II. Anmerkungen zum Buchtext, Teil II - Einsnull
II. Anmerkungen zum Buchtext, Teil II - Einsnull II. Anmerkungen zum Buchtext, Teil II - Einsnull
Cuts were also imposed on Laurel and Hardy’s other three-reelers for unclear reasons. Strangely – given the availability of dubbing techniques and the fact that the previous releases had been in German, albeit phonetically so – these films were once again shown in English, with German subtitles. A number of new regulations may have triggered this decision, the single most important being that from this time on, German dubs of foreign films had to be made in German studios. M-G-M did not yet have their own dubbing studio in Germany, but now they had even more reason to arrange for one. Other changes were in order as well: M-G-M would no longer accept the popular but somewhat derogatory trade name Dick und Dof; and supporting players’ names were now left in their original versions, instead of trying to find «funny» German equivalents. Numerous shorts followed. SCRAM! earned the distinction of being marketed with equal prominence to the feature it supported, in this case the Marie Dressler film EMMA. Another intriguing combination of comedians was in the programme pairing HARTE EIER UND NÜSSE («Hard Boiled Eggs and Nuts», which anyone familiar with Laurel and Hardy will quickly recognize as COUN- TY HOSPITAL) with the Buster Keaton M-G-M talkie THE PASSIONATE PLUMBER. Keaton’s M-G-M talkies were rather successful in the States at the time, but today are not exactly considered the pinnacle of his career. Contemporary German critics saw the feature’s weakness as much as they did the short’s strength, suspecting the latter was really the undeclared main attraction. As delightful as it was seeing Laurel and Hardy in the theatres during that period, the times themselves were not, for on the fatal day of January 30, 1933, Adolf Hitler seized power. When BE BIG and LAUGHING GRAVY were shown in theatres (as individual shorts, quite unlike the phonetic feature-length combinations LES CAROTTIERS and LOS CALAVERAS prepared for rench and Spanish-speaking audiences), censorship regulations had not yet been further tightened. LAUGHING GRAVY was once again coupled with a Keaton talkie, and this time the short was even advertised in bigger lettering. urthermore, an unidentified Charley Chase short was added to the programme and, unlike Buster or the Boys, Chase personally attended the premiere. Laurel and Hardy’s colleague not only accepted the audience’s warm applause, but also gave a little «Dankesspeech». Only after that did the show continue, resulting in an event that offered «nearly too much laughter,» as contemporary critics noted. BE BIG was, for the time being, the last Laurel and Hardy short thus released to German theatres. The next Laurel and Hardy film in line was a feature, the comic opera RA DIAVOLO. Again, the English version was subtitled, and for the first time, a trailer was used in the marketing of the film. The critics raved. «Chaplin and Harold Lloyd cannot keep up with that,» they wrote, illustrating the point with a caricature. amous critic Herbert Ihering observed: «Silent Chaplin comedy in talking picture. The laughter does not end.» Another paper, though, complained about the «cheesy» aspects and grumbled: «It isn’t exactly stimulating that everything is spoken in English.» New zeitgeist, or an early advocate of dubbed versions? Indeed, CAPTAIN O THE GUARD and ALL QUIET ON THE WESTERN RONT had been the first films to be dubbed into German by means of a so-called «Rhythmographie» process. A couple of months later, the WWI-themed PACK UP YOUR TROUBLES opened in Berlin in its entirety, only to be cut a few weeks later. German authorities now did not appreciate seeing Laurel and Hardy in combat with German soldiers. In 1934, while the Nazis started to restructure the German film industry and regulations, SONS O THE DE- SERT became the first German-dubbed Laurel and Hardy film. As many as five different institutions – up to the ‹ührer› himself – were now in control of any release, but with selected exceptions, this had little impact on the comedy team’s films. Probably just to be on the safe side, or maybe to serve two entirely different kinds of audiences – a more demanding minority of purists and the general public – SONS was first passed in the original version. or the dubbed variant, a trailer and press materials at that time supported the marketing of this «Metro-Goldwyn-Mayer ilm in German language», and at least one German critic was receptive to the unique qualities of this Laurel and Hardy feature – which many believe their best – writing that «Dick and Dof, masters of slapstick comedy, prove that they are truly remarkable actors.» (Berliner Nachtausgabe). Sadly, the German-dubbed film itself and details of the German voice cast remain elusive, and thus it cannot be clarified whether SONS also was the debut performance of the German actor who – at least as far as vocals are concerned – was to become DO: Walter Bluhm.
