Revolt in the educational center (film)

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Movie
Original title Revolt in the house of education
Country of production Germany
original language German
Publishing year 1930
length 2302 meters, 6 acts, 84 minutes
Rod
Director Georg Asagaroff
script W. Solsky
Herbert Rosenfeld
production Grohnert film Berlin
music Werner Schmidt-Boelcke
camera Curt Oertel
Alexander of Lagorio
occupation

also: Willy Clever, Friedrich Gnaß

Revolte im Erziehungshaus is a German silent film from 1930 that Georg Asagaroff shot for Grohnert-Film-Produktion ( Berlin ) based on the play of the same name by Peter Martin Lampel .

The film tells the story of suffering of three boys who are put in an educational institution where they are treated carelessly and brutally until they finally resist and instigate the other boys to revolt against the narrow-minded management of the institution. The plot is based on real events as they were experienced and recorded by the author Lampel himself.

Revolt in the house of education must be considered lost today. Only about 30 still pictures from it have been preserved, they were shown in 2012 in the exhibition "Verratzt und verkooft - Welfare education in Struveshof" in the refectory 2 of the State Institute for Schools and Media LISUM Berlin-Brandenburg.

action

A care home in the 1920s. The educators, with the support of the pastor, try to bring discipline and order to the increasingly rebellious pupils, not least because of their own sexual need. The demands that some boys make on the prison management are neither radical nor indecent. When they are flatly rejected, a riot ensues that quickly escalates into the looting of the pantry and an attempt to set the building on fire. The revolt is forcibly suppressed by summoned country hunters: the leaders are arrested and the rest is distributed to other institutions, in which the pupils will fare no better. In the end, nothing has changed in the old, authoritarian structures of an “education” without any pedagogy or even psychology, or in the inhumane conditions.

occupation

The youngsters were played by Carl Ballhaus from the Volksbühne Berlin ensemble , who already had experience with the role of problematic adolescents from films such as The Seventeen Years Old and Spring Awakening (both 1929) (afterwards he was supposed to play the high school student Ertzum in The Blue Angel ), the very boy Toni van Eyck , who was able to gain similar experiences in Geschminkte Jugend (1929) and also in Spring Awakening , and Wolfgang Zilzer , who was not only successful as a performer of shy and shy characters on the screen, but also as a refrain singer on record. Ilse Stobrawa had also appeared in youth films such as Die Republik der Backfische (1928) and Der Kampf der Tertia (1929). Veit Harlan had a small role next to her.

The role of educator-Eleven was Rudolf Platte's debut in front of the film camera; until then he had only acted in theater.

Production and Background

The script was written by W. Solsky and Herbert Rosenfeld, and the buildings were designed by the Russian-born film architect Andrej Andrejew . L. Gransky was in charge of recording. Curt Oertel and Alexander von Lagorio were responsible for the photography . Werner Schmidt-Boelcke wrote and conducted the cinema music .

The literary model for the film, the play of the present in three acts "Revolte im Erziehungshaus", premiered in 1928 in the Thalia Theater Berlin by Hans Deppe with the "Group of Young Actors", is considered to be the first documentary play in German theater. It is based on research by the author Peter Martin Lampel in public welfare homes in Prussia. Lampel himself was an intern in a Berlin facility and put his experiences on paper in the book “Jungs in Not”. After some fierce discussions, it ultimately led to the Reichstag passing a law reforming welfare education as a whole.

censorship

The film had to go through a real censorship marathon before it could finally be shown:

After submission to the Berlin Film Inspectorate (for censorship: 6 files, 2916 m) on July 26, 1929, No. B.22979, the film was initially banned from young people. In another submission to the supervisory authority on August 3, 1929, No. O.00474, the 6-file film was banned entirely. It followed

  • August 28, 1929 censorship, Berlin Film Inspectorate B.23266, 6 files 2468 m., Ban
  • October 22, 1929 censorship, Berlin Film Inspectorate B.23836, 6 files 2302 m., Ban
  • December 11, 1929 censorship, Berlin Film Inspectorate B.24423, 6 files 2386 m., Youth ban
  • February 27, 1930 censorship, Film-Oberprüfstelle O.00166, 6 files 2477 m., Youth ban

It was only released after changes to the pattern, as a result of which the “revolutionary statement” was softened.

The film was finally premiered on January 8, 1930 in Berlin. Young people were not allowed. After the seizure of power of Hitler, the film on April 22, 1933 / m of the film-Oberprüfstelle in length from 6 files 2477th completely forbidden.

criticism

The film was discussed in the Frankfurter Zeitung No. 26, in the Neue Preußische Kreuz-Zeitung Berlin No. 11 and in the Rote Fahne Berlin No. 8 on January 10, 1930.

“The nasty tendency piece, which already provoked lively opposition from the population on stage, made the heads of Berliners hot again. The passions are whipped up and hatred is bred, which must have a pernicious effect [...] The world premiere took place in front of a body that looked like a communist party meeting. ”- (Neue Preußische Kreuz-Zeitung Berlin No. 11 of January 10, 1930)

“The greatest weakness lies in the very conciliatory conclusion, where, among other things, the leader of the incoming SchuPo strikes a paternal note, which of course was also the case with Lampel's play. We do not know whether the editing of the film took part in Lampel's compromise, his police-free concessions voluntarily or only under pressure from the censors. That she did it at all weakens the overall impression and is our strongest reproach against the film. ”- (Die Rote Fahne Berlin No. 8 of January 10, 1930)

“You can feel very clearly how it is made up of two considerations: out of the revolt, which was a business, and out of the fear of having this business destroyed by the censor (...) It is not pleasant to consider that this one Film will be the spiritual nourishment for many people. ”- (Frankfurter Zeitung No. 26 of January 10, 1930)

