Mascot
| Movie | |
|---|---|
| Original title | Mascot |
| Country of production | Germany |
| original language | German |
| Publishing year | 1929 |
| length | about 90 minutes |
| Rod | |
| Director | Felix Basch |
| script |
Rudolf Katscher Berthold I. Seidenstein Curt Siodmak based on motifs from the operetta of the same name (1921) by Walter Bromme and Georg Okonkowski |
| production | Greenbaum film, Berlin |
| music | Otto Stenzeel |
| camera | Mutz Greenbaum |
| occupation | |
| |
Mascottchen is a German silent film amusement from 1929 by Felix Basch .
action
Margot works as a saleswoman in a fashion store and, if necessary, shows off the clothes on the catwalk. When she goes to a costume party one evening, the pretty young woman is chosen to be the prom queen. She is seen by the director of an establishment, the Alhambra Theater, who immediately makes her an offer to perform with him. Margot is ready to do so, but only wants to sign if the theater director also signs her friend, the job-seeking actor Paul. In fact, Paul is also taken, but for Margot this obligation should prove to be a personal misfortune, because the dancer Elvira, who is also employed there, immediately approaches her boyfriend. When the two get closer on a rendezvous, Margot immediately intervenes and is able to prevent worse. The two lovers are reconciled.
Production notes
Mascottchen was created in January / February 1929 in the film studio in Staaken, was censored on March 25, 1929 and was banned from young people. The six-act act with a length of 2372 meters was premiered on April 17, 1929 in the UT Kurfürstendamm.
The production line was Georg Witt , the Filmbauten come from the hands of Hans Sohnle and Otto Erdmann . The subtitles were written by Max Ehrlich .
Reviews
“You have to give Felix Basch's direction a plus for the fact that they did not focus their cause on so-called title humor…, but almost exclusively on the impact of images and situations. His routine, combined with the extraordinary instincts of Käthe von Nagy and the indefatigability of the whirlwind Kurt Vespermann, are decisive for the effect this film will have on the large number of those who are not too demanding. The Nagy shakes everything off the wrist. Every movement sits, its facial expressiveness replaces texts. (...) Käthe von Nagy is in control of the situation at all times. The others are largely rationed to episodes. But Basch knows how to keep actors like Gülstorff, Tiedtke, Picha and Morgan in a good mood. Kowal-Samborski is not quite in his element this time. "
“This is the incredibly talented girl who walks across the projection surfaces in Germany, this Käthe von Nagy. She can really do everything, she can afford to bring things for the hundredth time that one can no longer see, and one is carried away, fascinated by this natural charm, by this innate amiability, by this very human, never-made drollery - in short, she stands shoulder to shoulder with the helmet , which is her sister in the tragic , in the small but significant front of the offspring . "
“A girl film, with clothing and revue. But the Nagy are wonderful in sparkling, swinging clown skills. In robust chic. In fraceless grace. In spirited, game-filled tact security. In dancing, physical expressiveness. America has nothing better in this area. "
“'Mascot' ... is the typical German comedy film. A lot of fidgeting, a lot of exhilaration, disguise jokes and instead of a continuous filmic movement a patched up sequence of situation jokes. Felix Basch's direction also understands the talent of Käthe v. Nagy not to lead. Käthe v. Nagy owes her effects to the cuteness of her type; her talent only jumps out of her game as if by chance and sporadically. As irrelevant as this film as a whole is - it also makes a contribution to the complete artistic and intellectual agony of contemporary German production. "
Web links
- Mascots at filmportal.de
- Mascottchen in the Internet Movie Database (English)