Bluhm was born on August 5, 1907 in Berlin. After failing to be accepted by an acting school at the age of 18, he was instead supported by the famous theatre director MaxReinhard and, from 1930, appeared with some regularity on the various stages of Berlin. Some film appearances, as well as dubbing work, supported his income in the 30s until he was drafted into the army and sent to rance in 1940 and the Soviet Union in 1941. Applications to be classified as ‹indispensable› for theatre work were dismissed, and only a war injury brought Bluhm back to Berlin to recover. His last film acting appearance during that time dates from 1944. ast-forward to the seventies, when Bluhm was still dubbing Laurel for TV and had a chance to talk about his work in a number of interviews. In particular, Bluhm described the massive search apparently conducted by American M-G-M in 1936 to find suitable Laurel and Hardy dubbing voices. Sample recordings were made and sent to the States for appraisal, where comparisons to the real thing were one of the criteria. Among the contestants were actors Will Dohm and Erik Ode (later a dubbing director and TV krimi star). The choice fell on Dohm and Bluhm. Dohm was born April 8, 1897 in Cologne, studied acting during WWI and had appeared in various theatres throughout Germany by 1921. 1928 was the year of his first film appearance, and he was soon confined to comedy. Sadly, Dohm passed away on November 28, 1948, right before the massive dubbing of Laurel and Hardy movies started in post-war Germany. Bluhm proved a particularily good casting: he was to keep the job until his death on December 1 st , 1976, and the German audience truly loved his vocal impersonation of Stan, or Doof.«Doof has been my alter ego for 35 years. The search conducted by American MGM was exciting. Every applicant had to send resumé, photos and sound recordings to Hollywood. inally, the lions at MGM decided I was to be the German dubbing voice for Stan Laurel. I cannot remember just how many times I dubbed Doof. I only recall that in one instance I needed to pass because of an earlier obligation. And right away, people asked what happened to Doof’s ‹real› voice. [...] Dick has exhausted quite a number of well-known [German dubbing] voices...» In any case, the next Laurel and Hardy feature, BABES IN TOYLAND, was merely shown in asubtitled original version. It can only be speculated as to why the film was not dubbed; it mayhave been the result of SONS not being considered satisfying, or perhaps the film was to be rushed on to the market. Even so, in the subtitles Stannie Dum became Stannie Dumm (dumm = dumb), and the marketing materials not only once more mentioned the Dick und Doof label, but also reported the team’s numerous other foreign names, such as El Gordo y el laco (South America and Spain), Helan och Halvan (Sweden), Chondros and Highos (Greece), lip i lap (Poland), Gøg ok Gokke (Denmark), Sisman ve Zaif (Turkey) and Crick e Crok (Italy). While more Laurel and Hardy shorts kept appearing in Germany, the overall balance is far from complete. Out of Laurel and Hardy’s 40 talkie shorts (plus four short films featuring cameos), as many as 22 were first seen in Germany only after WWII! Among those shown, ONE GOOD TURN is an example were actual film material of the subtitled German version survives; sadly its bare-bones German main titles cannot hold a candle to the lovely elaborate originals. BONNIE SCOTLAND was to become the second Laurel and Hardy feature to be dubbed into German. In contrast to SONS, a bit more information on the adaptation has surfaced. The dubbing was a rather careful adaptation, employing no less than two dubbing directors. Werner Jacobs, later a director of a number of postwar German entertainment films, recalls: «Back then, a lot of care went into dubbing. Today, this isn’t common anymore, everything has to be done quickly. Back then, there were long artistic discussions in preparation, how to vocally recreate the original and be able to mature the text aesthetically and in terms of performance. Also, voice recording required hard work, until a satisfying result was achieved for the section worked on and with regard to the original. Up to seven authors were employed for one film, plus a cabaret artist for Laurel and Hardy. Payment, by the way, was very good.» But once again, it remains unknown which German actor dubbed for Laurel. Hardy’s German voice in this case was Ernst Legal, a prolific and well-known German theatre actor. The Austrian Paimann’s ilmlisten’s writer observed: «The German adaptation of the dialogue is appropriate, but employs many northern German idioms, especially in the military commands, which appear out of line with the milieu.» Right before the Austrian premiere, the Vienna journal Mein ilm («My ilm») published an intriguing piece, asking readers to join the Stan Laurel and Oliver Hardy Kid’s Club. The application form read: «I understand that there is no membership fee. My only obligation is to live by the motto ‹always be cheerful!