Das häßliche Mädchen

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Das häßliche Mädchen
Directed byHermann Kosterlitz (Henry Koster) (uncredited)
Screenplay byFelix Joachimson (Felix Jackson)
Hermann Kosterlitz (uncredited)
StarringDolly Haas
Max Hansen
Otto Wallburg
Production
company
Avanti-Tonfilm GmbH
Release date
  • September 8, 1933 (1933-09-08) (Berlin)
Running time
74 minutes
CountryNazi Germany
LanguageGerman

Das häßliche Mädchen ("The Ugly Girl", sometimes translated as "The Ugly Duckling") is a German comedy film made in early 1933, during the transition from the

Nazi-led riot broke out at the première to protest the male lead, Max Hansen
, who was supposedly "too Jewish." The film's representation of the "ugly girl" as an outsider has been described as a metaphorical way to explore the outsider existence of Jews.

Background and reception

Das häßliche Mädchen was filmed at the Avanti Tonfilm studios in

Reich Film Chamber had been formed, with membership required for continued employment in cinema.[3][4]

Hermann Kosterlitz both directed and co-wrote the script. This was his first[1][5] or second[6][7][8] time directing. Kosterlitz, who was Jewish, had left Germany months before the première, without seeing the final cut. His name was removed from the credits and replaced by an "Aryan" pseudonym, "Hasse Preis".[9] He went to Paris in April, then via Budapest and Vienna to Hollywood in 1936.[1] (The other author, Felix Joachimson, would go first to Austria and then also to the US, where he was a successful scriptwriter and producer under the name of Felix Jackson.[10])

The male lead, Max Hansen, was reputed to be part-Jewish and the previous year had performed a comic song implying that Hitler was homosexual; at the opening, in a riot orchestrated by the Nazis, members of the audience attacked him as "too Jewish", shouting "We want German movies! We want German actors!",[1][11] and he was pelted with tomatoes.[12][13][14] Rotten eggs were thrown at the screen. In the words of the review in Film-Kurier:

[W]histling was heard from various sides. The applause stopped. The whistling continued. The curtain remained closed because rotten eggs were thrown at the stage. Someone called from the balcony: "We want German movies! We want German actors! We do not need Jewish actors, we have enough German actors! Aren't you ashamed, German women, to applaud Jewish actors? Oust the Jew Max Hansen, who only six months ago sang a couplet about 'Hitler and Little Cohn' in a cabaret!"[15]

Hansen also soon left Germany, for Vienna and then Denmark.

Dolly Haas was an exclusively comedic actress with an androgynous persona[12] well suited to a film about appearance and the performance of identity; there were rumours about her racial heritage, too, but they were squashed with statements that she came "from a good Aryan family".[11] Upset by the treatment of her co-star, she accepted an invitation to work in England in 1934 and left Germany for good in 1936.[16][17][18]

The film did receive praise for its humour, and reviews included phrases such as "pleasant", "amusing" and "full of delightful ideas".

Auschwitz, but continued to work in films in Germany until 1936 under the exemption for veterans of the First World War; in this film, his role was simply characterised in the press as a typical sex- and money-obsessed member of the Berlin nouveau riche.[11]

Plot summary

Lotte März (Dolly Haas) is hired as a secretary at an insurance company because she is ugly; introducing her to the (male) accountants, the personnel manager says, "I hope that you will finally be able to work in peace." The men harass her and conspire to lure her into a compromising position by having one of them, Fritz Mahldorf (Max Hansen) pretend to find her attractive. The manager discovers her in an embrace with Fritz and fires her. The self-absorbed Fritz, showing remorse that is unusual for him, arranges for her to be rehired as assistant to Director Mönckeberg (Otto Wallburg, a comical figure

Genia Nikolaieva). Soon after she arrives, so does Lotte, and then so does the jealous Director. Farcical misunderstandings ensue, including the discovery of Lydia's fur coat and a fancy-dress ball at the Director's villa in which Lotte dresses as a pirate (just like the Director). Lotte undergoes a complete makeover at a beauty parlour: haircut, perm, and facial—and is transformed into an attractive flapper. (As The New York Times reviewer put it, "As always, however, the ugly duckling becomes a disturbingly graceful swan."[22]) Fritz falls in love with her and love triumphs, although he remains a flatterer and a deceiver and she has contemplated suicide.[23]

