Rendez-vous à Zürich

Helmut Käutner adapted the jolly novelette by Barbara Noack into a lighthearted and joyful romantic comedy with witty dialogue in the very good script. First viewing and an only rudimentary knowledge of the German cinema of the 50's may let the viewer escape all the niceties of the film. Noack's novelette partly takes place within the German film industry and Käutner expanded this premise to satirize the making of the same film, giving him the opportunity to mock the reigning laws within the German cinema. Furthermore he enriched the story by making the lead character into a more independent woman than in the novel.

Quite some though friendly, but always clear scoffing at the average sugar sweet German films of the 50's is going on. In the scene where the possibilities of filming the script are discussed a little statue of a deer is in the picture: the Bambi was a German film prize. Sonja Ziemann, regular in the Heimatfilm, at one moment says: That is what the people always want to see. Even a standard scene in genre Mountain film like the meeting of the girl and her two suitors in an Alpine hut, is taken care of. Käutner does not spare himself too; he always had a bit part for himself in his films and in this one he is a journalist saying to Bernhard Wicki (who plays the film director(!) very well): "I am against directors playing in their own films".

Käutner's direction is immaculate and I consider this stylish comedy one of his best films of the 50's and to be preferred to the film "Hauptmann von Köpenick" (made in 1956, just before this one) that gave him international recognition. The very good cinematography of Heinz Pehlke (his first in colour) in combination with the fine set and costume design make it a visually rewarding film as well. The music and songs by Michael Jary (text probably by Käutner) add to the enjoyment.

The cast is good and Liselotte Pulver is extremely well as Juliana and Paul Hubschmidt is well type-cast as the boring Swiss. And of course there could have been only one actor for the fictive part of Herr Uri: Rudolf Platte, who again only has a bit part but plays it like he has to carry the film. Anny Ondra and Max Schmeling have cameos.

An unusual romantic movie. Lilo Pulver plays an independent (for its time) dental assistant and hopeful scriptwriter who one day encounters the man of her dreams. Or perhaps she does not. Or perhaps she does.

The film has dated much less badly than other romantic comedies from this era. Amongst other reasons is that the central characters are not meant to be perfect, not even perfect for each other, and this adds a touch of realism that is very refreshing. The cast is excellent, in both supporting and leading roles - the leads are not completely overwhelmed by the notorious scene stealers Rudolf Platte and Werner Finck.

This has been one of my favourite movies as a child, when they were still showing 1950s-movies on TV. I hadn't seen it for almost 20 years when I recently bought the DVD. I was surprised at how fresh it still felt - the dialogue is very witty, the relations of the characters are realistic (even sex is implied - huch! That in the German 50s!), and the recurring references to writing a screenplay and to German movies of the time are very amusing ("You should have a tame deer in it!"). The movie is carried by the brilliant lead actors - there couldn't have been anyone else than Lilo Pulver to play Juliane, and the contrast between Bernhard Wicki and Paul Hubschmid is the perfect analogy to Bueffel and Berner from Barbara Noacks novel. I'm glad I have it on DVD now.