When 'So ein Flegel' came out in early 1934, the film was hit by all kinds of restrictions. In particular, it was barred for non-adult audiences, with the censors arguing that it 'endangered public safety', 'violated religious and moral sentiment' and 'damaged Germany's reputation'. This tells you more about how nervous censors were in the early stages of Nazi rule - perhaps because they did not want to fall foul of their new superiors - than about the content and quality of 'Flegel'. It also explains why the film suffered in the theaters, which may, in turn, be one reason for why it is so little know today. Not that there are no other reasons. There is no denying that the remake from 1944 ('Die Feuerzangenbowle') is better, with a more focused plot and better acting and pacing. Nevertheless, the original does have its moments. For example, there is one charming scene where the students dance in the classroom while their teacher is out, and then the returning teacher begins to dance, too, and finally the director of the school, who observes this, begins to dance on the corridor. Also, the characters are drawn quite convincingly. Hans and Erich Pfeiffer (both played by Heinz Rühmann) both change and develop when faced with new circumstances, with Hans becoming more relaxed and Erich more serious. Hans' girlfriend Marion (Ellen Frank) has a bigger and more sympathetic part than in the remake, and his secretary Ilse Bundschuh (Maria Seidler), which the remake dropped entirely, plays an important role, too. 'So ein Flegel' is by no means a great or important film - far from it. But I liked it well enough.
Review of So ein Flegel
