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Alexander Kluge with “Abschied von gestern”, Rainer Erler with “General Frederic’, Rudolf Noelte with “Das Schloss’, Hans Rolf Strobel with ‘Ehescheidung’, Haro Senft with “Karriere” and Hansjuergen Pohland with “Katz und Maus’.
That there suddenly are so many new faces at the same time ; is not at all surprising. The West German government has reserved $75,000 for producers of distinctive and artistic motion pictures. Most of them are working with distributor Eckelkamp who, after | making a fortune with “The Silence” in West Germany, can afford to assist unknown talented producers.
The German motion picture industry has also profited by the newly acquired world fame of such German stars as Gert Froebe, Hardy Krueger, Romy Schneider and Elke Sommer. They certainly had their own fame and selfish personal interest in mind. Yet when Germans like Horst Buchholz, Mario Adorf, Heinz Drache, Werner Peters and Sonja Ziemann receive tempting offers from foreign producers, the German movie industry cannot help but get a lift. The proudest example is Hardy Krueger who, for his part in “The Flight of The Phoenix” was competing the Oscar.
Even the attempt to promote “clean” motion pictures had its beneficial results, though in a very unexpected way. People turned out in droves to see those movies who received the lowest ratings. The recommended ones turned out to be the biggest money-losers. Distributor Eckelkamp, who was so successful with “The Silence”, lost $70,000 in promoting the recommended “Das 1. Eangelium Matthaeus”’.
If you don’t hear too much of this renaissance, don’t be surprised. After the government has started its assistance, the oldtimers in the West German movie business are trying to milk the cow as well. That’s why they still tell the weirdest stories about the poor situation of the West German movie industry.
At least the movie theatres are more popular in West Germany than artier places. The West German citizen frequents movie theatres seven times a year at an average. Only once every three years he watches a drama or an opera, and even only once every seven years he dares to venture into an art gallery.
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CINE World is published by CINE World Publications; K. Godzinski, Publisher. Subscription in Canada and U.S.: $2.00 per year (6 issues); Foreign $3.00; Single copy: 35¢. Mailing address: Box 86, Toronto 9, Canada. Advertising rates upon request. Printed in Canada. Signed articles represent the views of their authors, which views are not necessarily shared by the editors and publishers. Vol. 3 No. 3 (12) 1966
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