Wolfgang Neuss Movies

The "Glowing Man" of the title of this biography is Christian Friedrich Hebbel (1813-1863), whose artistic inspiration "glowed" or "lit up" his being -- to such an extent that he is not only considered among Germany's greatest classical dramatists -- he was also burnt out at 50, dying thin and frail. Director Jonatan Briel who has already made three previous biographical films, focuses on Hebbel's deathbed, and films the dramaturge as he recalls the traumatic lows and inspirational highs of his life. Hebbel (Werner Brunn) remembers the years he spent growing up on the cold northern coast of Germany among stoic fishermen whose only literary possession was the Bible. Hebbel learned to read using the Good Book and learned to write based on his own life experience and the powerful landscape and figures that surrounded him. When he grew out of childhood, his first romantic relationship was with Elise Lensing (Iris Schwarzer) with whom he had two children, but never married. The next major love of his life was Christine Enghaus (Brigitte Reimers), a Viennese actress. As Hebbel lies on his deathbed, he remembers these aspects of his life, and his hallucinations introduce other great writers, and excerpts from his well-known dramas, such as "Die Nibelungen" -- completed one year before he died. As the film ends and Hebbel becomes a memory, the viewers are left with a greater appreciation of the writer, his talent, and the incredible drive to create that kept him writing exceptional things throughout a life that may have been shortened by overwork. ~ Eleanor Mannikka, Rovi

Joachim Mahlke (Lars Brandt) is a high-school student who dreams of being awarded the German Iron Cross so he can wear it to hide his Adam's apple. When he steals one from a war hero, he is expelled from school. He joins the military and eventually earns his own medal, but in spite of his heroism, the older and wiser Joachim (Peter Brandt) is not forgiven by his former school principal. The film received a lot of publicity before it was even shown for having the two sons of West German Mayor Willy Brandt as the principle actors. Brandt would later become Chancellor of West Germany. Many former Nazi war veterans voiced their objections to the alleged "ridicule" of awarded military medals -- and they were in turn eternally ridiculed for being Nazis. ~ Dan Pavlides, Rovi

Detective C.G. (Klaus-Juergen Wussow) begins to investigate the death of an attractive woman (Heidelinde Weis) whose naked body was found in Beverly Hills. When he recovers her journal, he is taken into her past where he finds that she lead a sexually promiscuous life. Perhaps in the pages of the diary will be a clue to her killer's identity. This thriller was the first German feature to be shot in Hollywood after WWII as well as the first feature for German television director Michael Pfleghar. Based on a bestselling novel by Curt Goetz, Die Tote Von Beverly Hills/The Corpse of Beverly Hills was adapted to the screen only a few short years after his death. ~ Kristie Hassen, Rovi

A man finds his peaceful existence thrown into turmoil when he recognizes the town's public prosecutor as the former Nazi who almost had him killed for stealing two chocolate bars in a concentration camp in this drama. Strangely the former inmate feels no hostility, nor holds a grudge against the man; instead he wants to put the whole nightmare behind him. Unfortunately, the attorney recognizes him too and is afraid that the man will expose him so he uses his power to try to get the man thrown out of town. As none of the other townsfolk will help him, the man steals some chocolate from a store so he will have to be brought to trial. Sure enough his theft causes the prosecutor to fly into a blind rage during the trial. He then leaves the courtroom and the man is at last free. ~ Sandra Brennan, Rovi

A biting and effective semi-experimental film about Nazism in Germany, director Kurt Hoffmann tells the story in a long flashback, starting in 1913 and playing out like a silent movie on a small screen. Every once in awhile, the action scenes, which are narrated in a voiceover, are paused for a little ironic piano music and accompanying lyrics. Hans (Hansjorg Felmy) is an anti-Nazi journalist who loses his job because he will not join the party. Bruno (Robert Graf) is a dim-witted, brutal, pro-Nazi follower who joins up to gain the recognition he desires. Years later, Bruno is a ruthless industrialist whose Nazi tactics and philosophy have not changed at all, and Hans is a VIP editor now dedicated to exposing men like Bruno for what they were during the war. The result and the accompanying commentary are quite hard-hitting. ~ Eleanor Mannikka, Rovi

This was the first of a trilogy of "Spessart" parodies by director Kurt Hoffmann, each starring Liselotte Pulver in the title role. This particular take-off is concerned with highway bandits and kidnapped nobility. Everything begins when Countess Franziska (Pulver) and her fiancée and entourage are accosted and brought to an inn where they are kept hostage. But the intrepid Countess escapes, reaches home, and then is refused any assistance from her father. He is not going to pay the ransom demand. So she goes back disguised as a man to save the hostages on her own. Circumstances eventually lead to their release, but by then, she and the ringleader have fallen in love. Songs and general enthusiastic hijinks enliven the story, clichéd or not. ~ Eleanor Mannikka, Rovi