Juliane Thomas is an ambitious but unemployed young writer. After breaking up with her lover she works at a dentist friend to make ends meet. One day she instantly falls in love with one of...
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Juliane Thomas is an ambitious but unemployed young writer. After breaking up with her lover she works at a dentist friend to make ends meet. One day she instantly falls in love with one of the patients (Jean Berner) and promptly writes a movie script about the encounter in which she projects her own fantasies about how things will turn out eventually. By coincidence this movie script is picked up by a film director who happens to be Berner's closest friend and from then on things become very complicated...Written by
Stefan Kahrs <firstname.lastname@example.org>
The title sequence notes that the screenplay was written "with contributions by the director" - the same phrase is used in the title sequence of the film within the film. Actually, one could say that the whole film is about director "Büffel" contributing to Juliane's screenplay. See more »
[about his interrupting Jean's and Juliane's tête-à-tête]
I would be angry, in the reverse case.
Dr. Jean Berner:
Well, I wouldn't have come here, in the reverse case.
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Helmut Käutner adapted the jolly novelette by Barbara Noack into a lighthearted and joyful romantic comedy with witty dialogue in the very good script. First viewing and an only rudimentary knowledge of the German cinema of the 50's may let the viewer escape all the niceties of the film. Noack's novelette partly takes place within the German film industry and Käutner expanded this premise to satirize the making of the same film, giving him the opportunity to mock the reigning laws within the German cinema. Furthermore he enriched the story by making the lead character into a more independent woman than in the novel.
Quite some though friendly, but always clear scoffing at the average sugar sweet German films of the 50's is going on. In the scene where the possibilities of filming the script are discussed a little statue of a deer is in the picture: the Bambi was a German film prize. Sonja Ziemann, regular in the Heimatfilm, at one moment says: That is what the people always want to see. Even a standard scene in genre Mountain film like the meeting of the girl and her two suitors in an Alpine hut, is taken care of. Käutner does not spare himself too; he always had a bit part for himself in his films and in this one he is a journalist saying to Bernhard Wicki (who plays the film director(!) very well): "I am against directors playing in their own films".
Käutner's direction is immaculate and I consider this stylish comedy one of his best films of the 50's and to be preferred to the film "Hauptmann von Köpenick" (made in 1956, just before this one) that gave him international recognition. The very good cinematography of Heinz Pehlke (his first in colour) in combination with the fine set and costume design make it a visually rewarding film as well. The music and songs by Michael Jary (text probably by Käutner) add to the enjoyment.
The cast is good and Liselotte Pulver is extremely well as Juliana and Paul Hubschmidt is well type-cast as the boring Swiss. And of course there could have been only one actor for the fictive part of Herr Uri: Rudolf Platte, who again only has a bit part but plays it like he has to carry the film. Anny Ondra and Max Schmeling have cameos.
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