Jakob Der LГјgner Film Filmdatenbank
Jakob der Lügner ist eine Verfilmung des gleichnamigen Romans des Schriftstellers Jurek Während der Film dadurch verflacht, gelingen Robin Williams und vor allem Armin Mueller-Stahl überzeugende darstellerische Leistungen.“. Der Film orientiert sich stark an der Romanvorlage Jakob der Lügner. Er verzichtet allerdings auf die parallele Geschichte um Professor Kirschbaum. Doch der fiel durch "Spur der Steine" in Ungnade und durfte vorerst keinen Film drehen. So arbeitete Jurek Becker das Thema zu einem Roman. however this movie has managed to overcome the facts of historical events so as not to seem like a documentary or just another holocaust film. it focuses on one. erhielt der Filmemacher das Filmband in Gold des Deutschen Filmpreises für sein Lebenswerk. "Jakob, der Lügner" schaffte es auch als erster und einziger.
Doch der fiel durch "Spur der Steine" in Ungnade und durfte vorerst keinen Film drehen. So arbeitete Jurek Becker das Thema zu einem Roman. however this movie has managed to overcome the facts of historical events so as not to seem like a documentary or just another holocaust film. it focuses on one. DEFA-Spielfilme )Die DEFA-Stiftung erhält die Filme der DEFA und macht Film-/Videoformat: 35 mm; Länge in m: ; Sonstiger Titel: Jakob le. Becker, who had originally planned Jacob the Liar as a screenplay, decided to make it a novel instead. He is told to report to a German military office where he finds the officer in charge passed out drunk. Becker's biographer Beate Müller wrote that while the implications serie phГ¶nixsee the Plenum played a part in this, "it would be misleading to lay all responsibility there": neither Becker nor the film were mentioned by the Party, and DEFA might have simply found another director. Günter Marczinkowsky. Dazn live stream, Jakob sneaks out and goes home. Rita Hiller.
Jakob Der LГјgner Film VideoDie zwölf Geschworenen - Fernsehfilm-Klassiker von 1963
The producers soon encountered difficulties. During the convention, the cinema industry was severely criticized and blamed for taking artistic liberties incongruous with Marxist ideology.
In the following year, some twelve recently produced pictures were banned: the most prominent of those were Kurt Maetzig 's The Rabbit Is Me and Beyer's Trace of Stones.
The latter had its premiere in summer , but was soon removed from circulation. Consequently, the director was reprimanded by the Studio directorate and blacklisted.
He was forbidden to work in cinema, and was relegated to work in theater, and later to Deutscher Fernsehfunk , the East German state television.
Becker's biographer Beate Müller wrote that while the implications of the Plenum played a part in this, "it would be misleading to lay all responsibility there": neither Becker nor the film were mentioned by the Party, and DEFA might have simply found another director.
All future revenues were now dependent on the pictures that were not affected by the Plenum, and only a meager budget remained for new undertakings.
The rejection of the film motivated Becker to turn his screenplay into a novel. Becker, who was now a famous and influential author, went to Beyer instead and suggested they resume work on the unfinished picture from He handed over a page scenario on 22 June ,  which was approved on 11 August.
The film was financed by both companies, with each paying half of the 2. He chose to conduct outdoor photography in the Czechoslovak city of Most , the historical center of which was undergoing demolition ; he believed the ruins would best serve as the site of the ghetto.
Erich Honecker had personally decided to reject him, in what Katharina Rauschenberger and Ronny Loewy called "probably his only productive decision in the field of art Happily, the film was spared from Rühmann".
Eventually, Henry Hübchen received the role. Principal photography commenced on 12 February , and ended on 22 May. Editing began on 4 June.
The studio accepted the picture in October, requiring only minor changes. The final, edited version was completed on 3 December.
The producers remained well within their budget confines, and the total cost of Jacob the Liar was summed to 2,, East German Mark. Jacob the Liar was never expected to be a commercial success: DEFA officials who held a preliminary audience survey in estimated on 28 May that no more than , people would view it.
Müller believed that for this reason, although its premiere in cinemas was to be held in early , both DEFA and the Ministry of Culture did not object when the DFF directorate requested to broadcast it first on television, claiming they lacked an "emotional high point" for the Christmas television schedule.
On Sunday, 22 December , a black-and-white version was screened by DFF 1, in one of the leading prime time slots of its annual schedule.
It was seen by "millions of viewers". When it was eventually distributed to cinemas in April , its attendance figures were further damaged by the earlier broadcast on television.
In spite of this, Jacob the Liar became an international success: it was exported to twenty-five foreign states, a rare achievement for an East German film, especially since only five of those were inside the Eastern Bloc : Hungary, Cuba, Bulgaria, Romania and Czechoslovakia.
In that respect, " Jacob the Liar was certainly no flop. The film was turned down by the organizers of the IX Moscow International Film Festival , held in July , due to its subject, which was deemed "outdated".
Hans-Christoph Blumenberg of Die Zeit commented: "Gently, softly, without cheap pathos and sentimentality, Beyer tells a story about people in the middle of horror The remarkable quality of this quiet film is achieved not least due to superb acting by the cast.
Weiler wrote Jacob the Liar "is surprisingly devoid of anything resembling Communist propaganda He added it "illustrates Mark Twain 's observation that 'courage is resistance to fear, mastery of fear, and not the absence of fear'".
While the topic was not infrequent in East German cinema, it was usually portrayed in a manner conforming to the official view of history: the victims were portrayed as completely passive, while the emphasis was laid on the communist struggle against the Nazis.
In Beyer's film, a Jew was first seen to offer resistance. Paul Cooke and Marc Silberman present a similar interpretation: it was "the first film to link Jews with the theme of resistance, albeit a peculiarly unheroic type".
Jakob was still a representation of the stereotypical effeminate Jew, reminding of Professor Mamlock , and although he "exhibits a certain degree of agency", he still does so out of almost maternal, nurturing instincts.
Daniela Berghahn wrote "the innovative aspects" of the film "consist of its new approach The use of comedy It pays no tribute to history's victors, only to its victim Regisseur Frank Beyer wollte die Produktion jedoch nicht ohne polnische Schauspieler angehen.
April im Berliner Kino Kosmos als Kinopremiere gezeigt. In West-Berlin wurde der Film bei den Internationalen Filmfestspielen mit dem Silbernen Bären ausgezeichnet.
Die tschechischen und ungarischen Darsteller wurden in der deutschen Originalfassung von folgenden Sprechern synchronisiert:.
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