› anytime.» The item was accompanied by a photo of Laurel and Hardy with the club membership cards; the first
- Seite 583 und 584: XIV. Übersicht über die deutschen
- Seite 585 und 586: KRAGEN UND MANSCHETTEN (TV) COLLARS
- Seite 587 und 588: WENN DIE LÖWEN LACHEN (TV) ROUGHES
- Seite 589 und 590: XV. Übersicht über Laurel und Har
- Seite 591 und 592: The Laurel & Hardy Murder Case Belo
- Seite 593 und 594: Sugar Daddies Zwischen Bestien und
- Seite 595 und 596: The Live Ghost Gespenst an Bord = D
- Seite 597 und 598: With Love and Hisses Käse mit Knob
- Seite 599 und 600: Way Out West Dick und Doof im Wilde
- Seite 601 und 602: Going Bye-Bye! Der große ang = Dic
- Seite 603 und 604: Towed In A Hole Dick und Doof kaufe
- Seite 605 und 606: XVI. Übersicht über die Kinos (mi
- Seite 607 und 608: Lange Leitung Blockheads W.B.T.-Lic
- Seite 609 und 610: Dick und Doof die Schwerenöter Bea
- Seite 611 und 612: Dick und Doof wie immer auf eigene
- Seite 613 und 614: Deutsches Plakat von 2003 zum Kabar
- Seite 615 und 616: WIR SIND VOM SCHOTTISCHEN INFANTERI
- Seite 617 und 618: XVIII. Quiz-Fragen zu Laurel und Ha
- Seite 619 und 620: 13. Was will der Küchenchef in SWI
- Seite 621 und 622: 2. Hier im Bild sehen wir Oliver Ha
- Seite 623 und 624: XIX. Antworten auf die Quiz-ragen A
- Seite 625 und 626: * Als Alles oder nichts ausgestrahl
- Seite 627 und 628: XX. Adressen der deutschen Laurel-u
- Seite 629 und 630: XXI. English Summary or Internation
- Seite 631 und 632: The next appearances of the emergin
- Seite 633: Some dialogue modifications were im
- Seite 637 und 638: Keaton has meanwhile resurfaced (CA
- Seite 639 und 640: In September 1951, the dubbing supe
- Seite 641 und 642: Youngson’s next film, WHEN COMEDY
- Seite 643 und 644: cast, plus the short TIT OR TAT add
- Seite 645 und 646: or the new dub tracks, Walter Bluhm
- Seite 647 und 648: Deutsche Inseratmatern von 1937 fü
- Seite 649 und 650: At any rate, obviously the history
- Seite 651 und 652: singing! As is well-known, the film
- Seite 653 und 654: Cuts were also imposed on Laurel an
- Seite 655 und 656: 900 club members were to expect «a
- Seite 657 und 658: a musical setting as effective as t
- Seite 659 und 660: ATOLL K was followed by another ela
- Seite 661 und 662: team’s American successors into t
- Seite 663 und 664: should relate to the dry nordic sen
- Seite 665 und 666: Kirch also launched the first Laure
- Seite 667 und 668: XXII. English Captions or Illustrat
- Seite 669 und 670: Page 62, top They really were calle
- Seite 671 und 672: Page 122, bottom left Stage setting
- Seite 673 und 674: Page 178 Article in «ilmpost Magaz
- Seite 675 und 676: Page 203, top «Without dressing»
- Seite 677 und 678: Page 241, top German 1951 center sp
- Seite 679 und 680: Page 271 Take 126 to 129 of the Ger
- Seite 681 und 682: Page 300 Bus + rollercoater = plast
- Seite 683 und 684: Page 340 Rough scetches in the Köh
Bluhm was born on August 5, 1907 in Berlin. After failing to be accepted by an acting school at the age<br />
of 18, he was instead supported by the famous theatre director MaxReinhard and, from 1930, appeared<br />
with some regularity on the various stages of Berlin. Some film appearances, as well as dubbing work, supported<br />
his income in the 30s until he was drafted into the army and sent to rance in 1940 and the Soviet<br />
Union in 1941. Applications to be classified as ‹indispensable› for theatre work were dismissed, and only a<br />
war injury brought Bluhm back to Berlin to recover. His last film acting appearance during that time dates<br />
from 1944.<br />
ast-forward to the seventies, when Bluhm was still dubbing Laurel for TV and had a chance to talk<br />
about his work in a number of interviews. In particular, Bluhm described the massive search apparently<br />
conducted by American M-G-M in 1936 to find suitable Laurel and Hardy dubbing voices. Sample recordings<br />
