Norbert inherited a building in the lonesome German heath and now takes two days off to combine an inspection of his new property with a vacation in the relaxing landscape. Two run-down ... See full summary »




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Cast overview, first billed only:
Roy Black ...
Monika Lundi ...
Peter Millowitsch ...
Jutta Speidel ...
Hanna Engelmann
Rainer Rudolph ...
Viktoria Brams ...
Heidi Kabel ...
Frau Engelmann
Henry Vahl ...
Jean-Claude Hoffmann ...
Günther Schramm ...
Dr. Velten
Rut Rex ...
Frau Berger
Ralf Wolter ...
Herr Hoegen
Agnes Windeck ...
Frau von Meltendorf
Jochen Köppel ...
Herr Joscheleit
Renée Hepp ...
Frau Hermes


Norbert inherited a building in the lonesome German heath and now takes two days off to combine an inspection of his new property with a vacation in the relaxing landscape. Two run-down friends join him, and they swear: No alcohol, no nicotine - no women! The house turns out to be an empty barn but - surprise, surprise - there are the pretty maids Ursula and Anna who are willing to comfort them. So the vacation won't be as relaxing and abstinent as planned, but much more fun. Written by Tom Zoerner <>

Plot Summary | Add Synopsis


Comedy | Drama | Romance





Release Date:

20 December 1972 (West Germany)  »

Also Known As:

De tre på Hedegården  »

Filming Locations:


Company Credits

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Technical Specs

Sound Mix:



Aspect Ratio:

1.66 : 1
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Did You Know?


Loosely based on the motives from the writings by Hermann Löns. Some of his poems became lyrics for some of the songs in this movie. See more »


When offering going on holiday to Möps, Bernie is asking him if he could imagine Norbert without girls. How did he know that this is Norbert's idea of holiday, when he didn't brought it up to any of the guys yet? See more »


Möps: [Hanna is leaving on a horse] Have you seen those legs?
Norbert: Say, have you forgotten our oath?
Bernie: He means the horse, not the girl.
Möps: Of course the horse. A great horse. I could even fall in love with it.
See more »

Crazy Credits

The Duck "Eulalia" receives extra credit. See more »


Remake of Grün ist die Heide (1951) See more »


Auf der Lüneburger Heide
Performed by Roy Black
See more »

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User Reviews

Moves between comedy, romance, and a touch of melodrama
3 February 2003 | by (Canterbury, England) – See all my reviews

In the 1970s much of traditional German cinema was dying due to the advent of colour television. Some of its genres would not be missed at all, in particular the "Heimatfilm" (nostalgic back-to-basics films, set in some rural part of German-speaking central Europe) and the "Schlagerfilm" (films featuring some pop-singers in leading roles, but with a much higher dosage of kitsch than the Anglosaxon variety) have few fans, at least few who would openly admit to that.

This film threatens a combination of both genres, with Roy Black holidaying in the Lüneburger Heide. We certainly get to see lots of heather (heather=Heide) and although the plot does not give Roy any occasions to subject us to his corny songs, he does it anyway, at random. As usual, Roy's acting ranges all the way from soft-spoken, slightly grinning charmer to slightly grinning, soft-spoken charmer. Thankfully, the plot does not require much more than that, although a few moments of self-irony would have helped a lot.

Roy certainly does not deliver on that front, but I have the sneaking suspicion that director Reinl was deliberately mocking the genre conventions of the Heimatfilm by including exceedingly long journeys through the heather-covered landscape. This was too subtle to be picked up by the film's target audience (who aren't used to irony), but perhaps meant as a hint at the producers to spare him from projects of this kind in the future.

The mood of the film moves between comedy, romance, and a touch of melodrama. The melodrama appears half-hearted and phony, the romance fails to click due to a lack of chemistry (and lack of acting) between the leads, and thus only the comedy elements remain watchable. They benefit from being in the hands of the much more capable support cast, especially scene stealers Henry Vahl and Agnes Windeck.

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