The Punch Bowl

A German film from 1944 is suspect. What to expect?

A propaganda movie? There are some reviews who have discovered some elements of Nazi ideology deep down in the movie, but in general I would not call this a propaganda movie.

A comedy? That makes more sense! The war wasn't going very well for Germany at this point in time and the public public could use some entertainment to forget for a moment their everyday misery. The lead actor Heinz Ruhmann was an established comedy star in Germany from 1930 onwards.

The best characterization of the movie however is given by words like nostalgia ("sehnsucht" in German) and melancholy. Das dritte Reich has lost its glamour and the film longs for times gone by (the good old days). This is true for the main character (he longs back to his high school days) and for the film in total (it is situated around 1900).

The teachers ("Herr Professor" in German) are excentric and rather naive. There is no femme fatale in the movie, but one can imagine that they would have ended just like Professor Rath in "Der Blaue Engel" (1930, Josef von Sternberg) had there been one. For a moment the Nazi regime kept the drollery of the students for rebellion against the authority of the teachers and didn't give permission for the release of the film. It took a visit from Ruhmann to propaganda minister Goebbels to change his mind. One only has to compare "Die Feuerzangenbowle" with "Zero de conduite" (1933, Jean Vigo) to understand how exagerrated the fear of the Nazi regime was.

"Die Feuerzangenbowle" is absolutly one of the Best Movies ever and the Best German Movie at all. In my personal Ranking the "Feuerzangenbowle" is under my TOP 8 Movies. Between "The Life of Brian" it's the funniest Movie. It's made during the II. World War near Berlin. At one Time the British and US-Bomber came and at the other Time this Movie was made. Such a funny Movie in such a Dark Time. In the Beginning the Movie was forbidden by the Nazis but the they need every Laugh for the poor German Humans.

The Cast of this Movie it outstanding in the German History. There are not only Stars, no - but every Character is perfect casted. The leading Man Heinz Rühmann is the Best Actor in the History of German Movies. And here he has his Best Part before his Character-Time from the End of the 50s to the End of the 60s. He played the leading Role in the Oscar nominated Movie "The Captain of Koepenick" and a supporting Role - his only Hollywood Movie (he was too old this Time and don't wanted to leave Germany for longer Time) - Stanley Kramer's "The Ship of Fools". The "Halliwell's" means, he is Great in this Movie. It's truly sad for non-German speaking Persons that they can't see his Movies (you can but at the most important Countries like USA, UK, Canada, France, Japan and Australia are non-English or non-Motherlanguage not often shown and seen)

sorry for my bad English (I learn and try - learning by doing)

Ok, so I know this film was designed to distract German audiences from the impending defeat in WWII - escapist propaganda kitsch, no less, as Göring realised at an early screening in Hitler's headquarters. And I know that Heinz Rühmann (who plays the lead role) was a slimy opportunist who led a cushy life under the Nazis. Decent German actors left the country once Hitler took over in 1933 (Marlene Dietrich did, for example, which is why people spat at her in the streets when she returned to post-war Germany). But what the hell, this film works. It works at all levels. The comic timing - Rühmann's as well as that of the other actors - is impeccable; the acting in general is very good, the plot moves quickly, and the gags follow each other nicely. Moreover, there is a sentimental undercurrent, which I can't remember having noticed in contemporary British or American comedies but which goes down very well in Germany. It does so to this day: 'Die Feuerzangenbowle' is a cult movie, especially among students. In short, it is a very good film, up there with the three or four best German comedies ever. Recommended viewing!

It begins with a group of authors around a bowl of hot punch, reminiscing about their schooldays, the pranks they played, and how the teachers were all good guys anyway. Among their number is Heinz Rühmann, who never had schooldays. He was privately educated and is now a successful poet, novelist, and playwright. He decides he has missed much, so he shaves off his beard and mustache, cuts his hair, and dons a pair of glasses. He next joins a provincial school as a senior, and proceeds to indulge in all the tricks, japes, and escapades that he missed out on.

This is, of course, a chance for 41-year-old Rühmann to offer his audience a grand old time, as he evades the punishment for his skylarking by means of sophistry and taking advantage of the stultified decorum of the institution. His japes are funny, and that alone would be good enough. Yet take a look at the way the teachers are portrayed: a bit stuffy, but good-hearted and with the best interests of their pupils at heart, even if they often don't quite know how to do their jobs. We see the events through Rühmann's eyes, more experienced than his fellow students, and wiser than his unworldly teachers. It's a surprisingly warm comedy.

This delightful film adapted from his own novel by Heinrich Spoerl and directed by the very capable Helmut Weiss ran into all sorts of trouble with the education authorities who strongly objected to its depiction of bumbling old schoolmasters and disrespectful, disruptive pupils who brought classes to the brink of near anarchy.

Its star Heinz Ruemann was chummy with Hitler, whether from choice or expediency we will never know and Hitler certainly admired Ruemann's acting. It was apparently only by his appealing personally to Adolf during a visit to the Wolf's Lair that the film was permitted to be shown. Probably as a sop to the powers that be the makers were obliged to introduce a character not in the original book named Brett, played by Lutz Goetz, a young history teacher who expounds upon the virtues of discipline and says that he gives his pupils a clear choice between peace or war. All this is said while maintaining a smile!

What of the cast? Ruemann is an impeccable, immaculate artiste and excels as Pfeiffer. Erich Ponto as Professor Crey again manages to steal most of his scenes although Ruemann gives him a run for his money. There are also fine performances by Hans Liebelt as the harassed headmaster and by Hilde Sessak and Karen Himboldt as the women in Pfeiffer's life. Himboldt refused to give the Nazi salute at the premiere and this courageous act of defiance effectively scuppered her career.

This is a heartwarming, uplifting and beautifully realised piece and one is not at all surprised to learn that it remains to this day a cult film in Germany.