II. Anmerkungen zum Buchtext, Teil II - Einsnull

In September 1951, the dubbing supervisor for the German distributor (Prisma), Dr. ranz Biermann,
thus noted: «The bad reviews (of ATOLL K) were based on the poorly dubbed American version of the film, so
that no one could get an idea of the acoustic charm of the voice of Suzy Delair, etc. urther, in the American
version dissolves etc. are only preliminary or entirely missing...»
The first print German distributor Prisma obtained was the uncut, 98-minute English variant. Even separate
music and effects tracks were available. Prisma aimed at having the film passed for general exhibition
very quickly, so there was not too much time. Soon, Dr. Biermann took action and demanded a working
copy of the rench version as a basis and asked for «special attention in dubbing» due to the significance
of the film. urther, he planned to enhance the film’s structure. Continuing in his notes, he wrote:
«The film consist of three sections, only loosely connected by voice-over narration. The middle part doesn’t fit in at
all and is quite weak. Essentially, it puts a halt to the Dick & Doof plot line and prematurely tires the audience. There
is a risk that the film doesn’t sufficiently stimulate the audience anymore in the third part, since even this section
has severe pacing problems and doesn’t quite bring its main protagonists to their full effect, like the really excellent
first third does. [...]
The voice over narration is really only a makeshift solution [...].
The dubbing thus has the difficult task to enhance the film’s pacing in the last third by editing and to dilute the second
part’s embarrassing clumsiness. Strategically adding weight to the narration is considered the main remedy for
these problems, so that some parts of the plot, upon further editing, may be clarified by the narration [...]
All scenes in the Suzy – razer section (songs and wedding) are to be cut accordingly. Any padding needs to be removed,
the point of the scenes needs emphasis. One owes this to the German audience of the Dick und Doof films.»
The approach for the main dub actors was straightforward – «Since Bluhm is the 100% appropriate voice cast
for Stan, auditions for Hardy and Delair (voice and songs) will suffice...» — although Biermann strangely
did not even consider Paulsen for Hardy. Hermann Pfeiffer (voice actor for inlayson in a couple of earlier
German Laurel and Hardy adaptations) was to lend his voice to the elderly Dick.
In the end, the careful work repaid. The German ATOLL K worked much better than its more extensively
and considerably more poorly abridged UK and US versions.
With the help of the narrator, the film succeeded in rushing through the boring marriage dispute between
the bridal couple and quickly introduced razer’s arrival on the atoll.
When the island finally resubmerges into the ocean, the narration also satisfies any censorship concerns
over youth protection, confirming as it does that no one really got hurt (in the original versions, Laurel
and Hardy are the sole survivors of the catastrophe). Yet another scene was altered, presumably through similar
motivation. In the original, it’s poor razer for whom our friends shed tears. In the German adaptation,
in turn, it is the castaway’s lobster friend Oscar, who has just been «promoted» into a delicious, steamy
soup by Suzy.
Incidentally, Biermann’s instructions confirm that more often than not it was the distributors, not the
dubbing companies themselves, who typically interfered with films’ contents or structure in their German
post-war versions, such as when the Nazi references were removed from NOTORIOUS or CASABLANCA. In the
case of ATOLL K, though, such manipulations ironically resulted in a German version that was not only better,
but, decades later, is actually still sought out by American aficionados for the additional Laurel and
Hardy scenes it maintained!
Reviews were generally positive. The Catholic critics, whose reservation regarding the team’s work has
been noted before, apparently warmed to the film’s satire: «It is the first time that Dick & Doof make attempts
at the satire and parody genre, adding deeper sense to their inexhaustible gags and grotesque comedy
without losing any of its humour. Careful direction and photography, in part with neo-realist stylistic devices,
and felicitous effects work formally lift this Dick & Doof film above their typical level. Tightening some lengthy
parts would be to its advantage», wrote the reviewer, concluding: «Dick & Doof film with satiric ambitions,
which can also be shown to mature kids.»
Prisma, the distributor who in essence «rescued» the problematic film for the German fans, was never to
distribute Laurel and Hardy films again. However, the company remained in business for many years, most
notably helping to launch the ever-popular series of German Edgar Wallace «krimis» («crime dramas») in
the early 60s before finally closing down.