer habits. He does not want a representation of reality, but the view behind it and formulates it like this:

"Only the artificial, the art, reveals the view of reality."

In the producer's minds eye, Brecht lets a surprising film idea pass by, which reveals the fight between the London gang boss Macheath and the head of the begging mafia, Peachum, so vividly that this fictional film can actually be seen in moving images for both of them:

The gangster, also feared under the name "Mackie Messer", falls head over heels in love with Peachum's underage daughter Polly. He is horrified when he learns that his daughter returns this love. To make matters worse, he has invested a huge amount of money in equipping his daughter and expects her to make a good match and thus secure his livelihood in old age. When Brecht wants to pull out all the stops of his epic theater in the film adaptation , the film producer is shocked because he fears on the one hand the film censorship and on the other hand the enormous production costs for the setting of the sprawling story. His plan to realize a film allegedly provides for the "most respected actors" and one of the "greatest directors of his craft" - who, however, sees the Threepenny Opera "purely optically" and "like a fairy tale". Brecht, however, considers something like this to be unprogressive and “trash”, which only serves the previous “stupid audience taste”. He wants to show the "processes behind the processes" and thus practice social criticism. He also wants to expose the brutality of the SA and the “painter” Adolf Hitler . He intends to report on the six million unemployed for which ruthless capitalism is responsible. The global economic crisis has resulted in this mass unemployment and more and more people are threatened with impoverishment. For these people, Brecht doesn't want to make trash, but rather art that helps them. For him, therefore, an “assassination attempt on bourgeois ideology” must take place on the screen. For him, the emerging film industry is still without artistic aspirations and stands for small-mindedness. The robber leaders in his threepenny film adaptation are said to be as bourgeois as the bourgeoisie - those who rob them have full savings accounts, copy upper-class style and their stuffiness. Citizens and crooks become indistinguishable. The general motto is:

"Food comes first, then morality!"

Brecht leads Nebenzahl through dazzling scenarios of his film fantasies: He imagines the Macheath of his film as an ambitious businessman who wants to give the general appearance of legality and dreams of upper-class prosperity and prestige. But Macheath discovers Polly on the street, who is strolling through the city with her mother. He immediately catches Polly's shapely bottom. Before he has even spoken the first word with her, he decides to marry this woman. He flirts with her in the presence of her mother, invites them both to dance and makes Polly go with him. They only knew each other for four hours when they were already married. A crook wedding is celebrated in which upper-class marriage practices are attempted to be copied from them. Present is the brutal and immoral gang of the groom as well as his "friends" from established society. The producer feels that Brecht's remarks are cynical and the plot is vulgar. He just wants to translate the resounding name of the “Threepenny Opera” into economic success. Brecht tries to appease him, but the ideas that the producer finds offensive continue to gush out of him. His dilemma is: he basically knows that he does not want to deviate from his vision, a politically and aesthetically radical version of the film. So he gets stuck in his "negotiations" with the film company, because Nebenzahl does not want to realize his ideas in the film for whose rights he has paid for. The producer finally threatens to shoot the “Threepenny Opera” without Brecht's participation. Although Brecht knows that the production company will not get involved, he still wants to make a whole new kind of cinema. His vision of a threepenny film is provocative, radical, uncompromising, political and pointed.

So there is not only a showdown in the narrated film fiction by Brecht (as in the opera), but also in the film reality of the basic plot. As a result, Brecht sued the production company in the three-penny process and fought for his artistic freedom - in a process the outcome of which he already predicts but consciously accepts. He seeks a public debate in a challenging way. He only goes to court to prove that the producers' greed for profit wins out in the end. His comment on this is:

"Only as much truth prevails as we enforce."

Here, too, he starts a very special kind of staging: judges, lawyers, journalists and everyone involved should become the participants in a didactic play. He calls the process he has tried a "sociological experiment".