“The filmmakers had added a prehistory to Lampel's play, with additional scenes about the experiences of the young film hero Fritz before his admission to the welfare home, and only then did they deal with the revolt. As a result, the film fluctuated 'between relaxation and concentration, between idyll and revolt' (Herbert Jhering). ”- (Dahlke-Karl p. 212)

“In his production, Asagaroff tried to tie in with early Soviet silent films, shot mass scenes, but they were not of decisive importance. The film does not settle accounts with the existing social system, but only with a certain state institution. ”- (Dahlke-Karl p. 213)

"How proverbial the connection between the author's name Lampel and the rebellion and revolt in Berlin of the late Weimar Republic had become is demonstrated by the line 'What do we care about the traffic light, everyone's lamp, we revolt!' in the marching song 'Die Großstadt-Infanterie' from the Nelson-Revue 'Der rote Faden' ”, which Kurt Gerron made known with his lecture. It is about the rebellion of pedestrians against the increasingly pressing car traffic.

Even the Bavarian “fairy tale king” Ludwig II was associated with Lampel's play or its film adaptation: “In [Wilhelm] Dieterle's film, Ludwig II became a relative of the young people who were misunderstood by their environment, for example from the 'revolt in the educational center' . "

revival

In 1975, Hans Quest turned the material into a 90-minute television play and broadcast it on ZDF on April 21, 1975 .

literature

  • Herbert Birett: Silent film music. A collection of materials. Deutsche Kinemathek, Berlin 1970.
  • Günther Dahlke, Günter Karl (Hrsg.): German feature films from the beginning to 1933. A film guide. Henschel Verlag, Berlin 1993.
  • Gero Gandert: 1929 - The film of the Weimar Republic. (= The film of the Weimar Republic: a handbook of contemporary criticism. Volume 1). Deutsche Kinemathek Foundation. Verlag Walter de Gruyter, 1997, ISBN 3-11-015805-1 .
  • Michael Häußler: “Service to Church and People”, home education in the 1920s, study of the German deaconry (1913–1947). Kohlhammer, Stuttgart 1995, ISBN 3-17-013779-4 . Home education in the 1920s at google.com/rauheshaus1950er
  • Peter Martin Lampel: Revolt in the house of education. Present-day drama in three acts. (= Dramas of the Time. Volume 5). Kiepenheuer, Berlin 1929. (Reprint: Verlag Lechte, Emsdetten 1954)
  • Workshop Everyday History (Ed.): "You Murderer of My Youth" Edition of essays by male welfare pupils from the Weimar Republic. Waxmann Verlag, Munich / Berlin 2011, ISBN 978-3-8309-7456-7 .
  • Friedrich v. Zglinicki: The way of the film. The history of cinematography and its predecessors. Rembrandt Verlag, Berlin 1956.

Web links

Single receipts

  1. ↑ cf. Michael Häussler, “Service to Church and People”, home education in the 1920s: "The more the public learned about life in the educational institutions, the more appalled it reacted to the internal conditions in this social storage room for the debris of the civilization process. The preliminary The climax in a whole chain of revelations were the publications by Peter Martin Lampel, who had processed his experience as a guest in the Brandenburg flagship institution Struveshof in the report "Boys in Need" and the play "Revolte im Erziehungshaus". "
  2. ↑ bildungsserver.berlin
  3. ↑ a b cf. sn.herne ( Memento of the original from December 17, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.sn-herne.de
  4. ↑ so z. B. as the wolf in Henrik Galeen's mandrake from 1927 or in Carl Junghans ' So ist das Leben / Takový je život from 1929/30
  5. ↑ cf. his recordings with Herbert Fröhlich's band on 'Kristall', e.g. B. No. 3083 (mx. C 505-1) If Elisabeth didn't have such beautiful legs . Foxtrot from Die Wunder-Bar (Katscher-Farkas-Herczeg), to be heard on Youtube When Elisabeth…!
  6. ↑ cf. Birett, p. 143 on O 22 979, IX 616
  7. ↑ in the agricultural educational institution Struveshof in Brandenburg , cf. Bildungsserver.berlin
  8. ↑ difarchiv  : Original title: Revolte im Erziehungshaus. Germany 1929. Censorship decisions.
  9. ↑ cf. Dahlke-Karl p. 212, Zglinicki p. 582: "That was a film which, by the way, according to the censorship order, had to be cut several times before it was approved for the public "; the photo in question is reproduced in Dahlke-Karl p. 213; more of them can be in film portal view
  10. ↑ cf. Gandert, 1929, p. 538.
  11. ↑ Music: Rudolf Nelson , words: Friedrich Hollaender , on Ultraphon A 388 (mx. 10801), recorded in March 1930, to be heard on youtube
  12. ↑ so in the description (June 15, 2011) of Wilhelm Dieterle's silent film about the Bavarian King Ludwig II from 1930 by Ludwig II, King of Bavaria at feature-film.org
  13. ↑ cf. DER SPIEGEL 17/1975 of April 21, 1975 at Der Spiegel 17/1975 spiegel.de: “ The documentary piece, premiered in Berlin in 1928, about the conditions in a Prussian welfare institution - sadistic teachers, homosexuality. Corruption - wrote the author Peter Martin Lampel after his own experience; The play's success and scandal brought about a reform of the welfare system. TV version: Hans Quest. ”And revolt in the educational center (1975) at IMDb
  14. ↑ cf. Blurb: “Articles by male welfare pupils”, which the controversial Berlin publicist Peter Martin Lampel (1894 1965) had boys written down in the spring of 1928 in the Struveshof educational institution. In this volume, the self-testimonies of the boys, who also played an important role in welfare historiography, are available for the first time as a critical source edition.