Tull (1979)
| Movie | |
|---|---|
| Original title | Tulle |
| Country of production | GDR |
| original language | German |
| Publishing year | 1979 |
| length | 108 minutes |
| Rod | |
| Director | Lothar Bellag |
| script | Lothar Bellag Adam Pöpperl |
| production | Television of the GDR |
| music | Bayon |
| camera | Adam Pöpperl |
| cut | Silvia Lever |
| occupation | |
| |
Tull is a feature film on East German television by Lothar Bellag from 1979.
action
Hanna is a pregnant young woman who was hit by a car at a bus stop. Tull, who happened to be present, agreed to take her to a hospital with his Wartburg for an examination in order to rule out any possible health consequences. That's why he shows up late for an appointment with his girlfriend Ilona, with whom he then drives to her apartment. She is a crane operator in the same stainless steel plant as Tull and that's why the conversations also revolve around work. So she says Tull that the furnaces now with a new burner - technology be heated and that they are now in a modern French sit crane must, the fully air-conditioned , but they therefore not allowed to open the windows and their by direct contact with the Workers are missing.
Ilona's explanations about the inclined burners help Tull finally understand the procedure, which has been practiced for a long time, the next day. Shortly before the end of the day, the steel cookers decide to let the next shift do the racking, but the colleague Birke simply starts loading the oven, which arouses Tull's anger. When Birke calls him a grapefruit, he hits him in the face with his fist, exactly at the moment when the operations manager Pogge and the engineer Fichte come by. After work, Tull goes with Fichte to his sister's apartment, where he lives temporarily, and shows him a letter from a professor from the central institute stating that the manufacturing process cannot work with the inclined burners. But it seems to work, only the people are forgotten who are not able to cope with the additional workload, adds Tull. The rest of the technology in the factory is completely out of date, because the only modern device that has been purchased in the last 20 years is a wheelbarrow with pneumatic tires . But Tull's punch has now reached circles and is interpreted as a rejection of the new procedure. Therefore, Tull should be available to answer questions about this at the next meeting of the secretariat of the SED district leadership .
Tull can't get the pregnant girl out of his head and he has her name and address given to her at the hospital where they originally thought he was the child's father. He drives her into the countryside, they go for a walk and then he takes her home, where he talks a lot about his work. He's very busy at the moment, because such a madman, who means Fichte, absolutely wants to introduce a new process on the stove. At this point Hanna asks him to go. After a carnival party, Ilona and Tull want to go to his apartment, but Hanna is already waiting in front of his door with a suitcase. Ilona only sees the heavily pregnant Hanna, thinks about her thoughts and leaves the house angrily, while Hanna only wants Tull to drive her to the hospital for the delivery. In the middle of a conversation at the steel furnace, in which Birke finds resignedly that the new technology is rejected by everyone and therefore has to fail, the news comes from the hospital: It is a boy. Tull is very happy about it, gives out several layers in a restaurant after work and lets his colleagues believe that he is the father. Once again sobered, he visits Hanna in the hospital to congratulate her when suddenly the door to the room opens and Fichte, the child's real father, enters. In a conversation with three people, Hanna tells how she got together with Fichte and why they separated again and that she only learned to understand Fichte through Tull, without him mentioning the name. While Tull is still trying to get rid of his allegations against Fichte, how badly this has behaved towards Hanna, he begins to present his latest ideas for improvements to the stove.
A trial shift is being prepared on the furnace during operation. The reason for this is that everyone expects Tull to speak out against it at tomorrow's secretariat meeting, but he doesn't want to speak out against Fichte. But he can only take this position if Fichte's plans work. Only Karl the crane operator is still missing, but Ilona comes, who is assigned as a jumper, although she has not yet carried out this activity in detail. In the middle of the shift that is now running, Fichte comes into the company because he has been called by Grille and demands that the attempt be stopped immediately, as he is withdrawing from all his improvements. He gives up. But he has also realized that he wants to stay with Hanna because he loves her. Tull does not want to mess with Fichte at the meeting, as he puts it, and continues with his team. But suddenly there is a technical problem, which can be solved with Ilona's help with her crane. But Tull can't manage to thank her personally.
The next day, Tull is on the platform to drive to the meeting and give his report there. Here he is reconciled, without words, with Ilona, who also wants to take the train.
Production and publication
The working title of the film was Vogelflug , the scenario came from Benito Wogatzki and the dramaturgy was in the hands of Eva Nahke and Heinz Nahke . The film work took place during ongoing production in the foundry of VEB Edelstahlwerk Freital .
The first broadcast of the film created on ORWO-Color took place on April 29, 1979 in the first program of the television of the GDR . On September 7, 1982, the first program of television broadcast a new version of this film, in which the filmmakers took into account many of the comments made by the viewers of this first version.
criticism
In the Berliner Zeitung , Volker Weidhaas wrote:
“You have to give the filmmakers credit for not trying to smooth out the edgy material with a conventional narrative; they distrusted hasty solutions to the story (...) as well as social clichés, whose preconceived evaluations decree the thinking and feeling of the characters. In addition to the undeniable gain in credibility through being close to reality, this "open" method of action management also harbors the risk that the insightful joy that ultimately emerges from a multifaceted mosaic picture leads to a patient, scenic puzzle. "
In the New Age , Mimosa Künzel said:
“Tull - this is a love story from the present day, in which the word is used relatively sparingly. Rather, essential accents are set by the playful or representational expression; The attentive, descriptive camera and the memorable scenery by Gerhard Kulosa conform to this. An unusual, unfamiliar narrative structure is used to which the viewer has to get used to; it also creates barriers that sometimes make it difficult to keep up. "
In New Germany , Henryk Goldberg said:
"All in all: a television film, significant in its concern, remarkable in the seriousness of the intellectual approach and in a number of artistic solutions."
Web links
- Tull in the Internet Movie Database (English)
- Tull at filmportal.de
- Tull in the online dictionary of television in the GDR
Individual evidence
- ^ Tull - New version 1982 in the online dictionary of the television of the GDR
- ↑ Berliner Zeitung of May 2, 1979, p. 6
- ↑ Neue Zeit of May 3, 1979, p. 4
- ↑ Neues Deutschland, May 4, 1979, p. 5