A remote Austrian village depends economically on its wine production. But no-one has heard of the place, and the wine business is in the doldrums. Then two sets of twins are born in the ... See full summary »

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Cast

Cast overview, first billed only:
Isa Günther ...
Christl
Jutta Günther ...
Gretl
Alice Kessler ...
Franzi
Ellen Kessler ...
Hanni
...
Peter
Heinz Conrads ...
Webel
Thomas Hörbiger ...
Schani
Harald Dietl ...
Otto Held
Oskar Sima ...
Leopold Scherzinger
Rolf Olsen ...
Bobbek
Jane Tilden ...
Rosina
Frances Martin
Cora Roberts
C.W. Fernbach ...
Luis (as Carl W. Fernbach)
Jutta Bornemann ...
Miss Scheibenpflug
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Storyline

A remote Austrian village depends economically on its wine production. But no-one has heard of the place, and the wine business is in the doldrums. Then two sets of twins are born in the village simultaneously, and due to a misunderstanding, word gets around that they are actually quadruplets. As one of the mothers can't look after her twins, the rumour is allowed to become fact. The quads make the village famous, and as they grow up they are a singing attraction to visitors. Romance complicates the issue: will the convenient myth last? Written by Hazel Freeman <hazel_freeman@yahoo.co.uk>

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Genres:

Comedy | Romance

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Release Date:

1 August 1957 (West Germany)  »

Also Known As:

4 koritsia apo to Wachau  »

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(Perfectone-Klangfilm)

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Aspect Ratio:

1.33 : 1
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User Reviews

 
TIRING HEIMAT COMEDY
8 August 1999 | by (Amsterdam, The Netherlands) – See all my reviews

A so-so Heimat comedy centered around the two star-twins of the 50's in Germany: the Günther-twins (of "Das doppelte Lottchen" fame) and the gorgeous Kessler Twins. However, the twins do not match as in their late teens the Güthers are dull ladies without any spark, while the Kesslers are fresh and jolly as ever. Alas the Kesslers are hardly given anything to do that is within their (song and dance) line. Together they have a theme song that is sung until not only the twins are tired from it, but the viewer also.

Franz Antel's direction is adequate, but no more than that; he can not be suspected of a real thought-out mise-en-scene and direction. Hans Moser has his usual charm, but cannot save this one. Have plenty of the in this film promoted wine at hand to sit this one out.


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