O Cabo de Koepenick

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...

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."

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.

Based on a true story, this Oscar-nominated movie concerns itself with Heinz Ruhmann, an ex-con who wants to get back to work but finds himself frustrated with the German Empire's bureaucracy that makes him fall into the cracks. Finally, in an effort to get a passport, he finds an old uniform at a second-hand dealer's shop, buys it, wears it, and orders soldiers to follow him to a town, where he orders everyone about with obedience to military orders drilled into seemingly every German.

Helmut Käutner's version of the oft-told tale has its moments of satire, but really, it's more a character study of Heinz Ruhmann, his sad frustration at dealing with the insanity of a perfect system, that decrees that you can't get a job without a lodging permit, you can't get a lodging permit without a job, and you can't get a passport to get out without.... well, whatever it is, it can't be done. The movie is shot through with humanity, from Edith Hancke's sick lodger, to Willy Kleinau as Ruhmann's brother-in-law, who takes care of his family, and bears up under the lack of concern that the German government treats him with, with an almost pious belief in the order of things.

It's not that the system is a bad one. It's that no system works.

In a slight but well observed little fable about societal hierarchies, snobbery and injustice, Heinz Rühmann is fine as the ex-con who finds wearing a military uniform can get him everything otherwise hopelessly out of reach. It's a humorous tale, but there's nothing in it that will actually make you laugh, and it takes a whole hour to get to the interesting part of the story, which is much too long. It doesn't really add up to anything much but it's an agreeable enough watch, lovably capturing Old Europe in all its handsome grandeur and ridiculous pomposity, and shot with a good deal of character in early Eastmancolor.