Sabine and the 100 men

from Wikipedia, the free encyclopedia
Movie
Original title Sabine and the 100 men
Country of production Germany
original language German
Publishing year 1960
length 95 minutes
Age rating FSK 6
Rod
Director Wilhelm Thiele
script Curth Flatow
Hans Rameau based
on a story by Hanns Kräly
production Artur Brauner
music Bert Grund
Gerhard Becker
camera Karl Löb
cut Walter Wischniewsky
occupation

and Heinrich Gretler , Harry Tagore , Egon Vogel

Sabine and the 100 Men is a German feature film from 1960 by Hollywood returnees Wilhelm Thiele , whose last film director this was. The main roles were played by Sabine Sinjen as the title heroine, Dieter Borsche as her unsuccessful father and the famous violinist Yehudi Menuhin as a kind of alter ego of himself.

action

Since the conductor Viktor Lorenz returned home from the Second World War and from years of imprisonment, he has not found a connection to the music business. The years of lack of engagement made him sad and disgruntled. His cheerful daughter Sabine, who works hard for the parking garage and garage operator Freitag and primarily has to serve petrol station customers, no longer wants to watch her father's depression and then decides to do something about it in her dynamic way. She really wants Papa Viktor to be able to perform as concertmaster again, because she knows that this is his whole life. With tireless perseverance, the teenager, supported by Friday, the son of the boss, who is almost the same age, chatters often unemployed, sometimes quite elderly musicians and calls other violinists, pianists and flutists together until she has a whole symphony orchestra of 99 people. One of them, Martin Mansfeld, was already there when Viktor Lorenz, who is not allowed to know anything about Sabine's efforts, gave his first concert. Other musicians, in turn, get by with smaller performances such as weddings.

After the core work has been done, only one crowd puller is missing, because this is the condition of the impresario and artist agent Herzog, who only wants to take on this colorful troupe if one finds a well-known name as a draft horse who participates in the formation of this orchestra. And in fact, thanks to a newspaper duck, he was finally found by chance in the form of the world-famous violinist Yehudi Francisatti. Sabine is fascinated by the man and sneaks in to one of the maestro's orchestral rehearsals, and is almost discovered by the porter Schulz, who searches the rows of seats in the stalls. When the Cerberus has disappeared again, Sabine listens intently to Francisatti's arts. When the maestro's sounds fall silent, she jumps up from her seat and claps frenetically, which in turn frightens Francisatti's company and greatly irritates the maestro. Porter Schulz pricked up his ears at the noise, returned to the rehearsal room and grabbed Sabine by the sleeper, but the first step had been taken.

After some back and forth, begging and harassment and some indulgence, the master violinist finally shows himself ready to help Sabine with her big idea. The return to the music stage is a single, happy triumph for Viktor Lorenz. During all her efforts, love is not neglected in Sabine's life, because during her constant telephoning she also met a handsome music student named Michael Böhm, who actually only wanted to fill up with her and, to her outrage, initially also thought for a boy ...

Production notes

Sabine and the 100 Men is a loose remake of Henry Koster's 1937 US film 100 Men and a Girl , which was a huge box-office success at the time. This remake of the material devised by Ernst Lubitsch's former regular author Hanns Kräly was made from September 26, 1960 in the CCC studios in Berlin-Spandau . The shooting ended in November of the same year, the premiere took place on December 22, 1960 in the Düsseldorf Residenz-Theater.

Alf Teichs was the chief dramaturge for this production. Erich Kettelhut designed the film structures that Johannes Ott carried out. Vera Mügge was responsible for the costume designs. Clemens Tütsch set the tone. The Berliner Philharmoniker played under the direction of Ferenc Fricsay .

For Yehudi Menuhin this was the only feature film role of his career, apart from a guest role (as himself) in Hollywood in 1942.

Director Thiele ended his career with this film and returned to the United States after neither critics nor the audience had liked his last two productions, which were made in Germany in 1960. With this film, producer Artur Brauner, in turn, ended the attempts he had begun in 1955 to emigrate from the Third Reich and to bring back to Germany film directors who have since been based in Hollywood and have worked there successfully. In addition to Thiele, Brauner had previously secured Robert Siodmak , Fritz Lang , Gottfried Reinhardt , Gerd Oswald , Curtis Bernhardt and Wilhelm Dieterle directing orders from his companies CCC and Alfa, enabling them to film in Germany for the first time after 1945.

Reviews

“If anything, Yehudi Menuhin's violin art reconciles with the clichéd plot of this film. Overall no more than solidly staged cinema entertainment with humorous loosening up. "

- Lexicon of International Films

Paimann's film lists summed up: "With comedy-like conflicts in addition to serious music and a heroine, this time not singing, but no less natural giving, a successful remake of“ 100 men and 1 girl ”, which - nicely presented and well photographed - is generally quite appealing. "

In The large personal dictionary of the film it is said that Thiele's last two works, shot in 1960, The Last Pedestrian and Sabine and the 100 Men are "two old-fashioned, home-made comedies in the traditional style of 'Grandpa's Cinema'" "

Individual evidence

  1. ^ Sabine and the 100 Men in the Lexicon of International FilmsTemplate: LdiF / Maintenance / Access used
  2. ↑ Sabine and the 100 men in Paimann's film lists
  3. ↑ Kay Less : The film's great personal dictionary . The actors, directors, cameramen, producers, composers, screenwriters, film architects, outfitters, costume designers, editors, sound engineers, make-up artists and special effects designers of the 20th century. Volume 7: R - T. Robert Ryan - Lily Tomlin. Schwarzkopf & Schwarzkopf, Berlin 2001, ISBN 3-89602-340-3 , p. 652.

Web links