Rose Bernd (1957)
| Movie | |
|---|---|
| Original title | Rose Bernd |
| Country of production | Germany |
| original language | German |
| Publishing year | 1957 |
| length | 98 minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | Wolfgang Staudte |
| script | Walter Ulbrich |
| production | Hans Abich for Bavaria Filmkunst AG (Munich-Geiselgasteig) |
| music | Herbert Windt |
| camera | Klaus von Rautenfeld |
| cut | Lilian Seng |
| occupation | |
| |
Rose Bernd is a German feature film from 1957, for which Gerhart Hauptmann 's play of the same name is the model. The main role of the maid Rose Bernd, who gets involved in a relationship with her married employer Christoph Flamm ( Leopold Biberti ) and becomes pregnant, is played by Maria Schell . Raf Vallone , Käthe Gold and Hannes Messemer play other leading roles .
action
After being driven from their Silesian homeland, Rose Bernd and her father found a new home in a small West German town. Rose works as a maid for the landowner Christoph Flamm and also cares for his paralyzed wife Henriette with great devotion. Rose is hardworking, of a cheerful nature and now almost indispensable on the Flamm-Hof. For her father, who was a member of the church council in his home country, his religion and his Bible mean everything.
The young, very pretty woman is wanted by the excavator operator Arthur Streckmann, who keeps ambushing her, even though he has a love affair with Marie Schubert. Streckmann is considered a womanizer in town. Rose feels repulsed by the attractive man at the same time, whether his emotional coldness, but on the other hand also strangely attracted. There is another man in Rose's life, the printer August Keil, who has honest feelings for her, but is not taken fully by her because he is considered a weakling. Rose's father, however, would love to see his daughter married to Keil. Rose's objection that the wedge needn't wait for her, she doesn't want it now or later, he brushed off the table.
One night Flamm came into Rose's bedroom drunk after a visit to a restaurant and stammered that he would marry her on the spot, that he really loved his wife, but she's been in a wheelchair for six years. Although Rose has feelings for Flamm, she withdraws from him and takes refuge in the inn, where she dances with Arthur Streckmann. He's a handsome man, she flirts, but only to look at. Other men on the dance floor are also courting Rose. When the young woman enters her room again later that night, Flamm is sitting on her bed and says that Streckmann will definitely not marry her. Rose replies that she doesn't know what about her. The landowner then speaks reassuringly to Rose and says that this is the way it is and cannot be changed, that he likes her very damned. She was still a child when she came to his farm and even then she impressed him with her honesty and straightforwardness. Rose replies that she is nothing against him, that she can never speak so cleverly and that she, of all people, should be his luck? Although Flamm lets Rose know that all she has to do is say "No" and he will leave her room immediately, Rose does not pronounce this word.
At the same time, Streckmann was racing down the street with Marie Schubert on the pillion and had a serious accident. Marie pays for the trip with her life.
The secrecy that Rose has to show to Henriette Flamm, whom she likes very much, is increasingly depressing the young woman. Another circumstance troubles Rose. Streckmann, who has meanwhile been released from the hospital, discovered the relationship between Rose and Flamm by chance and is now blackmailing her with his knowledge. When Rose also finds out that she is pregnant, she doesn't know what to do. When Henriette Flamm asks her what is wrong with her, Rose cannot manage to confide in the experienced woman. In her need, Rose sees the only way out of accepting August Keil's proposal after all, especially since Flamm let her down and let her see that she should abort the child.
Rose's attempt to give Streckmann her savings book if he stops chasing her and threatening her fails. “I'll get you where I want you to go,” he says, “you aren't usually a saint either.” Rose flees into a cornfield, Streckmann follows her. Despite initial resistance, she finally surrenders to him. Shortly afterwards there was an incident in which father Bernd Streckmann made accusations about the dead Marie, which he did not want to sit on. He suggests that it is better to sweep in front of your own door before you get upset about others. The Korn was mute, but it could tell a lot and Rose didn't just sit on the pillion with him and you should ask Flamm, he could tell you a lot too. Then there is a fight between August Keil, who is also present, and Streckmann, with Keil losing an eye. Father Bernd, self-righteously convinced that Streckmann is lying, files a libel suit against him and thus indirectly forces his daughter to swear perjury. Rose is too ashamed and can't bring herself to admit her relationship with two men in the courtroom. When the truth emerges from the statements of Streckmann and Flamm, Rose stubbornly ignores the summons of the court, so that she is threatened with forcible production. When her father insists that she go to the rescheduled trial and that justice and punishment must now take their course and be on perjury penitentiary so that her child will then be born in penitentiary, Rose burns the blue baby jacket, on which she knitted, in the fire.
