Der Mann, der sich verkaufte

On the whole good film about a journalist who wants to have a hit-story at any cost, including life. But the makers want to tell more than just a story about sensation journalism. The very interesting aspect of the film is that the journalist is a just married young man who wants to have his share of the German Economic Miracle of the 50's: everything the couple has bought is on installment; he needs money more than human feelings. Thus this film is critical of the way West Germany was economically, politically and certainly socially developing in the late 50's; no wonder, as the main writer was journalist Erich Kuby, the same man who reported on the "Rosemarie Nitribitt affair" in 1957 (see the film "Das Mädchen Rosemarie" by Rolf Thiele), that also gave a very unwelcome view on the West German Economic Miracle.

The script is very well written, though it is a pity that towards the end focus shifts mainly to clearing the murder case; how the former black marketeer and his business companions could get away with their enterprising in the 50's is not made clear, with this aspect the film is not courageous enough. The direction of Josef von Baky (of "Münchhausen" fame) is good routine. Hildegard Knef and Fritz Schmiedel were justly awarded for their parts, but I think that Hansjörg Felmy is as good as the man who sold himself.

Crime drama from the economic miracle era with Hildegard Knef and Hansjörg Felmy

This German crime film (1959) by Josef von Baky (also director of "Münchhausen" (1943) with Hans Albers in the title role and the Edgar Wallace film "Die seltsame Gräfin" (1961)) is a production by the Filmaufbau Göttingen, which however was filmed in Hamburg. Hans Abich and Rolf Thiele produced it. The script comes from Erich Kuby, who had recently co-written the screenplay for "Das Mädchen Rosemarie" (1958) and is therefore a proven critic of social conditions in the Adenauer era.

It's about the ambitious reporter Niko Jost (played by Hansjörg Felmy), who works on a successful series of articles called "Black Market and White Vests". His articles denounce the dark past of the nouveau riche profiteers of the economic miracle era: Nazi past, black market racketeering, organized crime. Of course, that doesn't suit everyone, and so Niko Jost makes a lot of enemies. Only when one of these nouveaux riches is accused of murder do events begin to unfold that were previously unforeseeable. Circumstances come to light that make some things appear different and more nuanced.

This film sharply criticizes the abysses of the economic miracle and the Adenauer era. But the not always so clean methods of the sensationalist press are also made clear. The whole thing results in a contemporary document worth seeing that deals with the time at that time in a differentiated and pointed way. The actors do an excellent job and are convincing in their roles (particular mention should be made of Antje Weisgerber as the grieving widow and Katharina Matz as the sensational reporter's wife).

The great Hildegard Knef plays a woman with a mysterious post-war past who, through a clever marriage, now belongs to the circle of the established nouveau riche and can contribute a lot to solving the case. The fact that the German global star Hildegard Knef, after successes in Hollywood and on New York's Broadway (unfortunately she was not allowed to play her leading role in the Ninotschka musical "Silk Stockings" in the film adaptation), takes on a rather less glamorous role here is surprising at first. But it is very impressive to see how Hildegard Knef puts herself entirely at the service of the story to be told. For her outstanding performance KNEF was awarded the GERMAN FILM AWARD.

This film offers an intelligent insight into the time and forms a pleasant contrast to the much criticized local, hit and entertainment films that were made in those days. But the cinema of the Adenauer era is much more complex, as this film proves. A discovery is worth it!