|Index||2 reviews in total|
This 4th part of the "Lümmel series" is absolutely a peak in fatuity and
stuffy morals. In this part not only the usual imbecile humour and ditto
scripting, trying to introduce some "freshness" into the by now thread bare
format the story (such as there is) is centered around Schager-singer Peter
Alexander and a very embarrassing export product from The Netherlands: boy
singer Heintje as Alexander's nephew, who is looking for a wife for his
uncle as uncle is very clumsy at house keeping - wow, what an exciting
While Heintje torments the ears with his warbling, Peter Alexander - who needed a good director to be acceptable - bores the viewer to death by just being there, but especially during his bloody awful impersonation of Hans Moser. Watching these two you would have give anything to have Hannelore Elsner and even Uschi Glas back. Seeing this part I again wondered why such great comedians as Theo Lingen, Ruth Stephan and Werner Finck (in this part only) kept working in the series; were they forced or is it proof that in the declining German mainstream cinema there was no place for them?
There is a modernized version of Schiller's "Wilhelm Tell" as school play, that combines Tell with Bonanza! O yes, this could have been a fine idea if executed well and with a sense of humour and tongue-in-cheek, but it is of course a very reactionary view on the social changes within society: in this case make fun of those who seriously wanted to modernize the classics. Alexander has to shoot an egg on top of Heintje's head; he should have missed.
Anything with Peter Alexander and Heintje as top-billed cast members
normally qualifies as an embarrassment that makes you want to hide
behind the sofa - and this is not really an exception. The horrible
couple unsurprisingly burst into song at inopportune moments, often too
quickly to give the viewer time to hit the mute button. To make things
worse, Peter Alexander plays his usual everybody-loves-me character - a
character that was dated long before this movie came out.
However, this film can boost a few redeeming values - the support cast of Lingen, Schündler, Golling, and Stephan is in good form, but a particular jewel that really lifts the film is the scene with Werner Finck and Harald Juhnke. As brief as the scene is, it shows a prime example of Finck's perfect comic timing; that scene alone makes the film worth watching.
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