Hut ab, wenn du küsst!
Hat Off When You Kiss
© DEFA-Stiftung / Richard Günther, Alexander Schittko
Johannes Maus, Angelika Waller
Hut ab, wenn du küsst! | Hat Off When You Kiss by Rolf Losansky
DDR 1971, Retrospective
© DEFA-Stiftung / Richard Günther, Alexander Schittko
Günter Junghans, Alexander Lang
Hut ab, wenn du küsst! | Hat Off When You Kiss by Rolf Losansky
DDR 1971, Retrospective
© DEFA-Stiftung / Richard Günther, Alexander Schittko
Bruno Carstens, Angelika Waller, Rolf Römer
Hut ab, wenn du küsst! | Hat Off When You Kiss by Rolf Losansky
DDR 1971, Retrospective
© DEFA-Stiftung / Richard Günther, Alexander Schittko
Fred is a test engineer at the state-run automobile manufacturer, while his girlfriend Petra works as a mechanic. This does not sit well with Fred. His ideal woman would dress up for him and cater to his every whim. Despite his macho affectations and utterances, Petra loves Fred. Nonetheless, preparing for the Leipzig Trade Fair, they have an argument. Petra goes to Leipzig alone, where she allows herself to be wined and dined by a philanderer and courted by Fred’s colleagues, actions she knows will arouse her boyfriend’s jealousy …
Against the backdrop of the industry trade fair, this musical rom-com puts the modernity of East Germany on display and, with a Black trainee, western limousines on the street and Cinzano at the hotel bar, its cosmopolitan flair as well. Shakespearean touches and black-and-white slapstick passages reference the origins and long traditions of the material. Used variously by, say, Ernst Lubitsch in the farmer’s comedy Kohlhiesel’s Daughters (1920) or in the Hollywood operetta The Love Parade (1929), and in keeping with the film’s working title “The Taming of the Shrew”, it waves a partisan banner for an emancipated working woman.
Against the backdrop of the industry trade fair, this musical rom-com puts the modernity of East Germany on display and, with a Black trainee, western limousines on the street and Cinzano at the hotel bar, its cosmopolitan flair as well. Shakespearean touches and black-and-white slapstick passages reference the origins and long traditions of the material. Used variously by, say, Ernst Lubitsch in the farmer’s comedy Kohlhiesel’s Daughters (1920) or in the Hollywood operetta The Love Parade (1929), and in keeping with the film’s working title “The Taming of the Shrew”, it waves a partisan banner for an emancipated working woman.
With
- Angelika Waller
- Alexander Lang
- Rolf Römer
- Günter Junghans
- Günther Grabbert
- Peter Borgelt
- Gerd E. Schäfer
- Bruno Carstens
- Johannes Maus
- Carola Braunbock
Crew
| Director | Rolf Losansky |
| Screenplay | Rolf Losansky |
| Editing | Christa Helwig |
| Music | Klaus Hugo |
| Production Design | Hans-Jörg Mirr |
Additional information
DCP: DEFA-Filmverleih / Deutsche Kinemathek