Robert Wohlmuth

Scen.: Max Hansen, Paul Morgan, Carl Jöken. F.: Eduard Hoesch, Otto Heller. Scgf.: Heinrich Richter. Mus.: Robert Stolz, Franz Wachsmann, MaxHansen. Canzoni: Armin Robinson, Max Hansen, Robert Gilbert, Paul Nikolaus. Int.: Max Hansen (Max Hansen / Pepperl Kröninger), Paul Morgan (Paul Morgan / Sebaldus Kröninger / il marito), Carl Jöken (Carl Jöken / l’insegnante di canto), Marianne Stanior (la segretaria), Gisela Werbezirk (Hedda Mutz-Kahla), Erik Ode(Wolfgang Anglert). Prod.: Trio-Film GmbH 35mm. D.: 73’. Bn

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

Max (Max Hansen), Paul (Paul Morgan) and Carl (Carl Jöken) are broke but not at all desperate: the year is 1930 and the newly developed sound cinema is booming. While having a beer, the three friends decide to get in on the money and found the production company Trio-Film. Not bothering all that much with trifles such as movie scripts and work ethics, they embark on their quest to conquer the box office. In 1924, two of the three main actors, Hansen and Morgan, had been founding members of Kabarett der Komiker (Comedian’s cabaret), a highly influential Berlin-based theatre coining a special brand of anarchic political comedy. Das Kabinett des Dr. Larifari is the most direct attemptto translate Hansen’s and Morgan’s explosive stage presence to the screen, and probably the closest approximation to the golden era of nightclub comedy entertainment of the Weimar Republic ever put on film. Taking aim, this time around, not so much on the political scene of the day but rather on the emerging sound cinema, Das Kabinett des Dr. Larifari switches between parody of various genres, with RobertWiene’s expressionist classic being no more than one among many drive-by targets. With catchy tunes written by Hansen, Robert Stolz andFranz Wachsmann and self-reflexive breakdowns of its own fictional setup, this may be a German Hellzapoppin’, with a decidedly off-beat groove. 

Lukas Foerster


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