Schorsch Aigner - The man who was Franz Beckenbauer

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Movie
Original title Schorsch Aigner - The man who was Franz Beckenbauer
Country of production Germany
original language German
Publishing year 2015
length 29 minutes
Rod
Director Olli Dittrich
Tom Theunissen
script Olli Dittrich
Tom Theunissen
production WDR , beckground tv
camera Paul Väthröder
Andreas Wolf
occupation

as well as (in the order of their appearance):

and in other roles:

Schorsch Aigner - The Man Who Was Franz Beckenbauer is a television satire by comedian Olli Dittrich from 2015. In it, the fictional character Hans-Georg "Schorsch" Aigner is presented as Franz Beckenbauer's doppelganger . The film itself is designed as a parodic "reveal report", ie a mockumentary that reveals the alleged role of its protagonist as a decades-long double Beckenbauer on a wide variety of occasions that were actually broadcast on television.

action

A film team visits the Aigners at home for an interview with Schorsch. Conversations are held in a relaxed atmosphere in the living room, but also on the terrace, later at the dining table and in the recording studio in Munich. Based on individual stations in Beckenbauer's life, the topics chronologically deal with Aigner's career, from the accidentally hired voice actor for the early commercials with Beckenbauer, to his playback singer for recordings, to his perfect double in all matters outside the field and even shortly afterwards. The individual topics are cleverly cut with original archive recordings by Beckenbauer or at least the incidents in order to enable viewers to remember them and allegedly clarify any questions that have arisen in the process. Interviews with companions of Beckenbauer, who appear in the film, support the claims with their statements. The work is further formalized by film recordings made by Aigner in the car or in the garden, which are underlaid with sound recordings from the interviews, thereby emphasizing the statements made. The world championship titles as a player in 1974 and as a coach in 1990 are taken up as well as most recently the controversial statements after visiting the construction sites in Qatar as a FIFA official. The plot is rounded off by an original twist in the script, which allows Aigner to leave his role as a doppelganger, his first statement at the beginning of the film, at the end of which a surprising explanation follows.

Individual scenes

The film begins with a sequence in the rear of a car driving past Munich's Allianz Arena , in which the protagonist, sitting in the picture in silence, but speaking from the off , introduces his story with the words "Sometime is amal good" and this in the last sentence of the Scene repeated once more.

The aerial photo of the overflight of the Tegernsee and an off-speaker now introduce interview passages in the fictional “neat house” of the Aigner couple, first on the terrace, where Aigner routinely signs “last autograph cards”, then on the sofa in the living room, where he “ Exclusive interview (…) for the first and only time the whole truth (told), about a whole life as (…) the wrong Franz and how it all began ”: Around 1964 or 1965 his new neighbor Robert Schwan noticed the Beckenbauer's very similar voice and asked him for sound recordings for commercials because they had failed and Beckenbauer was indispensable. Archive recordings of the commercials illustrate what has been said.

Afterwards, Aigner claims, he also recorded Beckenbauer's popular records . In support of this, Ralph Siegel plays himself and suggests that Beckenbauer had the “outstanding voice in the Tölzer Boys Choir ” and sang “like an opera star”. For the sake of credibility, the "not quite perfect" voice of the doppelganger was hired. A film from the “On-site meeting in the Polydor studio from 1967”, where Aigner is said to have recorded the recordings instead of Beckenbauer, is dedicated to this topic . From then on, Aigner also takes on other PR appointments for Beckenbauer.

The next topic is the 1970 World Cup . Beckenbauer seriously injured his right shoulder in the semi-final match against Italy, only continued playing with a bandage and yet gave autographs to Italian football fans the next day, apparently uninjured, who were amazed at the speed of recovery; all of this illustrated with archive footage. With Dieter Kürten and Uwe Seeler , two contemporary witnesses comment on the event.

Now Aigner explains, again on archive images, how he was “perfectly introduced into society” and “over the years became standby ” in the same clothes that could be “exchanged” in minutes. After all, with the help of a “personal coach” in 1975 it was even used in “unspectacular games”, but this was a “dark chapter” with two own goals against Kickers Offenbach and Hertha BSC in one week, which drew heavy criticism and was an occasion for Beckenbauer's departure to New York Cosmos that same summer.

