Bianka model
| Movie | |
|---|---|
| Original title | Bianka model |
| Country of production | GDR |
| original language | German |
| Publishing year | 1951 |
| length | 86 minutes |
| Age rating | FSK 0 |
| Rod | |
| Director | Richard Groschopp |
| script |
Erich Conradi Richard Groschopp Adolf Hannemann |
| production | DEFA |
| music | Horst Hanns Sieber |
| camera | Walter Rosskopf |
| cut | Lieselotte Johl |
| occupation | |
| |
Modell Bianka is a German DEFA film comedy directed by Richard Groschopp from 1951 . An alternative title for the film is Contra .
action
The two fashion companies Saxonia and Berolina are in competition with each other. The aim of both companies is to create a special piece of clothing for the Leipzig spring fair in March 1951 . Model draftsman Jochen Rauhut is all the more frustrated when Saxonia rejects his two model designs, including the "Bianka" model. Both models do not appear to be suitable for the masses. In addition, there is a shortage of materials, so that lavish cuts are mercilessly shortened, especially by the cutter Emil Klein. A short time later, the Saxonia sales point manager Gerd Neumann travels with Jochen to Berlin, where they both want to buy new fabrics for the spring collection. Jochen repeatedly talks to his friend Gerd about the two rejected models and even finds a fabric that would be suitable for the Bianka model, but Gerd sees the priority in the designs that are actually to be produced. Frustrated, Jochen goes to a bar where he meets Hans Obermann. He introduces himself to him as a machine master and Jochen pours out his heart to him. He shows him the two rejected models and gives them to Hans without further ado, when he says his girlfriend would tailor the clothes. Gerd, in turn, appears and tells Jochen that he has changed his mind: He wants to have both models made on a test basis. He reacts with consternation when Jochen thinks he has given both models away.
Jochen doesn't know that Hans works as a mechanical engineer at Berolina. Here he is in love with the tailor Hilde and director Ursel and gives both of them a draft. Ursel is thrilled, be it exactly the cut and style that she was looking for. Hans explains how he came up with the designs so that the two women decide with a heavy heart not to put the models into production, as they don't know who is behind the rough hat symbol on the designs. You make a single piece of each model. When they and other employees of the company are selected to be allowed to take winter holidays at the FDGB holiday home Bergfrieden, both of them put on their models on the trip. Jochen, Gerd, Emil and the young workers Inge and Fritz are also allowed to go to the winter camp from Saxonia. Both companies meet on the train and Jochen and Gerd recognize the model designs given away on the two women. In turn, you quickly notice that Jochen Rauhut is the designer of the models. You split up in an argument. Gerd explains to Jochen that he wants to bring both models back to Saxonia, while Ursel, Hilde and Hans agree that Jochen has to come to Berolina. Inge and Fritz listen to both agreements.
In the end, everyone ends up in the same FDGB home and lives in rooms next to each other. After initial trouble, Jochen and Hilde as well as Gerd and Ursel get closer, ski together and explain how it came to giving and tailoring models. Both companies get to know each other better, learn from each other and are no longer as enemies as they were at the beginning. Jochen, Gerd, Ursel and Hilde are separated from the rest of the group on a fox hunt, in which an experienced skier drives ahead of everyone else and his bobble hat is considered a deposit to be won. Jochen and Ursel take one path, Gerd and Hilde another. Ursel makes it clear to Jochen that he can only really develop his talent at Berolina. At the end of the path she falls and Jochen helps her up. Gerd and Hilde join them and believe that they both kissed. All four separate out of tune. There is also resentment among the rest of the skiers. Since Mother Krause picked up the flags for her children at home by the roadside, which should serve as a guide for the fox hunt pursuers, the pursuers were luckless. Hans, on the other hand, whose ski broke and ran back to the village on foot, happened upon the fox runner on the way and took his hat off. Saxonia workers suspect cheating and are angry. Fritz and Inge now tell those present that Berolina only wants to poach Jochen, while Mother Krause says that Jochen and Gerd only want the models back. The two couples Gerd and Ursel and Jochen and Hilde split up in an argument. They all meet again some time later at the Leipzig Trade Fair. Ursel wears the model Bianka and Jochen, who is reconciled with Hilde and proposes to her, has an idea. Gerd lures Ursel onto the catwalk and presents the Bianka model as a joint effort by Saxonia (design) and Berolina (execution). The Bianka model creates enthusiasm and both companies have recognized that competition can not only go against one another, but also with one another.
production
Model Bianka was shot in 1951 in the Babelsberg studio , in East Berlin and in Bärenfels in the Ore Mountains. The costumes were created by Gerhard Kaddatz , the film structures were made by Alfred Schulz and Wilhelm Vorwerg . Helmut Spieß was involved in the film as a dramaturge . The film had its world premiere on June 15, 1951 in the DEFA-Filmtheater Kastanienallee in Berlin . On October 5, 1953, the film was shown for the first time on DFF 1 on East German television and on August 16, 1993, it was first shown on ORB on all German television. Icestorm released model Bianka on DVD in 2006.
It was the first feature film that Richard Groschopp made for DEFA alone, after he had co-directed with the Benthin family the previous year. It was the fourth and last DEFA film in which Edith Hancke could be seen. She became a popular supporting actress in German film comedies.
criticism
Frank-Burkhard Habel wrote that the film treats the socialist competition in a humorous way, but without making fun of it. The film-dienst criticized the comedy as "template-like" and said that the film "basically [...] only tries to bring the idea of socialist competition to the audience."
literature
- F.-B. Habel : The great lexicon of DEFA feature films . Schwarzkopf & Schwarzkopf, Berlin 2000, ISBN 3-89602-349-7 , pp. 412-413 .
- Mila Ganeva: Fashion and Film in East and West Germany. "Model Bianka" (1951) and "Ingrid. The Story of a Photo Model ”(1955). In: Zeithistorische Forschungen 14 (2017), pp. 384–394.
Web links
- Model Bianka in the Internet Movie Database (English)
- Model Bianka at filmportal.de
- Bianka model at the DEFA Foundation
Individual evidence
- ↑ F.-B. Habel : The great lexicon of DEFA feature films . Schwarzkopf & Schwarzkopf, Berlin 2000, ISBN 3-89602-349-7 , pp. 412 .
- ↑ Model Bianka. In: Lexicon of International Films . Film service , accessed March 2, 2017 .