Togger

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Movie
Original title Togger
Country of production Germany
original language German
Publishing year 1937
Age rating FSK none
Rod
Director Jürgen von Alten
script Walter Forster
Heinz Bierkowski
production Curt Prickler for Minerva-Tonfilm GmbH
music Harold M. Kirchstein
camera Reimar Kuntze
cut Roger from Norman
occupation

Togger is a film drama, mainly shot at the end of 1936, with National Socialist tendencies against general foreign infiltration and the independent press in a democracy. The title role is played by Paul Hartmann , with Renate Müller and Mathias Wieman at his side . The film premiered on February 12, 1937 in Berlin .

Togger is one of the more than 40 strongly propagandistic films of National Socialist production that have been classified as reserved films by the Friedrich Wilhelm Murnau Foundation . These films are part of the foundation's holdings, are not released for distribution and may only be shown under the conditions of the foundation and its consent.

action

At the time of the Weimar Republic : The internationally operating Reuler Group pursues an aggressive acquisition policy in Germany . Domestic industry is falling more and more into the hands of this ominous economic giant, and nobody seems to oppose this threatening "foreign rule". Only one person is ready to take up the fight against the giant: the editor-in-chief of the newspaper Der Neue Tag , Togger. At his side is a person who is unknown to the public and who ominously calls himself "Lux". The Reuler concern tries to reveal the identity of Lux, but in vain. It was Togger's colleague Peter Geis from Siebenstädter Bote who succeeded in doing this feat rather by accident. In a car accident, he meets the young Hanna Breitenbach. She is Lux and, by the way, the daughter of the boss from New Day , Professor Breitenbach.

The Reuler Group tries with all means to bring the New Day to its knees. First the typesetters are incited to a strike , which Togger is able to end in the beginning. Then one tries to gain influence over the old man through the woman at the side of Rudolf Breitenbach, the co-owner and publishing director. This lavish singer named Maria da Costa costs Breitenbach a fortune; He has just financed a revue with her. Breitenbach gets into a windy deal with the Reuler people. By speculating on the stock market , these backers manage to financially ruin the New Day and with it the Breitenbach family. Then the paper supplier of the newspaper, the East German paper mills, goes up in flames. Ultimately, The New Day becomes the property of Reuler.

In the meantime, Peter Geis has joined Toggers and Hanna's fight against the Reuler machinations. As a first measure the new newspaper owner dismissed editor-in-chief Togger. Rudolf's brother, Professor Breitenbach, also loses his executive chair. While Hanna, despite her growing love for Peter, wants to continue fighting at his side out of solidarity with Togger, Geis decides to continue his own battle of pinpricks against Reuler with a small series of articles in the Siebenstädter Bote. During a press conference, Peter Geis takes a clear position in favor of Togger and his work against Reuler. At least he managed to get the authorities to take on Togger's accusations. Then the National Socialists come to power .

The circumstances suddenly take a complete U-turn. The new regime arrests a middleman from the Reuler concern trying to cross the border, and the man is charged with arson . Another Reuler employee is being held in Berlin. Togger gets back his position as editor-in-chief at Neuer Tag , and Peter Geis finds a new love in Hanna.

Production notes

Togger was created as a result of a "professional competition for a real newspaper film". Most of the shooting took place between October and December 1936, with a few re-shoots in January 1937. One location was the Ullstein publishing house in Berlin-Tempelhof .

The film received the Nazi rating “State-Politically Valuable” and was released from the age of 14.

Togger was the last work of the film star Renate Müller.

Here, as so often in his career, Fritz Rasp plays a (pulling strings) sinister who, as the epitome of everything un-German and threateningly foreign, has promptly received a foreign-sounding name in Togger : Dublanc.

Gustav A. Knauer and Alexander Mügge designed the buildings, Manon Hahn the costumes.

The Togger stars Hartmann and Wieman could again be seen side by side four years later in a Nazi propaganda film: I'm accusing .

Due to its political tendencies, the showing of the film was banned by the Allied military authorities after 1945.

Reviews

In the January 15, 1938 issue of the Neue Freie Presse on page 11: “The film 'Togger' gives - what American films have often done - an insight into the newspaper environment. The viewer experiences, however not coherently and neither chronologically nor factually arranged, but in a picture composed of many details, the creation and production of a large daily newspaper. In addition, the film shows the somewhat abstractly structured and ideologically sound fight of a newspaper against abuses in the economy. "

In the Österreichische Film-Zeitung of January 21, 1938, page 3 reads: It tells of the “fight of a courageous newspaper against foreign infiltration of German industry up to the final victory. This material offers ample opportunity to describe the work of the press. "

The film's large lexicon of people called the film "a Nazi-tinted pamphlet against freedom of the press in general and the supposed foreign infiltration of German newspapers in particular."

See also

Individual evidence

  1. ^ Wilhelm Ackermann: "Der Zeitungsfilm Togger", in: Hannoverscher Anzeiger , February 13, 1937. Complete publication in: Joseph Wulf: Theater and Film in the Third Reich . Rowohlt, Reinbek bei Hamburg 1966, p. 392.
  2. "Togger". In:  Neue Freie Presse , January 15, 1938, p. 11 (online at ANNO ).Template: ANNO / Maintenance / nfp
  3. "Togger". In:  Österreichische Film-Zeitung , January 21, 1938, p. 3 (online at ANNO ).Template: ANNO / Maintenance / fil
  4. 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 1: A - C. Erik Aaes - Jack Carson. Schwarzkopf & Schwarzkopf, Berlin 2001, ISBN 3-89602-340-3 , p. 81.

Web links