7.3/10
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15 user 5 critic

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.

Director:

Helmut Dietl

Writers:

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

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Cast

Cast overview, first billed only:
Götz George ... Hermann Willié
Uwe Ochsenknecht ... Fritz Knobel
Christiane Hörbiger ... Freya von Hepp
Rolf Hoppe ... Karl Lentz
Dagmar Manzel Dagmar Manzel ... Biggi
Veronica Ferres ... Martha
Ulrich Mühe ... Dr. Wieland
Martin Benrath ... Uwe Esser
Hermann Lause Hermann Lause ... Kurt Glück
Karl Schönböck ... Professor Strasser
Rosemarie Fendel Rosemarie Fendel ... Mrs. Lentz
Georg Marischka Georg Marischka ... Von Klantz
Thomas Holtzmann ... Notary Cornelius
Hark Bohm Hark Bohm ... Catholic pastor
Willy Harlander 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:

See all certifications »
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Details

Country:

Germany

Language:

German

Release Date:

12 March 1992 (Germany) See more »

Also Known As:

Schtonk! See more »

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Box Office

Budget:

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

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby SR

Color:

Black and White (opening sequence)| Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Mario Adorf wanted to play in this movie, preferably the role of Hermann Willié, which went to Götz George, or the role of Fritz Knobel, which went to Uwe Ochsenknecht. Adorf later admitted that he had been offended for a few years, that Helmut Dietl didn't cast him in any role. See more »

Goofs

When Freya von Hepp hands Hermann Willié Göring's bathrobe and offers him to try it on, Willié's answer doesn't match his almost motionless lips. See more »

Quotes

Fritz Knobel: As soon as the ashes of the Führer had cooled down, the demand for relics of the "1000 Year Reich" soared.
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 Bátiz
Courtesy of Selected Sound Musikverlag
See more »

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User Reviews

 
Schtink!
16 June 2007 | by moabitnikSee all my reviews

A horribly heavy-handed attempt to turn the real-life case of the forged Hitler diaries into a German comedy (a contradiction in terms, if you ask me, and I am German), this schtinker is an unabashedly broad, strictly one-note stab at what director Dietl probably takes for satire. Based on a pedestrian script which provides no laughs at all (except if you're a die-hard fan of fart jokes, that is), it features sleazy, grotesquely over-the-top performances by basically everyone involved (although George and Ochsenknecht stand out as particularly hammy), ugly, overlit photography and an unnervingly blaring score. Dietl not only proves that he has no sense of timing whatsoever - each and every punchline can be seen coming round the bend a mile away and is milked to the last drop when it finally arrives - but also displays a disturbingly childish penchant for "dirty" words which, quite obviously, he thinks are funny by themselves. To top it all off, at nearly two hours running time, the whole affair is so interminably drawn out it'll bore you to near-death. Avoid at any cost - and please do yourself a favor and give Dietl's other films (especially "Late Show" and "Rossini") a very wide berth, too: they're even worse.


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