With the impending fascism , whose contempt for human beings is already taking effect in the threatened republic, not only the film company, with which he has already fallen out, but also the film industry and cinema operators are opposed to him. They claim that the material is fundamentally immoral and therefore “un-German”. “A big wedge belongs to Brecht and Weill” is chanted from the right spectrum of politics. But he is not intimidated. He does not allow any restriction in a statement:

“I want to make an art that touches the deepest things and lasts for 1000 years. You mustn't be so serious. "

The basic plot of the film is increasingly becoming a game with reality and Brecht's fictions. In the end, an attempt is made to transfer the conflict of the threepenny opera to the present.

production

The shooting took place from March 3 to May 15, 2017 in Baden-Württemberg , Berlin and Belgium . The shooting locations in Baden-Württemberg included the ancestral hall of the Rastatt Castle , Favorite Castle near Rastatt, former factory buildings of E. Holtzmann & Cie. in Weisenbach and Henning Schmiedetechnik in Metzingen , the city ​​library on Mailänder Platz in Stuttgart and the Villa Fuchs in Heilbronn . In the major Belgian cities of Ghent and Antwerp , motifs were found that represented London in the Victorian era . The opening scene of the film was shot in the Bourla Theater in Antwerp, a dress rehearsal that took place in 1928 in the Berlin Theater on Schiffbauerdamm . On Bertolt-Brecht-Platz, in front of the Theater am Schiffbauerdamm (location of the premiere of Brecht's Threepenny Opera ), a final scene was filmed at an original location, including the Brecht monument there.

The film was produced by the German Zeitsprung Pictures GmbH, co-producer was the Belgian Velvet Films. The Südwestrundfunk , Arte , Rundfunk Berlin-Brandenburg and Norddeutsche Rundfunk were involved . The production was supported by the Medien- und Filmgesellschaft Baden-Württemberg and the German Film Fund .

Lucia Faust was responsible for the costume design, Eric Rueff for the sound, Benedikt Herforth for the production, and Jeanette Latzelsberger for the make-up. The Gauthier Dance Company danced to a choreography by Eric Gauthier . HK Gruber's music was recorded by the SWR Symphony Orchestra , the SWR Big Band and the SWR Vocal Ensemble .

background

The sensational success of the Brecht piece served the feeling of the "dance on the volcano" in the threatened Weimar Republic. As an “anti-opera” with a new form and new content, it offered a surprisingly high potential from art, entertainment and social criticism. Brecht's "Threepenny Opera" celebrated stage successes around the world and became an "export hit" as a German cultural asset. The surprise success and the recordings with the songs, which appeared immediately after the premiere, caused a threepenny fever in Berlin: "Threepenny pubs" opened, many women disguised themselves as prostitutes in the style of the actors of the "Threepenny Opera", and the men followed suit the performances in a pimp and crook fashion. There were dance teas and balls to the accompaniment of this music, postcards with motifs from the performances and even “threepenny wallpapers”. No play reached a larger audience and, moreover, survived the ban and the catastrophe of National Socialism so effectively that it was immediately back on the stages in Germany after the end of the war. The stage play is one of the most famous in the world, quotations from it have become fixed terms in everyday language and literature, and pieces of music from it have become world hits. The popularity of the substance continues to this day. The reason lies not only in the attractiveness of the music, which depicts a kind of sound from the 1920s, but in its unbroken topicality. Nevertheless, there are only a few film adaptations of the material, the last German-language version was more than 50 years ago and - like the others - is very close to the play created by Brecht for the stage. The fact that there is an exposé (“Die Beule”) on the cinema adaptation by the author himself was still ignored. He saw the success of the Threepenny Opera increasingly ambiguous and realized that if the material was to be made into a film, social criticism would have to be emphasized more consistently than in the play.

“ Blutmai ” Berlin 1929, police in Neukölln ready to fire . Brecht's political stance becomes more radical.

He drew the conclusion of his “sociological experiment” in his treatise The Threepenny Trial, which had the motto: “The contradictions are the hopes”. The text is much more than a description of the process. Brecht fundamentally contrasts his artistic ideas with the conventional products of the film industry. Its changes compared to the stage play were not primarily due to the new cinema format, but represented a political tightening that also arose as a consequence of social developments. The Berlin police president Karl Zörgiebel (SPD) banned political meetings in the open air in December 1928. This ban was extended to all of Prussia in March 1929 . Brecht's political stance became more radical , also because of the many deaths among the protesting workers of the following “ Blutmai ”.

In October 1929, the New York stock market crash plunged the world into an economic crisis with terrible consequences. In Germany, from 1930, the marches and the terror of the SA increasingly dominated the streets. Last but not least, hateful thugs blew up the events of the Brecht performances by force. After Hitler came to power and the Reichstag fire that soon followed, Brecht's life was in danger. He was forced to leave Germany, but he saved the material. When he had fled into exile and no longer had any prospect of filming the synopsis, he wrote the "Threepenny Novel". With the four adaptations of the Threepenny subject - the opera, the film expose, the text “The Threepenny Trial” and the novel - Brecht created extensive material that laid the foundation for a film adaptation of his artistic and politically radical concept.

