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Grün ist die Heide (1972)

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 »

Director:

Harald Reinl
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Cast

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

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 <Tom.Zoerner@informatik.uni-erlangen.de>

Plot Summary | Add Synopsis

Genres:

Comedy | Drama | Romance

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Details

Country:

West Germany

Language:

German

Release Date:

20 December 1972 (West Germany) See more »

Also Known As:

De tre på Hedegården See more »

Filming Locations:

Berlin, Germany See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

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 »

Goofs

Where did Möps got the booze bottle from, in the scene where the boys want to butcher Eulalia, when Norbert didn't bought anything and the bottles were thrown away earlier? See more »

Quotes

Ursula: I was in the Heath.
Dr. Velten: In the Heath? Read too much Löns, right?
See more »

Crazy Credits

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

Connections

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

Soundtracks

Ich liebe die Welt
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 Stefan KahrsSee 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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