were made and sent to the States for appraisal, where comparisons to the real thing were one of the criteria.<br />
Among the contestants were actors Will Dohm and Erik Ode (later a dubbing director and TV krimi star).<br />
The choice fell on Dohm and Bluhm. Dohm was born April 8, 1897 in Cologne, studied acting during WWI<br />
and had appeared in various theatres throughout Germany by 1921. 1928 was the year of his first film appearance,<br />
and he was soon confined to comedy. Sadly, Dohm passed away on November 28, 1948, right before<br />
the massive dubbing of Laurel and Hardy movies started in post-war Germany.<br />
Bluhm proved a particularily good casting: he was to keep the job until his death on December 1 st<br />
, 1976,<br />
and the German audience truly loved his vocal impersonation of Stan, or Doof.«Doof has been my alter ego<br />
for 35 years. The search conducted by American MGM was exciting. Every applicant had to send resumé, photos<br />
and sound recordings to Hollywood. inally, the lions at MGM decided I was to be the German dubbing voice for<br />
Stan Laurel. I cannot remember just how many times I dubbed Doof. I only recall that in one instance I needed<br />
to pass because of an earlier obligation. And right away, people asked what happened to Doof’s ‹real› voice.<br />
[...] Dick has exhausted quite a number of well-known [German dubbing] voices...»<br />
In any case, the next Laurel and Hardy feature, BABES IN TOYLAND, was merely shown in asubtitled original<br />
version. It can only be speculated as to why the film was not dubbed; it mayhave been the result of<br />
SONS not being considered satisfying, or perhaps the film was to be rushed on to the market. Even so, in<br />
the subtitles Stannie Dum became Stannie Dumm (dumm = dumb), and the marketing materials not only<br />
once more mentioned the Dick und Doof label, but also reported the team’s numerous other foreign names,<br />
such as El Gordo y el laco (South America and Spain), Helan och Halvan (Sweden), Chondros and Highos<br />
(Greece), lip i lap (Poland), Gøg ok Gokke (Denmark), Sisman ve Zaif (Turkey) and Crick e Crok (Italy).<br />
While more Laurel and Hardy shorts kept appearing in Germany, the overall balance is far from complete.<br />
Out of Laurel and Hardy’s 40 talkie shorts (plus four short films featuring cameos), as many as 22 were<br />
first seen in Germany only after WW<strong>II</strong>! Among those shown, ONE GOOD TURN is an example were actual film<br />
material of the subtitled German version survives; sadly its bare-bones German main titles cannot hold a<br />
candle to the lovely elaborate originals.<br />
BONNIE SCOTLAND was to become the second Laurel and Hardy feature to be dubbed into German. In contrast<br />
to SONS, a bit more information on the adaptation has surfaced. The dubbing was a rather careful<br />
adaptation, employing no less than two dubbing directors. Werner Jacobs, later a director of a number of<br />
postwar German entertainment films, recalls: «Back then, a lot of care went into dubbing. Today, this isn’t<br />
common anymore, everything has to be done quickly. Back then, there were long artistic discussions in preparation,<br />
how to vocally recreate the original and be able to mature the text aesthetically and in terms of performance.<br />
Also, voice recording required hard work, until a satisfying result was achieved for the section worked<br />
on and with regard to the original. Up to seven authors were employed for one film, plus a cabaret artist for<br />
Laurel and Hardy. Payment, by the way, was very good.»<br />
But once again, it remains unknown which German actor dubbed for Laurel. Hardy’s German voice in this<br />
case was Ernst Legal, a prolific and well-known German theatre actor.<br />
The Austrian Paimann’s ilmlisten’s writer observed: «The German adaptation of the dialogue is appropriate,<br />
but employs many northern German idioms, especially in the military commands, which appear out of line<br />
with the milieu.»<br />
Right before the Austrian premiere, the Vienna journal Mein ilm («My ilm») published an intriguing<br />
piece, asking readers to join the Stan Laurel and Oliver Hardy Kid’s Club. The application form read: «I understand<br />
that there is no membership fee. My only obligation is to live by the motto ‹always be cheerful!› anytime.»<br />
The item was accompanied by a photo of Laurel and Hardy with the club membership cards; the first