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Reviews
Seemann, gib Obacht! (1985)
Funny German "Volkstheater" with great popular Bavarian actors
Story about a couple getting married, covering the night before the wedding and the wedding day which turns out to be a little different from what everybody expected thanks to constant interference by the bride's mother.
Albert (Horst Kummeth), a sailor from northern Germany, arrives in Bavaria to marry his fiancée Rosemarie (Christine Neubauer), the daughter of resolute and nosy Emmi Nettinger (Hansi Zacher) and her down-to-earth husband Franz Josef (Beppo Brehm), who rather looks after his rabbits than being bothered by his omnipresent wife. Emmi's plans to influence her daughter's and her future son-in-law's life even after the wedding is accidentally revealed to Albert and leads to quite some excitement on the wedding day.
This amusing and entertaining 1985 German theater conversion is based on the original play "Sailor, beware!" by Philip King and Falkland Cary, initially produced in 1955. Famous German popular theater stars like Hansi Zacher and Beppo Brehm are driving this turbulent story to the climax, supported by today's TV stars like Horst Kummeth (Forsthaus Falkenau) and Christine Neubauer. A comedian highlight is Margot Mahler as Franz Josef's niece Edeltraud. Her running gag, putting hot dishes and pots on Emmi's carefully polished sideboard, is gorgeous to watch over and over again.
Jo (1971)
A rare masterpiece absolutely unavailable on VHS or DVD
This screwball comedy of the early seventies has everything you might expect of a Louis de Funès movie: over-the-top acting (no wonder Louis had cardiac problems later on...). It can be described in one sentence by Inspecteur Ducros (Bernard Blier): "Is this a train station?". In fact, people are coming from all places, run through the house, frantically doing something like putting up a garden gazebo, demonstrating a (non-working) fire-extinguisher, doing police investigations, having a matrimonial crisis, laughing like a mad dog (the maid), doing the real-estate business and so on.
Inludes appearances by Ferdie Mayne (Mister Grunder), the notorious Count von Krolock in Roman Polanski's 1967 Dracula spoof "The Fearless Vampire Killers".
"Jo" is definitely a movie for de Funès fans as much as for those who just love to watch a fast-paced thriller-comedy. It is a shame that this gem is not yet available on DVD or VHS tape, not even in France. Since MGM seems to hold the rights one might ask why so.
Hanky Panky (1982)
Typical comedy of the eighties
Imagine Sidney Poitier doing a North by Northwest type movie. That is pretty much what Hanky Panky is. Sidney Poitier is no Alfred Hitchcock, though. Gene Wilder (alias Michael Jordan) saves this movie from being very mediocre. One has to go back to 1982 (the movie is actually situated in 1981) where things like national security and cold war had other dimensions than today. So take a little bit of murder mystery, a little bit of spy movie, add a neurotic character (Wilder) and his big-staring-eyes sidekick (Gilda Radner), take a few villains (a not quite convincing Richard Widmark), smashing bottles, men in dresses (yes, Wilder, too), stupid policemen, grim-looking NSA people and presto, racing here, racing there, driving, flying, smashing, that's the movie. Oh, did I forget to mention the really beautiful scenery of the Grand Canyon when flying within the Canyon was still allowed? This flight is really a wild ride and there are some low-level laughs in the cabin: how much intestinal gas can a fat pilot stand before he suddenly dies (of what?) in mid-air? If you're in for computer history, observe the excessive use of data tape and the by then state-of-the-art 3D-graphics. Actually, this movie has its very funny moments, but by today's standards its pace is slow, despite the fact that Wilder/Jordan is frantically running away from someone, something or else all the time. And the DVD is too expensive for not featuring any special features except of a full screen trailer. But if you own the DVD, watch that trailer, but don't fall asleep: would one advertise a screwball comedy like this in such a lame way, today?
The World's Greatest Lover (1977)
Yes, it is a funny movie, and yes, it is not
When I saw this movie on TV some decennials ago, I found it quite funny, because Gene Wilder was "in" at that time. We youngsters longed for more comedies with him after having seen him in the outrageous (is it still seen this way today?) "Young Frankenstein". The movie has its wonderful and romantic moments, sometimes even funny ones. Just enjoy it as a light-weight spoof, as a slapstick-comedy, and if you're a tongue-out-of-your-mouth-sticker, this is definitely the number one movie for you, for it is THE running gag of the show (if you like it or not). Yes, there are many clichés repeated over and over, like for instance Fritz Feld doing his standard hotel receptionist number, but there are so many little fun jewels hidden everywhere. Take for instance the scene when Gene/Rudy, in his exaggerated Hollywood craze thinks he sees Greta Garbo dancing in the hotel garden, falling/jumping on "her" dancing partner, only to detect Garbo is a transvestite. Cheep joke? From today's view perhaps, but not at its time. There were lots of comedies like this one which generate hardly more than a moan today (even the Mel Brooks series). If you can ever get hand on a VHS tape of this movie, grab it and watch it. Simply watch it. Be romanced. Be funny. Forget the cruel world and your cineast attitude. Leave your brain at home. Just watch (and enjoy) that movie!
Meine Schwester Maria (2002)
Living in oblivion
When Maria Schell retired to her parental homestead in the Austrian alps, her once so glamorous internationally acclaimed movie star life changed from stardom to quiet oblivion. There she occasionally met her family - and the bailiff. Her mental health made it difficult for her to make the difference between fiction and reality. She ordered several expensive TV sets, chandeliers and so forth, not realizing that she was flat broke. Generous to herself and friends alike, she spent millions until the sale by court order of all her belongings including the family homestead was imminent. It was her famous brother Maximilian Schell who at least wanted to save the farm and the surrounding land for the family. The debts were so high and the compulsory auction so near that he had to sell his beloved art paintings in order to gather the astronomical amount of money needed to avoid the loss of his and Maria's childhood home.
Maximilian Schell portrays this sad and obviously final episode of his beloved sister Maria's life in a very special docu-drama filled with retrospectives of her movie work. These movie clips are the bright side of her life, contrasting the real life, which was not so real to her anymore. Or was it? Maximilian reflects about the meaning of life and if his sister may have retired in a sort of mental way station claiming the paradise as long as she was living and not only after she would die.
This movie actually is an insider movie, a very personal treatment of a family tragedy and full of love, very soft-spoken. The warm and close relationship between brother and sister, both famous actors, is touching without being kitschy. It is knowingly heart-moving, though. The movie's red line is the short distance Maria is forced to walk from the living house to the "hut" where it all began, where her mother gave birth to her and her siblings. Maximilian urges her to walk this way every day and when she would finally reach the hut, everything would be OK. Throughout the movie we observe Maria Schell advancing step by step until she finally stays in front of a stove trying to make fire. She does not notice that she loses control over the fire. All is burning down.
Viewers expecting star chitchat will be disappointed as much as those tabloid story hungry masses who played the shocked ones when it turned out that the story of Maria Schell in poverty and mentally demented was true. Maximilian Schell's movie does not show this. It is a documentary, cleverly combined with quite obviously acted scenes. A set up, maybe the last camera, light, action for his sister. The film ends with Oliver's Theme, composed by Oliver Schell. It is a merry melody instantly returning the thoughtful viewers back to the really real life.