On the train ride to the court hearing, Rose went into labor. When the train stops, she gets out and escapes through the cold, snowy landscape under a bridge. While the train is noisy, she gives birth to her child there in agony. After three days, Rose turns up at the Flamm house, where they explain to her that they have been looking for her everywhere. When she was informed that an arrest warrant had been issued against her, Rose replied impassively that she was no longer interested in any of this, that she only wanted the key to get her belongings, that her child was dead. When it was born, she had it didn't even have a roof over its head. Then she turns away and leaves. When Flamm tells his wife that Rose can't be left alone with this weakling, by which he means Keil, she only replies: “You say that? She's not alone. ”Meanwhile, Keil runs after Rose, his love endures.
background
Filming began on September 6th and lasted until October 1956. The film was shot both on the outside of the Bavaria Atelier and in the area between Lake Ammersee and Lake Starnberg . The buildings are by Hans Berthel and Robert Stratil. Jürgen Mohrbutter and Helmut Ringelmann were in charge of recording . The film was distributed by Schorchtfilm.
The premiere of Rose Bernd took place on January 31, 1957 in the Theater am Kröpcke in Hanover . The film was first shown on German television on November 11, 1963 by ZDF .
At the time, there were many critical voices against casting the role of Arthur Streckmann with the Italian actor Raf Vallone. Herbert Spaich wrote about Maria Schell in his biography that it was precisely this cast that gave the film a "strange tension". Like Rose, he too is “a stranger”, “an outsider”. Spaich went on to say that the “big discovery” in this film was Hannes Messemer in his first film role: “A damaged person, fearful, correct, a little ghost who quietly loves Rose Bernd; the role for a great actor. "
There is another film adaptation from 1919 under the same title. In this silent version of the film, Henny Porten , Alexander Wirth, Emil Jannings , Paul Bildt and Ilka Grüning play the leading roles. In 1962 the play was filmed for television. Ida Krottendorf played the leading role alongside Bruno Dallansky , Marianne Hoppe , Erwin Linder and Otto Bolesch . Another television film was made in 1998 with Johanna Wokalek as Rose Bernd .
criticism
The Lexicon of International Films was of the opinion that the film adaptation of Gerhart Hauptmann's stage play “by moving the story to another region no longer contained any of the naturalism of the original”, but found that “despite a certain flattening of the original, it was a craftsmanship and far above average production in the West German film of the 50s [is] ”.
Sybille from the Film-Revue particularly emphasized the performance of Maria Schell and wrote at the time: “This woman is such a perpetual motion machine with a willingness to act comedically that you can really no longer distinguish who you are actually looking at at the moment - Maria Bernd or Rose Schell. "
The Nassauer Bote also praised Maria Schell's performance and found the following words: “The figure of 'Rose Bernd' in the film, whose characteristics are indebted to Gerhart Hauptmann's work, could not have found a better interpreter than Maria Schell. It is a figure of human depth and complexity. Passionate joie de vivre and instinctual sensuality stand alongside childlike naivety, cheerful warmth and the ability to feminine, motherly love. "
The Protestant film observer even placed the film Rose Bernd above the play: “That Rose confesses to being a child murderer and that in the end there is nothing but a helpless and late sigh of pity, this dark and hopeless conception of Hauptmann is changed into the suggestion of overcoming of guilt and suffering through forgiving love. It is precisely this change that makes the film a complete work in itself. "
Award
The film received the rating "particularly valuable".
Web links
- Rose Bernd in the Internet Movie Database (English)
- Rose Bernd at filmportal.de
Individual evidence
- ↑ a b c Herbert Spaich: Maria Schell Your Films - Your Life , Heyne Filmbibliothek No. 32/99, Wilhelm Heyne Verlag GmbH & Co. KG, Munich, 1986, p. 96
- ^ Rose Bernd in the Lexicon of International Films . Retrieved October 5, 2013.
- ↑ movie poster on filmposter-archiv.de. Retrieved October 5, 2013.