El capitán Kopenick

This is a great movie. Set in about 1910 in Prussia, a middle-aged shoemaker who has been in prison is in a catch-22 situation - he wants to leave to get work in Hungary, but can't get a passport. He can't get work because he doesn't have papers and can't get papers because he doesn't have work. The theme is really how the Germans of that time were so willing to follow senseless rules and figures of authority. The shoemaker buys a captain's uniform, commandeers a small troop of men, and tries to solve his problem by impersonating a captain. The actor playing Willem Voigt is wonderful - human and touching. Only problem is that the film is available on DVD but only from Germany, so I think it's not workable in our DVD machines.

Forget Heinz Ruehmann playing Heinz Ruehmann interpreting the "Hauptmann von Koepenick", concentrate on some of the remarkable supporting actors and actresses to have at least some fun. And then, try to get 1931's "Hauptmann von Koepenick" with Max Adalbert...

If stage is included, this play has been the first real caper movie with a smart and sympathetic robber and and a weak but unbeatable seeming system, which is able to give him no options in his normal life, than to beat the system with it's own weapons. The real case of Wilhelm Voigt is as legend in and around Berlin. Zuckmayer's play is one of the best of it's time. I've seen it on stage several times in several towns and countries, but Rühmann is not to defeat. No one else did the job that good, than he did, seeming to be a tall guy, when he was just a small one, being impressing, when he didn't even knew how to handle his own life, giving the money back to prove the faults of the system or just to get a passport. If you like caper movies, just check out, what brains of them might have seen before...

This true historic story tells a lot of the Kaiser's era as imperator of germany up to 1918. Rühmann prooves being an excellent comedy-actor. By charm spectators are seduced into the first decade of the 20th century, where life had there no witticism, and keep on Rühmann's side in the movie.

In 1940 one of Germany's finest directors and its most popular actor combined to make a delightful piece entitled 'Clothes make the man' and teamed up again sixteen years later with this adaptation of Carl Zuckmayer's satire on the dangers of militarism which had been previously filmed twice by Richard Oswald. Although the milieus are totally different, both films have a not dissimilar theme, dealing as they do with how one's social standing and how one is viewed are determined by the way one is costumed.

Both films are essentially vehicles for the immensely talented and much-loved Heinz Ruehmann whose persona encourages the viewer's sympathies. Although greatly admired by Hitler and co., he had cleverly managed to appear neutral whilst his influence enabled his ravishing wife Hertha Feiler to star in films despite her grandmother being Jewish. Both he and director Helmut Kautner somehow succeeded in remaining apolitical.

This latter film takes a satirical swipe at both the military mentality and the Prussian cult of the uniform whilst the visual juxtapostions of the military elite and the hoi polloi are well realised. Quite a few buffoons on display of course with a particularly fine performance by Martin Held whilst Hannelore Schroth as his wife does her best in a thankless role. It is not without its serious moments and Ruehmann's plea as the hapless Wilhelm Voigt for humanity over rules touches the heart.

It is a faithful adaptation with excellent production values and would have delighted Ruehmann devotees whose presence guaranteed a healthy box office but for this viewer at any rate the director seems, unusually for him, to have played it safe on this occasion and not taken any chances which results in the film somehow lacking the requisite bite.

What it does in no uncertain terms is to call to mind Peter Ustinov's observation: "The Army is the final repository of the fool."