Hubert Moest

Scen.: Artur Landsberger. Int.: Hedda Vernon (Fritzi), Ferry Sikla, Emmy Wyda, Hans Salten. Prod.: Franz Vogel per Eiko-Film 35mm. L.: 719 m. D.: 35′ a 18 f/s. Tinted. Color copy printed in 1992 by EYE at Haghefilm laboratory from a tinted nitrate print

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

Fritzi works in an elegant fashion house. One day she accidentally breaks an expensive mannequin and solves the problem by taking its place. This means that she has to stand still for hours, until Mr. Sattler, one of the wealthy customers, discovers her secret. Taking pity on Fritzi, he brings her to his home to rescue her from her uncomfortable situation. However, others in the fashion house now notice that Fritzi is missing, and when they find the clothes she left behind they believe she must have been the victim of a terrible murder.
German actress, writer and producer Hedda Vernon (1886-?) appeared in more than sixty films from 1912 to 1925. At the height of her popularity during the 1910s, she was making an average of seven or eight films per year, often directed by her husband, Hubert Moest. As early as 1914, she set up her own production company, Vernon Produktion. She starred in very different films, collaborating with noteworthy directors and actors such as Richard Oswald and Conrad Veidt, but her star faded in the early 1920s.
This comedy is a showcase for Vernon’s charming talent and comic timing. It also curiously foreshadows Ossi Oswalda’s part in Lubitsch’s Die Puppe (1919), but transporting the awkward situation to a more recognizable contemporary setting that contains some references to German society during World War I.

Elif Rongen

Copy From