The synopsis only formed a rudimentary basis for “Mackie Messer - Brecht's Threepenny Film”, because it hardly contains any dialogue. Only essential storylines were taken from it, therefore dialogues and scenes from the opera and the "Threepenny Novel" were added. For this purpose, a framework was developed that would lead to the Berlin of the 1920s, to a young, wild artist collective with Brecht in the center and show the development of the exposé against the background of the global economic crisis and the emerging fascism. “Mackie Messer - Brecht's Threepenny Film” now shows a film idea that, for various reasons, did not materialize; the framework plot is a kind of making-of of the prevented film. The dust that had settled over the decades on the most successful and popular German-language play of the 20th century should be removed, it should be brought into an explosive, current context. The provocations and cheekiness in the text should be rediscoverable. The first verses of the opening song already indicated this direction in the film. The fact that the shark has its teeth open on its face, but the knife of the robber Macheath cannot be seen, is a reference to this. This should act as a picture for the current state of the world. The attack of the predatory fish should appear harmless compared to the hidden brutalities of a system whose machinations destroy the foundations of human existence and take place with apparent seriousness. An expansion of possibilities in breaking with conventions, in art in general and in reality, in a world that is increasingly falling apart due to striking social inequality, offered Lang. With regard to Brecht, he was concerned with a corrected picture of the poet based on recent research. According to Lang, Brecht was not a dry ideologue with whom everything is predictable, as he is still portrayed in the media. Rather, he was a provocative, socially critical author who wanted to entertain and not just revolutionize the theater. For Lang he is the most important German-speaking poet of the 20th century, with a formative influence on art. Brecht was portrayed by him as the genius of an artistic circle (which also included his wife Helene, his colleague Hauptmann, the actress Neher and of course the composer Weill and his wife Lotte Lenya). They were all cultural highlights of the time, but also caused scandals, and it looked like the “Threepenny Opera” would just be one of those scandals. For Lang, the 1920s are the most important phase in Brecht's work and one of the great cultural highlights of German history.

What is unusual and new is that a poet should speak in his own words, and this without invented orientation dialogues for the viewer. A change in the Brecht reception should be initiated. The other artists portrayed in the film should speak with their own voice, so to speak. Lang describes his film not as an epic film according to Brecht's theory, but rather as a generally open form of a film that plays with viewing habits, offers surprising things and opens up new possibilities - an experiment.

interpretation

The real Brecht prepared the perfect stage for this cinematic feat of remaking the material through the spectacular threepenny process that ended with a comparison. His ideas from the film exposé "Die Beule - Ein Dreigroschenfilm" , written in September 1930, were largely disregarded in the movie The Threepenny Opera from 1931, although initially it was supposed to provide at least the "basis for the script".

In his film debut, director and screenwriter Joachim A. Lang interweaves the story of Brecht's failed attempt to film the material of the Threepenny Opera, which premiered in Berlin in August 1928 , with the songs and the plot from it. The new film tries on the one hand to show how Brecht might have implemented his work according to his own ideas, on the other hand the historical environment in the time of the global economic crisis and the emerging fascism . Reality and fiction are fused by alternating between Brecht's examination of the film society and his planned but not realized film project, the stage play and the present. Brecht's statements in the film are based on quotes from his life and work.

In his cinematic implementation, director Lang decided not only to film the original Threepenny Opera , nor to portray the story of the failure of a first film adaptation with Brecht's participation. Instead, he took a middle ground. His film story runs parallel to the story of the first failed adaptation attempt in order to contrast them. At the same time, with the film, he introduces viewers to the time of the global economic crisis, the associated unemployment and the emergence of fascism. This created a kind of historical making-of film, but this also allows Brecht to philosophize in images and music and to speculate about how he would have implemented his work according to his own intentions.

Lang did his doctorate on the film adaptation of Brecht's epic theater and directed the Brecht Festival in Augsburg. The preparations for his film took ten years. He wants to rehabilitate Brecht with his film, because he considers the established Brecht image to be wrong: “He is often described as a dogmatist, an ideologist, although he was so young and anarchic at the time. And he wanted to be a star. ”Lang first tells how Brecht's“ Threepenny Opera ”became a success against all expectations and mishaps. The Brecht in the film still sits stoically in the theater and directs. The thick, smoking cigar and his glasses with round glasses are in principle retained throughout Langs film and appear like a mask behind which he is hiding.

