Mamitschka

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Movie
Original title Mamitschka
Country of production Germany
original language German
Publishing year 1955
length 90 minutes
Age rating FSK 12
Rod
Director Rolf Thiele
script Rolf Thiele
production Film construction GmbH, Göttingen
( Hans Abich )
music Norbert Schultze
camera Karl Schröder
cut Caspar van den Berg
occupation

Mamitschka is a German feature film from 1955 directed by Rolf Thiele . The material from the post-war German everyday life of expellees was based on a report by Stern . A refugee family from Bohemia fails in the tragic comedy with a caricaturing and critical look at the defensive attitude of the locals. The film was released by Deutsche London-Film (Hamburg) and had its premiere in Hanover on September 20, 1955 .

action

After the expulsion of the Germans from Bohemia and their arrival in a small southern German town after a period in a reception camp, the Navratil family of nine from Budweis is given accommodation with Mr. Samthaber, who, like his wife, is full of prejudices against the nine people from the East. The daughters go astray and the sons try their hand at the black market. In between, an orphaned Afro-American occupation child had joined the group, whom they took into the family. The Nawratils, who are led by Mamitschka, get by with odd jobs until Benjamin, their eleven-year-old son, brings them a total profit of 75,000 marks. This suddenly tears apart the crowd blessed in all poverty; the three oldest children get on the wrong track. Two children have a fatal accident with the new motorcycle. An occupation soldier of German descent finally marries the eldest daughter and takes the whole family with him to America.

background

The film was produced in the Göttingen studio. The outdoor shots were taken in Göttingen and the surrounding area as well as in Bamberg .

A federal guarantee was required to finance the film, but the committee responsible had "reservations about the material, as it relates strongly to the refugee environment and, in contrast to the efforts of the federal government, does not show the integration but the isolation of the refugees." , the substance could raise opposition in refugee circles. In order to allay the concerns, special demonstrations were held in front of Sudeten Germans in Munich . "The critics praised the film as realistic and celebrated it effusively, but the German audience did not accept it," wrote Andreas Kossert . In contrast, Mamitschka was a great success in Austria and Switzerland; however, the film ultimately turned out to be a financial loss.

music

In the film music, the old homeland of Bohemia is extradiegetically represented by a leitmotif quote from The Moldau by Bedřich Smetana . The arrival in the first place of residence of the film family is accompanied by the film hit Don't be sad Mamitschka when you think of Bohemia (text: Bruno Balz , music: Norbert Schultze), whereby both pieces of music are processed through the film in terms of motifs. In contrast, the cultural environment in which the young children of the film family move is presented as characterized by jazz music .

Reviews

Günther Specovius wrote in Die Zeit ,

What raises this film by the Göttingen Film Aufbau-GmbH far above the average of the falsified soul dramas and boring cinema revues is the unusually sensitive direction of Rolf Thiele. Thiele, who gave his film "Sie", which unfortunately was hardly noticed, that touch that sometimes made you think of the great role models of the French directors, gave this touching but never sentimental fairy tale much of the magic of a genuinely more tragic event. Also noteworthy is the idiosyncratic skill with which he cast the roles and, for example, released Rudolf Platte from the cliché of the film idiot by having him play Tatinek very sensitively. In Mila Kopp, Christian Kayßler's wife, who is here in front of the camera for the second time, he found a Mamitschka of unforgettable, primeval strength .

The social democratic forward wrote in 1957 in view of the failure of the film in the Federal Republic:

In this country people don't like to swallow the fact that people still live behind the mountains to the east - sometimes even people with more hearts than we do, Bohemians and Slavs are not very popular with us. And now to have to do to witness that such people do not feel at home with us because they, despite all Schmalz cushion the considerable coolness of our mind temperatures are not able to adapt, which can be the audience of the economic miracle not ask .

Tatyana Synková emphasizes that the film "[shows] the cultural differences between Sudeten Germans and South Germans, which can be attributed to the Czech influence." However, “the film shows" somewhat like a template [...] how the money gained by winning the lottery can spoil the character and cause the negative side in every family member. There are the children who immediately get on the wrong track, those who gamble away their winnings and those who can easily keep track of their lives. Above all, however, the family struggles with integration problems in their new home and has the experience of being seen as "different" on both sides of the German-Czech border. "

Andreas Kossert stated that in return for the prejudiced Samhaber couple, the displaced people are portrayed in a sympathetic manner, “albeit stereotypically. She has many children, sometimes does not keep the civil distance and propriety rules, cannot handle money and commits minor thefts. Their language is bumpy and dialect-colored , which is also clearly evident in the title song. "

Web links

Individual evidence

  1. ↑ Bernd Weisbrod: From currency reform to economic miracle: Reconstruction in Lower Saxony, Volume 38, Part 13 . Hahnsche Buchhandlung 1998
  2. ↑ Jens U. Sobotka: The film prodigies: Hans Abich and the film construction GmbH Göttingen . 1999
  3. ↑ Dr. Alfred Bauer: German feature film Almanach. Volume 2: 1946-1955 , p. 537
  4. ^ A b c d Andreas Kossert: Kalte Heimat. The story of the German expellees after 1945 . Munich, Siedler 2008. ISBN 3886808610 , pp. 271 f.
  5. ^ Elisabeth Fendl (ed.). On the aesthetics of loss. Images of home, flight and displacement
  6. ↑ Lichtblick Mamitschka . In: The time . No. 47/1955 ( online ).
  7. ↑ http://www.goethe.de/ins/cz/prj/gre/flm/flu/de10334654.htm