From “taking” these “international hurdles” the off-speaker leads over to the “most important moment” in Aigner's career in the Olympic Stadium in Rome : There, according to Aigner, he doubled team boss Beckenbauer after winning the final of the 1990 World Cup and the idea had to wander the lawn alone. In front of the “cameras of the world” he “couldn't pick his nose”, so he simply refers to Willy Brandt , Gandhi , Hannibal and Neil Armstrong . Archive photos from Rome , a mock-up of Aigner's walk across the meadow by the house and the commentary by Jörg Wontorras , a 1990 reporter in the stadium, complete this highlight in the middle of the film.

The speaker then leads directly to the 2006 World Cup in Germany (whose ambassador, application and organization committee boss was Beckenbauer) and their “symbolic opening act” in 2005 with mascots Goleo VI and Sepp Blatter . A longer sequence follows with Aigner and Goleo at the scene of the event, the Allianz Arena, which suggests that neither Blatter nor Beckenbauer were “real”.

Then the off-speaker characterizes the “Welcome Tour 2005”, during which Beckenbauer visited all of the more than 200 countries participating in the World Cup, “not just as a masterpiece of football diplomacy”, but “actually as a miracle”. The key witness is again Jörg Wontorra; Centrally, however, Beckenbauer's own statement in the interview: "Well (...) I already was, this is not a double, so I raised everything myself". Alleged research into the “insane” travel plan unearths the “only mistake in 50 years” because Reuters reported Beckenbauer in Ghana and Togo at the same time. Aigner confirms the mission in Togo at the time of the bird flu and Anthony Baffoe testifies to his stay without a bodyguard.

The film team's discovery that Beckenbauer in Togo did not wear the compulsory “friendship button” from FIFA is acknowledged by the Aigners with slight embarrassment and the crude story of the closed village post office due to a “flat tire” on the Dutch bike as the cause of the mishap. But what went unnoticed in the rest of the world was what “caused a lot of excitement in the Aigner house”, the spokesman introduces further romantic scenes on the lake shore; the Aigners arm in arm and commented from the off.

The penultimate topic is Beckenbauer's “breakdown with consequences” on his “last big trip abroad”, illustrated with the original statement about the working conditions on construction sites for the 2022 World Cup : “I haven't seen a single slave in Qatar.” Another embarrassment for the Aigners , and when the interviewer asked whether it was an “accident”, Schorsch followed Aigner's admission: The cause was illegible handwriting in the usual briefing by fax.

After the professional unwinding of the “usual mandatory appointments”, the script suddenly takes a turn and presents Beckenbauer's ski accident, a fall on the “Mexico shoulder”, as an alleged reason for the final exit: Aigner did not endanger “his new professional existence” want and need “a healthy right arm.” His father was already a “ painter in Haslau” and in 1977 “during the Cosmos New York era” “Franz” asked for a “portrait of himself”. Andy Warhol then presented this to the public. Now he paints as a “ghost painter” for Christine Neubauer .

reception

The film received a very positive response from the reviews. For example, Daland Segler sees satire as a “masterpiece” and an “exception in the German entertainment industry” for the Frankfurter Rundschau , which along with Mathias Richling , Mario Barth and Urban Priol have long ridden the “satirical genre to death”. Olli Dittrich, on the other hand, is not satisfied with "the quick laughing act", but looks "through the magnifying glass at his motif" and shows perseverance "in learning the right tone of voice, (...) precise mask and posture". Above all, he and co-author Tom Theunissen parodied “not only the 'Kaiser', but also the genre of television documentaries” as “ first class mockumentary ”. Finally, Segler denounces the late slot for the “TV jewel” as a scandal , which testifies to the “contempt of the program makers for their audience”.

Thomas Gehringer calls the satire a "transformed penalty kick" for the Tagesspiegel and emphasizes that Dittrich had already delighted his audience with it earlier, but he has now not only succeeded in "another Beckenbauer parody", but also created "an independent figure: not as ubiquitous and affable as the emperor, a staid petty bourgeois and a good husband, (...) who, however, has transformed himself a bit into Beckenbauer in 50 years as a double ”. If one did not know about fiction, one could “ultimately consider Aigner to be more real” than the “light figure” Beckenbauer himself. For Gehringer, Dittrich also lays out “precisely and skillfully (...) the way television works”.

