Front building and rear building
| Movie | |
|---|---|
| Original title | Front building and rear building |
| Country of production | Germany |
| original language | German |
| Publishing year | 1925 |
| length | about 84 minutes |
| Rod | |
| Director | Richard Oswald |
| script | Richard Oswald |
| production | Transatlantische Film GmbH, Berlin |
| camera | Emil Schünemann |
| occupation | |
| |
Vorderhaus und Hinterhaus is a German silent film from 1925 by Richard Oswald with Hans Albers , Max Adalbert and Mary Kid in the leading roles.
action
Adalbert Mars, an elderly, widowed gentleman, owns an apartment building and the Maxim bar, which is popular in the district. Mrs. Brenneis, resident of his back house, is behind with her rent. So she asks Mars to give her daughter a chance as a dancer in his establishment. This suits him very well, as Adalbert has his eye on the talented and pretty Iduna Brenneis. So he gives her the job and arranges for Iduna's mother and brother Fritz to move to the more spacious and, above all, lighter front building. While Iduna earns the urgently needed additional income as a dancer in order to be able to pay the rent, the girl also achieves that Fritz in Marsen's bar is badly allowed to fill the guests with classical music.
Fritz soon showed great interest in Ilse, his employer's daughter. But Adalbert Mars has very much “bigger” plans for his Ilse, as he thinks. His smart and shrewd managing director Otto Bottleneck would be exactly the role he would like his daughter to be. Adalbert also fears that he could face massive competition for Iduna's favor in the bottle neck. Everything would run so smoothly if it weren't for Natascha, who is also a dancer in Marsen's Maxim-Bar and also a roommate in the front building. She has been very jealous since the old man lost interest in her and now prefers the young Iduna. And so Natascha thinks of thwarting Adalbert's plans since she lost her dancer job to her competitor and had to hand over her front house to Iduna and her entourage.
It happens as it should: Natascha appears at Iduna's premiere accompanied by a strict gentleman from the provinces and causes a tangible scandal. Marsen's income has since declined sharply, and the Maxim bar even has to close. The once wealthy man becomes impoverished. So he himself has to move from the front building, which promises advancement and reputation, to the gloomy rear building, which means social decline. Fritz, who so far had little success with his classical piano skills, suddenly found his own style and received a lot of applause with modern dance music. He and Ilse get together, and also the alert managing director Bottleneck finds his luck: in Iduna and the cooperation with Fritz, with whom he re-opened the Maxim-Bar as the new co-owner.
background
The six-act film with a length of 2096 meters is of particular importance in terms of film history due to its torturously long history of censorship. The front building and the rear building passed the German film censorship on November 30, 1925 after numerous drafts and were banned from youth. This was preceded by a total of seven censorship tests and decisions between November 4 and November 27, 1925, all of which resulted in a performance ban. It was not until November 30 that the senior inspection authority issued a license on condition that the film remained closed to young people. In numerous individual points, allegedly morally offensive passages of the film were criticized, the complaints listed in detail have been preserved.
The film structures come from Heinrich C. Richter .
Individual evidence
- ^ Front building and rear building in deutsches-filminstitut.de
- ↑ FRONT HOUSE AND BACK HOUSE (1925). Document of a censorship case in cinegraph.de