In 1940 one of Germany's finest directors and its most popular actor combined to make a delightful piece entitled 'Clothes make the man' and teamed up again sixteen years later with this adaptation of Carl Zuckmayer's satire on the dangers of militarism which had been previously filmed twice by Richard Oswald. Although the milieus are totally different, both films have a not dissimilar theme, dealing as they do with how one's social standing and how one is viewed are determined by the way one is costumed.
Both films are essentially vehicles for the immensely talented and much-loved Heinz Ruehmann whose persona encourages the viewer's sympathies. Although greatly admired by Hitler and co., he had cleverly managed to appear neutral whilst his influence enabled his ravishing wife Hertha Feiler to star in films despite her grandmother being Jewish. Both he and director Helmut Kautner somehow succeeded in remaining apolitical.
This latter film takes a satirical swipe at both the military mentality and the Prussian cult of the uniform whilst the visual juxtapostions of the military elite and the hoi polloi are well realised. Quite a few buffoons on display of course with a particularly fine performance by Martin Held whilst Hannelore Schroth as his wife does her best in a thankless role. It is not without its serious moments and Ruehmann's plea as the hapless Wilhelm Voigt for humanity over rules touches the heart.
It is a faithful adaptation with excellent production values and would have delighted Ruehmann devotees whose presence guaranteed a healthy box office but for this viewer at any rate the director seems, unusually for him, to have played it safe on this occasion and not taken any chances which results in the film somehow lacking the requisite bite.
What it does in no uncertain terms is to call to mind Peter Ustinov's observation: "The Army is the final repository of the fool."
Both films are essentially vehicles for the immensely talented and much-loved Heinz Ruehmann whose persona encourages the viewer's sympathies. Although greatly admired by Hitler and co., he had cleverly managed to appear neutral whilst his influence enabled his ravishing wife Hertha Feiler to star in films despite her grandmother being Jewish. Both he and director Helmut Kautner somehow succeeded in remaining apolitical.
This latter film takes a satirical swipe at both the military mentality and the Prussian cult of the uniform whilst the visual juxtapostions of the military elite and the hoi polloi are well realised. Quite a few buffoons on display of course with a particularly fine performance by Martin Held whilst Hannelore Schroth as his wife does her best in a thankless role. It is not without its serious moments and Ruehmann's plea as the hapless Wilhelm Voigt for humanity over rules touches the heart.
It is a faithful adaptation with excellent production values and would have delighted Ruehmann devotees whose presence guaranteed a healthy box office but for this viewer at any rate the director seems, unusually for him, to have played it safe on this occasion and not taken any chances which results in the film somehow lacking the requisite bite.
What it does in no uncertain terms is to call to mind Peter Ustinov's observation: "The Army is the final repository of the fool."