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Schtonk (1992)

The slightly fictionalized story of an art forger, a journalist desperate for a big story, and the biggest press scandal in German history: the Hitler Diaries.

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(screenplay), (screenplay) | 4 more credits »
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Nominated for 1 Oscar. Another 7 wins & 3 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
Hermann Willié
...
Christiane Hörbiger ...
Freya von Hepp
Rolf Hoppe ...
Karl Lentz
Dagmar Manzel ...
...
...
...
Hermann Lause ...
Karl Schönböck ...
Professor Strasser
Rosemarie Fendel ...
Mrs. Lentz
Georg Marischka ...
Von Klantz
...
Notary Cornelius
Hark Bohm ...
Catholic pastor
Willy Harlander ...
Bavarian customs officer
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Storyline

Fritz is a falsifier drawing a picture of Eva Braun, the girlfriend of Adolf Hitler. He meets Hermann and tells him about some Nazi- material he knows about. Herrmann, working for a great German magazine, pays for everything he can get, and so Fritz starts to write "Hitlers private daybook". The story covers a real event that happend in Germany in the middle of the eighties. Written by Wolfgang Klimt <wolfii@leo.org>

Plot Summary | Add Synopsis

Taglines:

Der Film zum Buch vom Führer

Genres:

Comedy

Certificate:

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Details

Country:

Language:

Release Date:

12 March 1992 (Germany)  »

Also Known As:

Schtonk!  »

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Box Office

Budget:

DEM 16,000,000 (estimated)
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(opening sequence)|

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Near the end of the film, Dr. Lentz (Ulrich Mühe) sings a song at the party onboard the ship belongs to 'Hermann Willié'. The melody is taken from a famous German seaman-song of Hans Albers: "La Paloma"! See more »

Quotes

Obersturmbandführer: [putting on civilian clothes] ... and stop calling me "Herr Oberstumbannführer", idiot!
SS man: Yes, sir, Herr Obersturmbannführer!
See more »

Connections

References Der Kongreß tanzt (1931) See more »

Soundtracks

Prelude and Liebestod from Tristan und Isolde
Composed by Richard Wagner
Performed by London Philharmonic Orchestra (as The London Philharmonic Orchestra)
Conducted by Enrique Batiz
Courtesy of Selected Sound Musikverlag
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User Reviews

 
UNBALANCED, BUT WORTH A VIEW
16 August 1999 | by See all my reviews

Almost 2 hours is a bit two long for its basic story material, hence a film that has wonderful moments and scenes and plenty of satire, but also moments of boredom in which nothing (new) happens. Certainly successful in portraying the circumstances in which a forger could produce the notorious Hitler Diaries (it happened in 1983 and not only German press but the press world wide walked into the trap), the film shows that the yellow press and its sensation-hungry reporters made use of the curious fascination of the public world wide with the Nazi past.; as Harald Juhnke's character says to his chief-editor: "(with Hitler) we never had such a famous writer writing in our magazine ever before!".

For Germany the most painful aspect of the film might be the support for the publication from former Nazis represented by a character played by Karl Schönbock (82 years old here!); as a former intimate friend of Hitler he knows that the diaries are forged but gives full support: the end justifies the means. One of the memorable scenes is the arrival of the guests at the rally of former Nazi's and supporters: a memorable image when the guests walk to the house in the rain under their umbrellas illuminated by torches.

The cast is very good, with Götz George and Uwe Ochsenknecht outstanding. Both have scenes that are side splitting funny: George when he for the first time reads from the diaries and Ochsenknecht when he begins to think, talk and look like Hitler.

But as said, the film is too long for its own good. There are more memorable scenes than the those I have mentioned already, but for instance does the viewer really need to see all 60 diaries made? The use of the old song "La Paloma" in the scene on the boat is a nice idea, but it also takes too long. And what to think of the first scene (before and during the credits); it does not add anything to the things to come and is not funny either.

The for this film composed music itself is mediocre, but the use of recordings of Zarah Leander and that of a small yodel-theme are very clever. All in all: unbalanced, at moments very amusing and certainly worth a view.


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