Later on, Brecht tries to bring the filming project through without compromise, always in a verbose struggle. At the same time he is right in the middle of the “Threepenny Opera”. Two different worlds collide. In the film, for example, Brecht sits in the bar with the famous cigar in his mouth and explains to everyone how art should be. He enjoys being a star. At the same time he is his own figure and the focus of his own staging.

With cheeky language and an enjoyable, mocking grin, as eloquent as it is well-founded, he gossips about dumb donors and the audience unwilling to experiment, grumbles about his own occasional duplicity and creates a cheeky mood. This prevents the film from having an instructive effect - it fits well into the sequences in which Brecht looks in the direction of the camera and happily breaks through the so-called fourth wall to caricature the film-in-film technique or to remind sarcastically that the The retelling of real events offered here is just a feature film.

"The Threepenny Opera is an attempt to counteract the complete idiocy of the opera," says Brecht in the film after the world premiere of the work. Later he also says: “I want to make an art that touches the deepest things and lasts 1000 years. It must not be so serious. ”Lang implements this because he entertains and teaches at the same time. In the role of a poet, he appears to be clever, focused and, depending on the situation, tough. The figure toying with the audience and pulls them into confidence, generating empathy in the audience .

Lang wants to make Brecht's work process transparent, only to show him very cautiously as a creative polygamist - who also did not refuse to make money.

Towards the end of the film, you can hear the poem To Die Nachgeborben - in a historical recording, spoken by Brecht. It is considered to be one of the most important texts in German exile literature and was written between 1934 and 1938. The poem is the only one from Brecht's poetry that has been read by the author himself. It was published in The New World Stage in Paris on June 15, 1939 .

January 30, 1933 Berlin, torchlight procession for Hitler's rise to power

At the same time, the film shows the cinematic Brecht looking into space, arms crossed in his lap, silent and lost in thought. As if he were watching from a distance in the following fade-in - the SA torchlight procession organized by Joseph Goebbels through Berlin at night on the occasion of Hitler's " seizure of power ". The flickering light of the torches seems to reach him through the closed window. Hitler is shown on film, returning the Hitler salute to the long lines of uniformed men. The Brecht of the film labels a photo that shows him sitting at the table with “The boxes are packed”. After that he is shown as fleeing across the border.

The language of the historical recording, which is played from the off , is emphatically sober, rhymeless and rhythmically free. In the political poem, the author describes himself as a poet in exile and expresses himself both on the emerged "dark times" of National Socialism, as well as on the past and future, as the actual message "to those born afterwards". What has been said seems slow, collected and sad. It is described as "terrible news" - which must not be glossed over, which must not be kept silent. Only with momentary luck and full of scruples did he flee and leave people threatened with mortal danger. He is not what is considered wise and wants to continue his struggle.

At the end of the poetry  lecture, a historical night shot shows the book burning in Germany in 1933 - a bundle of papers labeled "Threepenny Opera" is thrown into the fire. Then there is a cinematic leap in time into the present and the Brecht actor again plays the sovereign, not only serious but also humorous hero of the film, just as Brecht was mainly portrayed in the film. As Lang puts it, he is supposed to refute Brecht as an allegedly pronounced “dogmatist and ideologist”.

Reviews

Manuel Brug described the film in the world as “a kind of Jack the Ripper in La-La-Land” and wrote: “Forgotten is social criticism and leftist poet morale, Germany's best actors indulge in musical plush instead and enjoy [...] their melodious affairs. Which they do fabulously! And that's why you have to see this film. "

Sidney Schering called the film onquotemeter.de “demanding, cultivated, good entertainment” and found that Brecht novices were introduced to the author's theories and convictions by Eidinger's more appealing, humorous performance than Brecht, but Brecht connoisseurs could oppose it Delight Lang's passionate Brecht homage.

Norbert Mayer found in the Austrian daily Die Presse that the film was rapidly choreographed, lively and crookedly sung and played with relish and cunning, so that even the greatest injustices would no longer hurt, and in a historic setting there would be plenty of kitsch. "The Threepenny Opera is an attempt to counteract the complete idiocy of the opera," said Brecht in the film after the world premiere of the work. Norbert Mayer said that this attempt also succeeded Lang, he entertained and taught at the same time. In Lars Eidinger he also found "an ideal cast for the role of poet - as an omniscient Brecht quote [...] he is clever, focused and, if need be, tough."