Critical theories

The film has been seen as a treatment of the exclusion of Jews through the metaphor of the familiar trope of sexism and the need for women to self-present as acceptably feminine. Lotte's initial ugliness translates as "she looks too Jewish."[24] Early in the film, she protests, "But I haven't done anything to you!", which applies also to the situation of the Jews.[25] Hansen, the presumed Jew with characteristically "Jewish" features, playing Fritz, the tormentor with the stereotypically German name, and Haas, the blonde and childish-looking Lotte being excoriated as "ugly" (i.e. Jewish) effect a displacement of the problem of otherness to enact a narrative of accommodation making use of the traditional romantic comedy plot of the girl getting a makeover to attract the boy.[26]

Unrealised Brecht project

Bertolt Brecht wanted to make a film of the same title featuring Valeska Gert, but this project never came to fruition.[27][28][29]

References

  1. ^
    ISBN 978-0-292-73458-6, p. 24
    .
  2. ^ Hake, p. 27.
  3. ^ Hake, p. 28.
  4. ISBN 978-1-57113-283-3, pp. 6–7
    .
  5. ^ Tribüne 32 (1993) p. 164 (in German)
  6. ISBN 978-1-57181-655-9, p. 257
    .
  7. ISBN 978-3-476-01290-6, p.379
    (in German)
  8. ISBN 978-3-89487-401-8, p. 227
    (in German)
  9. ISBN 978-3-930916-03-0, p. 57
    (in German)
  10. ^ "Three Smart Guys: How a Few Penniless German Émigrés Saved Universal Studios", Film History 11 (1999) p. 137.
  11. ^ a b c Hake, p. 37.
  12. ^ a b Bock and Bergfelder, p. 178.
  13. ^ Bock and Bergfelder, pp. 180–81.
  14. ISBN 978-0-520-22069-0, p. 234
    .
  15. ^ a b David Stewart Hull, Film in the Third Reich: A Study of the German Cinema, 1933–1945, Berkeley: University of California, 1969, p. 27.
  16. ISBN 978-3-88747-180-4, p. 142
    (in German)
  17. ^ Hake, p. 236, note 25.
  18. ^ Witte, p. 57 presents it as an immediate response: "Dolly Haas ging ins Exil nach England unmittelbar nach den Tumulten um die Premiere ihres Films Das häßliche Mädchen, bei der Nazihorden faule Eier auf die Leinwand warfen, weil Haas mit dem als jüdisch angegriffenen Komiker Max Hansen zusammen spielte" - "Dolly Haas went into exile in England immediately after the tumult surrounding the première of her film Das häßliche Mädchen, at which Nazi hordes splattered the screen with rotten eggs because Haas played alongside the comedian Max Hansen, who was under attack as Jewish".
  19. ISBN 978-3-935223-00-3, p. 144
    (in German)
  20. ^ Hake, p. 26.
  21. ISBN 978-3-927085-70-1, p. 192
    (in German)
  22. ^ The New York Times Film Reviews, 1913–1968, 6 vols., Volume 2, The New York Times, 1970.
  23. ^ Hake, pp. 32–38.
  24. ^ Hake, p. 31.
  25. ^ Hake, p. 35.
  26. ^ Hake, p. 36.
  27. ISBN 978-3-926175-31-1, p. 54
    (in German)
  28. ^ Frauke Deissner-Jenssen, Die zehnte Muse: Kabarettisten erzählen, Berlin: Henschel, 1982, p. 311 (in German)
  29. ^ Birgit Haustedt, Die wilden Jahre in Berlin: eine Klatsch- und Kulturgeschichte der Frauen, Dortmund: Ebersbach, 1999, p. 39 (in German)

Sources

  • Knud Wolffram. "'Wir wollen deutsche Schauspieler!' Der Fall Max Hansen". Filmexil 12 (2000) 47–59 (in German)

External links

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