A young woman who attempts to commit suicide out of heartache is saved at the last second by a priest accompanying a boys'choir. The clergyman soon learns that Renate, the suicide candidate...
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A young woman who attempts to commit suicide out of heartache is saved at the last second by a priest accompanying a boys'choir. The clergyman soon learns that Renate, the suicide candidate, is an operator in a Vienna factory, that she has an affair with Robert, the firm's engineer, and that she has a rival in the person of Erika, the managing director's whimsical daughter. Chance has it that the boys'choir must perform in this very factory, which terrifies Renate, who, in the meantime had been adopted by the troupe. She chooses to disappear... Written by
A by Catholicism and false sentimentality inspired, by Franz Antel directed Heimatfilm: could the premise ever be less promising? At the start of the film Sabine Bethmann tries to commit suicide by jumping into a river, probably as she was already aware what kind of film she was getting involved in (it can not be that she had that much grieve over Rudolf Prack?).
She should have been left alone, but unfortunately priest Hans Holt comes along and saves her from drowning; now the film has to continue. For the next half hour she is mum, which is understandable as she has now to face the Vienna Boy's Choir that tries to help her in refusing to shut up; she also has to deal with the unavoidable Heimatfilm lover (that's a laugh) Rudolf Prack and with our priest who gets to close to her for Catholic comfort. But not to worry, the Franz Antel was assisted by an advisor from the Catholic Church, and thus the priest is never allowed to get too close.
The soul of Sabine Bethmann may have been saved, but did the makers ever think about the soul of the viewer? (3/10)
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