Robert and Bertram
"Zwei lustige Vagabunden auf der Suche nach dem Glück!"
Plot
Set in 1839, the story follows two charismatic vagabonds, Robert and Bertram, who escape from prison and find refuge at the 'Silver Swan' inn, where they meet the innkeeper's daughter, Lenchen. Lenchen is heartbroken because her father, burdened by debt, intends to marry her off to the manipulative creditor Biedermeier instead of her true love, a young recruit named Michel. To save her, the duo travels to Berlin under the guise of aristocrats (the Count of Monte Christo and his secretary) to infiltrate the social circle of the wealthy Jewish banker Ipelmeyer, who holds the debt. During a lavish costume ball, they successfully steal the Ipelmeyer family jewels and deliver the proceeds to Lenchen's father, securing her happiness. After their benevolent crime is discovered, the two rogues make a whimsical escape from the police by floating away into the clouds in a hot air balloon.
About the Production
The film was based on the popular 1856 posse (farce) by Gustav Raeder, which had been a staple of German theater for decades. Director Hans H. Zerlett, known for his alignment with the Nazi regime's cultural policies, adapted the play to include heavy-handed anti-Semitic caricatures that were not present in the original 19th-century source material. The production utilized high-end set designs to recreate the Biedermeier era of 1839, contrasting the 'honest' poverty of the vagabonds with the 'decadent' wealth of the Berlin elite.
Historical Background
Produced in 1939 under the Third Reich, 'Robert and Bertram' serves as a primary example of how the Nazi regime used popular entertainment to disseminate ideology. While it appears to be a harmless Biedermeier-era comedy on the surface, it was released during a period of escalating state-sponsored anti-Semitism. The film was intended to 'educate' the public by portraying Jewish characters as parasitic and dishonest, contrasting them with the 'noble' German vagabonds. It reflects the transition of German cinema from pure entertainment to a tool for social engineering just before the invasion of Poland.
Why This Film Matters
The film is significant in film history as a 'textbook' example of anti-Semitic propaganda disguised as a musical comedy. It demonstrates the 'soft power' of the UFA-era film industry, where high production values and catchy songs were used to make hateful stereotypes more palatable to the general public. Today, it is studied by historians to understand the mechanics of indoctrination in 1930s European cinema.
Making Of
Director Hans H. Zerlett was under pressure to produce entertainment that aligned with Joseph Goebbels' Ministry of Public Enlightenment and Propaganda. The production faced the challenge of balancing the 'buddy comedy' elements of the two leads with the ideological requirements of the state. Casting Rudi Godden was a strategic move, as he was a rising star with a 'cheeky' persona that appealed to the youth. The costume ball scene was the most expensive part of the production, requiring hundreds of extras and period-accurate costumes to create a sense of opulence that the protagonists would eventually 'rightfully' plunder.
Visual Style
The film features traditional, high-key lighting typical of 1930s UFA comedies, emphasizing the idyllic nature of the German countryside. The camera work is mostly static, but the use of deep focus during the ballroom scenes allows for a detailed look at the lavish set design. The cinematography by Friedl Behn-Grund was considered top-tier for the time, providing a polished, professional look that rivaled Hollywood productions.
Innovations
The film utilized advanced matte paintings to recreate 19th-century Berlin and employed sophisticated sound synchronization for its musical sequences. The balloon escape sequence used a combination of rear-projection and studio rigging that was quite advanced for German cinema in the late 30s.
Music
The film includes several musical numbers composed by Leo Leux, which became popular radio hits. The songs are designed to be catchy and 'volksnah' (close to the people), reinforcing the image of Robert and Bertram as lovable rogues. The lyrics often contain double entendres that support the film's underlying themes.
Famous Quotes
Wir sind zwar arm, aber wir sind ehrlich! (We may be poor, but we are honest!) - Context: Robert justifying their lifestyle.
In Berlin, da sind die Leute fein... (In Berlin, the people are fancy...) - Context: From one of the central musical numbers.
Ein Luftballon ist die beste Fluchtmöglichkeit für ehrliche Gauner. (A balloon is the best escape for honest rogues.)
Memorable Scenes
- The prison escape scene where the duo uses wit rather than violence to outsmart their guards.
- The 'Count of Monte Christo' sequence where the two bums successfully fool the high-society guests at the Ipelmeyer party.
- The final escape in the hot air balloon, which serves as a surreal and whimsical ending to an otherwise grounded comedy.
Did You Know?
- The film is classified as a 'Vorbehaltsfilm' (Reserved Film) in Germany today, meaning its public screening is restricted due to its propaganda content.
- It was the first major German sound film to overtly use the 'Robert and Bertram' characters for political propaganda.
- The actor Kurt Seifert, who played Bertram, was a popular character actor of the era often cast in comedic or 'common man' roles.
- The film's climax involving a hot air balloon was a technically demanding sequence for 1939, requiring extensive wire work and studio miniatures.
- The character of Ipelmeyer was specifically designed to fit the 'Stürmer' style of anti-Semitic caricature prevalent in Nazi Germany.
- Despite its propaganda, the film was marketed primarily as a lighthearted musical comedy to ensure maximum audience reach.
- The film was released just months before the outbreak of World War II.
- The original play by Gustav Raeder had been filmed previously as a silent movie in 1915 and 1928, but without the 1939 version's specific political slant.
What Critics Said
At the time of its release, Nazi-controlled press praised the film for its 'healthy humor' and its 'vivid portrayal of German folk characters.' Modern critics, however, view the film with extreme caution, noting that the comedic elements are inextricably linked to its racist depictions. It is frequently cited in documentaries about propaganda, such as 'Hitler's Hollywood,' as a prime example of the 'poisoned' entertainment of the era.
What Audiences Thought
The film was a massive hit with German audiences in 1939, who were drawn to the slapstick humor and the chemistry between Godden and Seifert. Its success was bolstered by the popularity of the original stage play, which many viewers already knew and loved, making them less likely to question the ideological changes made for the screen.
Awards & Recognition
- Prädikat: Staatspolitisch und künstlerisch wertvoll (State-politically and artistically valuable)
Film Connections
Influenced By
- The original 1856 play by Gustav Raeder
- The tradition of the 'Posse mit Gesang' (farce with song)
- Commedia dell'arte character archetypes
This Film Influenced
- Die Feuerzangenbowle (1944) - in terms of its nostalgic comedic tone
- Jud Süß (1940) - which took the anti-Semitic themes to a much darker, non-comedic level
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Film Restoration
The film is preserved in the German Federal Archives (Bundesarchiv). It is not available for general sale or streaming in Germany due to its status as a 'Vorbehaltsfilm,' but it is available for educational and research screenings.