Ursula Scheer wrote in the Frankfurter Allgemeine Zeitung : “Director Joachim A. Lang knows too much and overloads his work with it to the point of exhaustion. [...] Lang would have liked to end up with his assembly plant somewhere between La La Land , Moulin Rouge and Babylon Berlin . But there is a lack of lightness and the will to wise self-restraint. This three- penny film suffocates from its abundance. "

Anke Westphal wrote for epd-Film : ““ Mackie Messer - Brecht's Threepenny Film ”is a feverish tour de force - a film that extends the“ Threepenny Opera ”into the financial capitalism of our time and its topicality with regard to the fascism that was emerging at the time is almost oppressive works. It is a directorial work that is likely to irritate the audience as well as astonish them - and is an incredibly rich gift. "

Christina Bylow found in Vogue : “Mackie Messer - Brecht's threepenny film is an opulent total work of art. It tells the story of the most successful play of the twenties, of Brecht's Threepenny Opera and its failed film adaptation by the poet himself. A cinema event that holds up a mirror to an increasingly divided society, powerfully visually and textually and one hundred percent Bertolt Brecht. Not a word in the script that does not come from his work. Virtuously put together by director Joachim A. Lang. They are all there, the young innocence, the beggars, the crooks, the whores, the police chief and the instinctual Macheath, a man to be feared, even if the film repeatedly makes clear with deliberate breaks: This is a fictional character. But your voice echoes for a long time. "

The Süddeutsche Zeitung ruled: "Joachim A. Lang has directed an opulent film in the film that plays knowledgeably and intelligently with Bertolt Brecht's theories."

Die Welt am Sonntag sums it up: "A film equally splendid as a piece of thought, a picture of the time and a musical."

The SZ Extra found: "With its open form, the artificial elevation and the current political references, Lang is bringing the Threepenny Opera into the 21st century."

The Berliner Morgenpost wrote that the director Joachim A. Lang had made “a great and at the same time highly intelligent film” with Mackie Messer and summed up: “This is really great cinema. That never denies its theatrical background. That is bursting with ideas. And besides, a lot told about the censorship of art and a growing right-wing radicalism. What both looks terrifyingly up-to-date. "

The Germany radio verdict: "With its multi-layered staging keeps Joachim A. Lang praises of intellectual property protection and on artists who make the courageous decisions. 'Mackie Messer - Brecht's Threepenny Film' is itself such a work of artistic dedication. "

Michael Schleicher wrote in the Münchner Merkur : "The idea of ​​film is not new, but the director and his cameraman David Slama really succeed in switching between the levels of action in a virtuoso manner."

The Madame said: “New teeth for the shark: A grandiose movie now shows how the theater genius Bertolt Brecht could have brought his famous Threepenny Opera to the screen. [...] Joachim Lang shoots it as a film in the film. At this level, Brecht's masterpiece is now experiencing a revival of its very own. Spectacularly choreographed and intoned, we see a completely new Threepenny Opera. "

Awards and nominations

The film was one of eleven German submissions for the 2019 Academy Awards for the category of best foreign language film .

