7.0/10
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2 user 1 critic

Knockout - Ein junges Mädchen, ein junger Mann (1935)

Marianne is an accountant, but since she is so pretty the employment agency sends her to the theater. There, Max's gaffer falls in love with Marianne and persuades her to stay at the ... See full summary »

Directors:

Karel Lamac (as Carl Lamac), Hans H. Zerlett

Writer:

Hans H. Zerlett
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Cast

Credited cast:
Anny Ondra ... Marianne Plümke
Max Schmeling ... Max Breuer
Hans Schönrath Hans Schönrath ... Hawkins, Boxer
Edith Meinhard Edith Meinhard ... Fräulein Melitta
Fritz Odemar ... Der Theaterdirektor
Anni Markart Anni Markart ... Camilla
Hans Richter ... Josef, Hilfsbeleuchter
Otto Wernicke ... P. F. Schmidtchen
Wilhelm Bendow Wilhelm Bendow ... Der Assistent
Karl Platen Karl Platen ... Der Inspizient
Hermann Meyer-Falkow Hermann Meyer-Falkow ... Der Trainer (as Hermann Mayer-Falkow)
Josef Eichheim Josef Eichheim ... Der Mann, der seinen Hut aufißt
Rest of cast listed alphabetically:
Annie Ann Annie Ann ... (as Anni Ann)
Lilian Bergo Lilian Bergo
Cornelius Booth Cornelius Booth
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Storyline

Marianne is an accountant, but since she is so pretty the employment agency sends her to the theater. There, Max's gaffer falls in love with Marianne and persuades her to stay at the theater. Once he has to defend her against a professional boxer who harasses her. Although Max loses his position, but receives an offer from Box Manager Schmidtchen. When Max learns that Marianne is engaged, he goes to Schmidtchen's boxing school in Hamburg. Written by Ulf Kjell Gür

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

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Details

Country:

Germany

Language:

German

Release Date:

28 February 1936 (USA) See more »

Also Known As:

Knock-out See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono (Tobis-Klangfilm)

Aspect Ratio:

1.37 : 1
See full technical specs »

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User Reviews

 
Not a knockout, but it goes the distance.
14 November 2004 | by F Gwynplaine MacIntyreSee all my reviews

Max Schmeling remains a controversial figure. As the boxing champion of Germany (and then world champion) during Hitler's reign, there was naturally some tendency on the part of the Third Reich to use Schmeling as a symbol of the Aryan ubermensch. In 1936, Schmeling fought the undefeated Joe Louis. By Nazi standards, Louis was inferior twice over, as an American who was also a Negro. When Schmeling beat Louis by a knockout, there was great glee among Nazis (and Americans who sympathised with the Nazis). In 1938, Joe Louis turned the tables by beating Schmeling with a TKO in a rematch lasting two minutes.

Precisely where were Schmeling's sympathies? He certainly took advantage of his privileged position in Hitler's regime, yet apparently he resented being made the poster boy for Nazism, and reportedly he and Joe Louis respected each other personally. Schmeling enjoyed a long marriage to Austro-Hungarian actress Anny Ondra, who had a successful career in British silent films until the talkies revealed her accent.

'Knockout: A Young Girl, a Young Man' teams Schmeling and Ondra on screen. Interestingly, Schmeling's role is significantly larger and more prominent than Ondra's even though she's a professional actor and he isn't. Max Schmeling plays Max Breuer, a backstage electrician in a Berlin theatre. Ondra plays Marianne Pluemke, an aspiring actress who auditions at the theatre. When a surly burly masher gets fresh with the fraulein, Max intercedes ... leading to fisticuffs, until Max knocks the guy out. It turns out that the masher (Paul Samson-Körner) is Huetgen, a prizefighter. Max gets the sack for his troubles, but a fellow with the peculiar name Smidtchen (good performance by Otto Wernicke) offers to train Max at a boxing school in Hamburg.

SPOILERS COMING. Max comes back to Berlin and fights the British heavyweight champion, Hawkins (played by the very un-British Hans Schönrath). Does Max win the match? Does Max win the fraulein? Jawohl, mein liebchen!

This is Max's show all the way, and fans of Anny Ondra (are there any?) will be disappointed at how little she gets to do. Schmeling displays little talent for dramatics, but fortunately this film is scripted to play to his strong suit. Max throws plenty of punches in this movie, and receives quite a few as well. The climactic boxing match is exciting and well-edited. The scenes at the Hamburg boxing academy have the look of authenticity to me, though I admit I know very little about Hamburg boxing academies. Devotees of boxing, and of German culture in the 1930s (notwithstanding who was in charge) will find this film fascinating. But there's very little here to appeal to other tastes. Purely on the basis of what it set out to accomplish, I'll rate this movie 7 out of 10.


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