Reverie (film)
Träumerei is a German musician biopic by Harald Braun, produced in 1943 . Mathias Wieman and Hilde Krahl play the composer couple Robert Schumann and Clara Wieck .
action
Germany in the 19th century.
Clara Wieck is the daughter of the renowned music teacher Friedrich Wieck and an extremely talented pianist . Since she gave her first concert when she was nine, she has been considered a child prodigy . At her father's music school in Leipzig , she met the young Robert Schumann, for whom she quickly developed a great affection. Father Wieck is very reluctant to see this liaison, as he has big plans for his daughter. When Clara is about to set off on a trip to Paris , where her international breakthrough is being sought, Robert gives his lover a present of his own composition: " Träumerei ". In the French capital she met Franz Liszt at the instigation of her father , who was supposed to promote and patronize her. Clara quickly achieved her first major successes, but she did not forget her Robert at home. Back in Leipzig, the two marry, completely against the will of their imperious father. He only has his daughter's musical career in mind and doesn't think Robert is mature enough. Nor does old Wieck believe that Schumann will ever assert himself professionally.
The marriage, enforced by the two young people in court, leads to a falling out between Clara and Friedrich Wieck. Clara and Robert Schumann have a happy and fulfilling marriage, but the steadily increasing number of their children soon means more and more financial worries. Robert Schumann's compositions, hardly known to the public, do not bring enough money into the house. When Liszt visits the couple one day, he awakens in Clara the desire to be artistically active again after long years of retreat. Clara soon celebrates one success after another as a concert pianist while Robert uses this time to continue composing. But to the same extent as her star lights up in the music sky again, Schumann's successes fail. Exhausted from his work and frustrated by the lack of response, Robert Schumann , who suffers from depression, soon suffers a nervous breakdown. Clara realizes that this unsteady touring life is not good for them both, and she decides to be there for her husband from now on.
Robert soon had his first small success: he was appointed conductor of the Düsseldorfer Musikverein. Since his compositions have still not caught on, the musicians do not take him seriously. On the contrary: one intrigues against him. Finally, the mayor of the city of Schumann recalled the post. Soon afterwards he met the young composer Johannes Brahms , whom Schumann invited to his house. Brahms quickly falls in love with Clara, while Robert's depressive moments become more frequent and intense. One day he attempts suicide , but is saved from the water by Clara at the last moment. It is decided, as Robert no longer seems to be in control of his senses, to have him admitted to a mental institution. Clara Schumann finally has to realize that she can no longer have access to her husband and that he will soon be living in his very own world. But she remains loyal to him - in every sense. She neither gives in to Brahms's wooing, nor is she prepared to let Robert's art fall into oblivion. With all her strength and her artistic skills, she finally made Robert Schumann's music popular. As the last concert performance, the elderly artist plays his dream .
Production notes
Shooting began on July 27, 1943 and did not end until December 1943. The shooting took place in Xanten (outdoor shots) as well as in the Carl Froelich sound film studio in Berlin-Tempelhof and in Ufastadt in Babelsberg (studio shots ). The premiere took place on May 3, 1944 in honor of Robert Schumann in his birthplace Zwickau , two days later the Berlin premiere took place in the marble house .
Träumerei received the rating “artistically valuable”, although Propaganda Minister Joseph Goebbels is said to have been very angry about the cinematic result. In Heinrich Fraenkel's Immortal Film, the author, who returned to Germany from emigration in 1945, recalled two encounters with director Braun:
“When I told Harald Braun that I consider dreaming a masterpiece, he explained to me with a smile that it was on the knife edge whether the film would even be seen by the public. Goebbels was in a particularly bad mood when he was shown daydreaming . He stopped after half an hour and began to rave: it was bad enough if you weren't making films that had something to do with the front line; Then one should at least make films that were tough enough for those tough times, but not stuff as soft as plum. That was much worse back then than it sounds today , Harald Braun explained to me ten years later. Because if the minister had insisted on it back then, the film would have fallen by the wayside. It was only thanks to Wolfgang Liebeneiner that the situation was finally saved . With a lot of tact and skill, he was finally able to persuade the angry minister to watch the film until the end and to allow it to be released. The fact that the film was a huge success with the public was quite indicative of the fact that in movie theaters the audience preferred to be entertained rather than patriotic. "
Emil Hasler designed the film structures, which were carried out by Walter Kutz . The costumes come from the hand of Alfred Bücken. Alfred Vohrer assisted director Braun. The piano solos were recorded by Siegfried Schultze.
With a production cost of RM 2,006,000, Dreaming was a very high budget film. At the end of the same year 1944, the film was also shown in Switzerland , and after the war also in Portugal and Finland .
Hildegard Knef made her film debut in Träumerei , but the scene with her was cut out in the final version. For Friedrich Kayßler , father Wieck in Träumerei was the last completed film role.
criticism
The lexicon of the international film recalled: "The film, which was completed in the war year 1944, was rejected by the Nazi leadership, but was then approved and met with a strong response from a population exhausted from everyday war life."
From the point of view of first viewing Träumerei immediately after the end of the war in 1945, Fraenkel wrote in Immortal Film: “I liked this intimate and, with such quiet means, all the more impressive film that I had it shown to me again immediately to revisit the real one Sensitivity and called the artists of Hilde Krahl and Mathias Wieman to please ”. Fraenkel's summary: "It is one of the most beautiful and intimate films from the Nazi era."
Kay Wenigers The film's large personal lexicon also reminded in Harald Braun's biography of the Nazi ideological environment in which daydreaming arose: "After the Marika Rökk revue" Hab 'mich lieb' "and his good Ibsen version" Nora " he achieved his greatest success with the Schumann biography "Träumerei", which, however, had the Nazi spirit of the 'fighting artist' attached. "
See also
Individual evidence
- ↑ using compositions by Robert Schumann, Johannes Brahms , Franz Liszt and Ludwig van Beethoven
- ↑ cit. to: Immortal Film. The great chronicle. From the first tone to the colored wide screen. Munich 1957, p. 122 f.
- ↑ Ulrich J. Klaus: Deutsche Tonfilme 13, born 1944/45. P. 114 (063.44), Berlin 2002
- ↑ Klaus Brüne (Red.): Lexikon des Internationale Films, Volume 8, S. 3882. Reinbek near Hamburg 1987
- ↑ Immortal Film, p. 122, Munich 1957
- ↑ Immortal Film, p. 412
- ↑ 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 2: C - F. John Paddy Carstairs - Peter Fritz. Schwarzkopf & Schwarzkopf, Berlin 2001, ISBN 3-89602-340-3 , p. 75.
Web links
- Dreaming at filmportal.de
- Reverie in theInternet Movie Database(English)
- Träumerei Complete film at the Deutsche Filmothek