Raid in St. Pauli

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Movie
Original title Raid in St. Pauli
Country of production Germany
original language German
Publishing year 1932
length 64 minutes
Rod
Director Werner Hochbaum
script Werner Hochbaum
production Justin Rosenfeld for Orbis-Film GmbH , interior shots: Vera-Filmwerke AG
music Kurt Levaal. Musical arrangement and direction: Giuseppe Becce
camera Adolf Otto Weitzenberg
cut Carl Behr
occupation

Razzia in St. Pauli is a German black and white film of poetic realism from 1932, the plot of which is set in the entertainment and red light district of Hamburg 's St. Pauli district.

action

The burglar Sailor Karl is on the run from the police and is hiding with Ballhaus-Else, a sick prostitute, who is bored with her life and her relationship with her partner . Promising herself a better life, she resolves to leave St. Pauli and Hamburg with Sailor Karl . Instead of a subsequent alleged act of love or a cuddling, a teddy bear thrown on a doll is shown symbolically . To say goodbye to their good-natured partner, the bar pianist Musician Leo , Else and Karl go to the Congo bar . People drink a lot there and it takes a long time until the police arrive there in search of Karl and finally arrest him after some wrangling. Else goes home with her drunken and tired life partner, the musician Leo , and everything seems to be back to normal.

The little plot is framed by scenes in which, at the beginning of the film, romantic impressions of the Hamburg harbor at the Landungsbrücken are shown for five minutes , accompanied by matching accordion music typical of sailors' songs, and dock workers coming from the shift , accompanied by the music from the Lied Heer der Hafenarbeiter , as well as impressions of the Great Freedom with the hippodrome and St. Joseph Church as well as the Schmuckstrasse with the Chinese restaurant Chop Shuy in Schmuckstrasse 18 and at the end of the film port workers marching to the shift, partially faded in an evenly and monotonously rotating drive wheel of a machine, accompanied by the marching song of the dockers' army . In between the action, outdoor shots are occasionally placed, which are supposed to show how time flies, and impressions in the bar, which are supposed to depict the desolation of the milieu and develop into a colorful hustle and bustle. In addition, in order to create tension, there is now and then a change of location and scene to the police, which should show that it is becoming more and more dangerous for Sailor Karl . So that you know which police station it is ultimately, the sign for police station 13 is shown once . As transitions between other changes of location and scene, there are temporary fades in which, for example, either dancing legs and moving water or, somewhat more fading, the house facades of the Reeperbahn decorated or marked with neon advertising with the Panoptikum and the Zillertal, as well as dancing legs, musicians and lively guests among other things are shown to represent the pulsating nightlife of St. Pauli, accompanied by music that matches the scenes.

Production notes

The interior shots of the film, produced by Berlin-based Orbis-Film GmbH , were shot in the glass roof studio of Vera-Filmwerke AG in Hamburg-Alsterdorf , according to Spiegel from July 19, 1947, but their name does not appear in the credits of the film. The director was Werner Hochbaum , who also appeared as a director for Vera-Filmwerke AG . It is unclear how large Vera-Filmwerke AG's share in the production of the film is. In Michael Töteberg's book Filmstadt Hamburg , however, it is stated that the interior shots were shot in Berlin. Willy Schiller was responsible for the buildings and decorations in the studio, Franz Schröder for the sound and Carl Behr for sound editing ( Karl Behr in the credits ). Sung have Charly Wittong that the songs sailor joy and sorrow and Hamborger Fährjung (from Walter Rothenburg in Hamburg Platt written for Charly Wittong) recited in his role as a singer, and Ernst Busch , of the song of the army of the port workers sang at the end of the film without being shown. Carl Behr and Hedy Knorr (in the credits Hedwig Knorr ) wrote the lyrics to the song Heer der Hafenarbeiter . The film length is often given in sources as about 64 minutes or 74 minutes.

censorship

On April 11, 1932, the film was banned for children and young people. The first performance took place on May 20, 1932 in the Ufa-Theater Kurfürstendamm in Berlin. After the seizure of power of the Nazis , the film was on December 7, 1933 banned altogether. In the justification of the film inspection body it said:

“Under the pretext of a social indictment film, the film strip is set to a large extent in and by the bed and in the bedroom of a port whore and the rest in a sailor and criminal bar. Such a representation cannot be reconciled with the current conception of morals and decency and runs counter to the aspirations of the new state, which combats prostitution as a source of physical and moral danger. It hits these endeavors in the face when a never-ending chain of breeding grounds for vice and fornication is shown in the picture, so that the viewer gets the impression that such conditions are still conceivable or even possible in today's state. "

After the Second World War the ban was lifted again.

See also

literature

  • Laurence Kardish: Weimar cinema, 1919-1933, Daydreams and nightmares , Museum of Modern Art , New York, 2010 (English), ISBN 978-0870707612
  • Karlheinz Wendtland: Beloved Kintopp. All German feature films from 1929-1945 with numerous artist biographies - born in 1932 , Medium Film Verlag , Berlin, 1990, ISBN 3-926945-11-7
  • Günther Dahlke: German feature films from the beginning to 1933. A film guide , Henschelverlag Art and Society , Berlin, 1988, ISBN 9783362001311
  • Christa Bandmann and Joe Hembus : Classics of the German sound film. 1930-1960 , Goldmann Verlag , Munich, 1980, ISBN 3-442-10207-3
  • Werner Hochbaum. Films 1929-1939 , Verlag des Dokumentationszentrum Action , Vienna, 1976
  • Alfred Bauer : German Feature Film Almanach, 1929-1950 , Filmblätter Verlag , Berlin, 1950. New edition, Filmladen Winterberg , Munich, 1976, ISBN 3-921612-00-4
  • Michael Töteberg : Filmstadt Hamburg, locations, locations & cinema stories , VSA-Verlag , Hamburg 2016, pages 87–90, ISBN 978-3-89965-578-0

Web links

Individual evidence

  1. ↑ Mention of the location of the film Razzia in St. Pauli at the end of the article Arche Nora is launched , Spiegel , July 19, 1947
  2. ↑ 64 minutes , MoMA
  3. ↑ 74 minutes , filmportal.de
  4. ↑ Prohibition of the film