Web links

Individual evidence

  1. ^ Certificate of release for Mackie Messer - Brecht's Threepenny Film . Voluntary self-regulation of the film industry (PDF; test number: 172562 / K). Template: FSK / maintenance / type not set and Par. 1 longer than 4 characters
  2. ↑ a b c “Mackie Messer - Brecht's Threepenny Film” opens the 36th FILMFEST MÜNCHEN. Article dated May 29, 2018, accessed June 7, 2018.
  3. ^ A b c Mackie Messer - Brecht's Threepenny Film. In: filmportal.de . German Film Institute , accessed June 7, 2018 .
  4. ↑ a b Mackie Messer - Brecht's Threepenny Film. Retrieved June 7, 2018.
  5. ↑ a b page no longer available , search in web archives: Filmfest München: Mackie Messer - Brecht's Dreigroschenfilm. Retrieved June 7, 2018.@1@ 2Template: Toter Link / www.filmfest-muenchen.de
  6. ↑ Mackie Messer - Brecht's Threepenny Film. In: arte.tv.
  7. ^ A b c Mackie Messer - Brecht's Threepenny Film. (PDF; 4.4 MB) Press release. Retrieved January 5, 2020 .
  8. ↑ Brecht is vigorously dusted off. In: BNN.de . March 23, 2017. Retrieved June 29, 2018 .
  9. ↑ Big cinema in the Weisenbacher Bauhof. (PDF; 1 MB) In: Gemeindeanzeiger Weisenbach. April 6, 2017, p. 6 f. , accessed June 29, 2018 .
  10. ↑ Location tour leads to extraordinary places in the Neckar-Alb region . In: MFG Medien- und Filmgesellschaft Baden-Württemberg (Hrsg.): FilmFacts Südwest . No. 3/2017 . Stuttgart October 2017, p. 18 ( mfg.de [PDF; 1.7 MB ]).
  11. ↑ Shooting in the Heilbronn villa . Article dated March 13, 2017, accessed June 7, 2018.
  12. ↑ A conversation with Michael Souvignier. In: Mackie Messer Press Booklet - Brecht's Threepenny Film. P. 20 ( PDF; 4.38 MB , accessed on June 29, 2018).
  13. ↑ Sonja Zekri: And the shark has teeth. In: Sueddeutsche.de. June 28, 2018. Retrieved June 29, 2018 .
  14. ↑ Important stations in the life of Bertolt Brecht. In: DasErste.de.
  15. ↑ https://www.swr.de/-/id=21949106/property=download/nid=10563098/1wxiu33/index.pdf
  16. ↑ https://www.moviepilot.de/movies/mackie-messer-brechts-dreigroschenfilm
  17. ↑ https://www.faz.net/aktuell/feuilleton/kino/joachim-a-lang-bringt-brechts-dreigroschenfilm-ins-kino-15786959.html
  18. ↑ https://www.filmportal.de/film/mackie-messer-brechts-dreigroschenfilm_ed759db8d1dc4531bac52f8d36e1c770
  19. ↑ http://www.quotenmeter.de/n/103754/mackie-messer-brechts-dreigroschenfilm-brecht-fuer-novizen-und-verehrer
  20. ↑ https://www.diepresse.com/5496187/mehr-als-nur-ein-dreigroschenfilm
  21. ↑ https://www.faz.net/aktuell/feuilleton/kino/joachim-a-lang-bringt-brechts-dreigroschenfilm-ins-kino-15786959.html
  22. ↑ Do you see the moon over La-La-Land? Article dated September 13, 2018, accessed September 15, 2018.
  23. ^ "Mackie Messer - Brecht's Threepenny Film": Brecht for novices and admirers. Article dated September 13, 2018, accessed September 15, 2018.
  24. ↑ diepresse.com: More than just a threepenny film. Article dated September 14th, 2018, accessed on September 18th, 2018.
  25. ^ FAZ: "Brecht's Threepenny Film": It almost became a cinema. Article dated September 15, 2018, accessed September 18, 2018.
  26. ↑ epd film. Retrieved February 7, 2019.
  27. ↑ Christina Bylow: Gentle power guy. Portrait of Tobias Moretti. In: Vogue. August 2018, pp. 121–124.
  28. ↑ Kathleen Hildebrandt: Two moons over Soho. In: Süddeutsche Zeitung . Edition of September 14, 2018, No. 212, p. 10.
  29. ↑ Matthias Heine: The shark's new teeth. In: Welt am Sonntag . September 9, 2018, No. 36, p. 56.
  30. ↑ Josef Grübl: The film that was never made. In: SZ Extra . Week from September 13 to 19, 2018, No. 211, p. 8.
  31. ↑ Berliner Morgenpost. Retrieved February 13, 2019.
  32. ↑ Deutschlandfunk. Retrieved February 18, 2019.
  33. ↑ Michael Schleicher: The shark in the sea of ​​footnotes. In: Münchner Merkur . September 13, 2018, No. 211, p. 18.
  34. ↑ Friederike Albat: Not bad, Mr. Brecht. In: Madame . October 2018, No. 10, p. 103.
  35. ^ German film evaluation and media evaluation FBW: Mackie Messer - Brecht's Dreigroschenfilm. Retrieved June 7, 2018.
  36. ^ The nominations for the New German Cinema Award. Article dated June 18, 2018, accessed June 18, 2018.
  37. ↑ Hessian Film and Cinema Prize: Nominations 2018. Article from September 21, 2018, accessed on September 23, 2018.
  38. ^ Kurier: The nominations of the ROMY Academy 2019. Article from March 26, 2019, accessed on March 26, 2019.
  39. ↑ New York Festivals: SWR Kinokoproduktion receives Gold World Award. Article dated April 10, 2019, accessed April 11, 2019.
  40. ^ Romy or Richter: Who will represent Germany at the Oscar? Article dated August 28, 2018, accessed September 8, 2018.