How Gehringer also feels Anja Rützel for the mirror , that as a result the "original material from real-Franz end almost feigned acts as the doppelganger". Dittrich plays Aigner and Beckenbauer "in the usual great way" and he succeeds in the embodiment "both phonetically (...) and in terms of content". Finally, says Stefan Niggemeier for the Frankfurter Allgemeine Zeitung , that Dittrich not just play his characters, but to verwandele into them, and quoted co-author Theunissen: "This is a different person from A to Z, all day long, even during the lunch break . "Niggemeier sees improvisation as a method" along given themes and ideas ", because Olli Dittrich says" no formulated texts ". In this way, he managed to achieve “amazingly real moments”. Its accuracy gives the film “great comedy”, the “unlikely likely story” is told in a “unique way” and “the greatest follies are staged with greater seriousness”.

Despite the late broadcast, the television broadcast achieved a market share of 10.8 percent. The fictional documentation was reflected in many positive comments in the social networks .

The film was awarded the Grimme Prize 2016 in Marl on April 8, 2016 .

Special episode

In October 2015, in response to the Spiegel research on the 2006 World Cup awards, a supplementary episode was produced at short notice and broadcast on ARD on November 5, 2015 under the title The FIFA Fairy Tale: Questions to Schorsch Aigner - The Man Who Was Franz Beckenbauer . In an emotional confession, Aigner relieved Franz Beckenbauer of any responsibility for the unsettled payment of 6.7 million euros from the DFB to FIFA. This special addition, with Tom Theunissen as journalistic questioner and again Carolin Fink as Aigner's wife, saw around 400,000 more viewers than in the summer. With 1.88 million viewers, the Beckenbauer parody, which was added to the program at short notice, still had a market share of 9.4 percent.

background

Olli Dittrich played Beckenbauer for the first time in 1995 in a two-minute interview parody Two Chairs - One Opinion with Wigald Boning as a partner. This sketch series as part of the Comedy RTL Saturday Night and thus to a certain extent also the character Franz Beckenbauer were at the beginning of Dittrich's nationwide breakthrough as a comedian. In 1998 he also played it in spots for the 1998 World Cup .

Several years later, in December 2006, Dittrich Beckenbauer again imitated Mr. Beckenbauer for the World Cup review What to do, as part of the Harald Schmidt Show . This twenty-minute interview parody was nominated for the 2007 Adolf Grimme Prize in the “Special Entertainment” category and was highly praised in the press. With Schorsch Aigner, there follows twenty years after the first Dittrichs longest Beckenbauer parody.

Dittrich wanted Franz Beckenbauer personally for a final scene to say goodbye to Aigner. But in contrast to the other celebrities in the film, the spoiled man could not be persuaded to appear despite great efforts and “open cards”, which the self-confessed soccer fan Dittrich regrets in an interview. In this he also explains, referring to the final scene with a false beard and new glasses: “There is something very self-referential about it. The Aigner story puts the lid on, I don't have to play the Beckenbauer anymore. "

Web links

Individual evidence

  1. ↑ Schorsch Aigner - The man who was Franz Beckenbauer. daserste.de, accessed on June 6, 2015 .
  2. ↑ a b c Daland Segler: The true Franz. In: Frankfurter Rundschau . June 4, 2015, accessed June 6, 2015 .
  3. ↑ a b c d Thomas Gehringer: Double with double. In: Der Tagesspiegel . June 3, 2015, accessed June 6, 2015 .
  4. ↑ a b Anja Rützel : It was the wrong pool builder! In: Der Spiegel . June 3, 2015, accessed June 6, 2015 .
  5. ↑ a b c Stefan Niggemeier : someone like him. In: Frankfurter Allgemeine Zeitung . June 4, 2015, accessed June 6, 2015 .
  6. ↑ Great public success for Olli Dittrich's “Schorsch Aigner”. presseportal.de, June 5, 2015, accessed June 6, 2015 .
  7. ↑ Alexander Krei: "The FIFA fairy tale" - moderate odds for Schorsch Aigner's confession. DWDL.de, November 6, 2015, accessed on November 6, 2015 .
  8. ^ Franz Beckenbauer - Commentary on Lothar Matthäus 1995. YouTube video. January 9, 2015, accessed June 7, 2015 .
  9. ↑ Jochen Voss: Grimme nominations: Private stronger than ever. dwdl.de, January 25, 2007, accessed June 7, 2015 .
  10. ↑ a b “To completely different people”. Interview with Olli Dittrich. In: Rheinische Post . June 4, 2015, accessed June 7, 2015 .