Already before he made this movie Willi Forst was the "Bel Ami" of the UFA era. Through this film, which is clearly one of his very best, we can see him, as he was seen during his most successful time. The movie is dominated by Theo Mackeben's immortal song "Du hast Glück bei den Frauen, Bel Ami" performed by Lizzi Waldmüller.
5 Reviews
The Secret Of My Success
boblipton31 July 2023
Willi Forst is demobilized from Morocco. He returns to France and after a night in Paris hasn't a sou in his pocket. A chance encounter with an old friend who is now a journalist, good manners, and bravery when he doesn't think about it, all endear him to a series of women who gradually push him upward and onward as various characters institute a governmental crisis over Morocco.
Forst also directed and co-wrote the screenplay form the de Maupassant story, and I was pleasantly surprised. With a release in 1939 -- albeit in early 1939 -- I expected some sneering at the French. True enough, it does seem to be a society that is run by women, but oh, such charming and beautiful and kind and intelligent and patriotic women! Meanwhile, the motivation of the men seem a lot more base, usually a matter of making millions through speculation in Moroccan land, or outright bribery.
Perhaps Goebbels, in his imagined control of every aspect of German film-making, thought a charming piece of fluff was called for; occasionally, and this was it perhaps Forst was a profitable enough film maker that his desire to do this movie his way could not be gainsaid. Or perhaps the producers simply pointed out that good films brought money in from foreign lands, and everyone knew how the French carried on. Whatever the motivation for making this movie in such a way, it is charming and ultimately good-hearted.
Forst also directed and co-wrote the screenplay form the de Maupassant story, and I was pleasantly surprised. With a release in 1939 -- albeit in early 1939 -- I expected some sneering at the French. True enough, it does seem to be a society that is run by women, but oh, such charming and beautiful and kind and intelligent and patriotic women! Meanwhile, the motivation of the men seem a lot more base, usually a matter of making millions through speculation in Moroccan land, or outright bribery.
Perhaps Goebbels, in his imagined control of every aspect of German film-making, thought a charming piece of fluff was called for; occasionally, and this was it perhaps Forst was a profitable enough film maker that his desire to do this movie his way could not be gainsaid. Or perhaps the producers simply pointed out that good films brought money in from foreign lands, and everyone knew how the French carried on. Whatever the motivation for making this movie in such a way, it is charming and ultimately good-hearted.
Elegant satire from a dark time in German history
wlkrrch1 December 2004
Even at the height of the Third Reich, the name of Willi Forst - star and director of this literary adaptation - stood for a certain ironic detachment and class, and this witty, pacey film doesn't disappoint. The story of how a journalist claws his way to the top while bedding a whole row of society ladies might, one would have thought, have struck a resonance with Goebbels, who as film minister had the opportunity to ban it if he wished - but apparently he wasn't blessed with sufficient self-consciousness to recognise the implied dig. Even if its contemporary satirical intent is perhaps overstated, the film is a real pleasure to watch - most notably for poor Lizzi Waldmueller, who was killed by shellfire towards the end of World War Two and who here sings the film's catchy theme 'You have luck with the girls, Bel Ami' surrounded by a bevy of cartwheeling can-can dancers. Good too (as always) is Hilde Hildebrandt as one of Duroy's society lovers.
Willi Forst's adaptation of Bel Ami.
morrison-dylan-fan3 October 2017
Warning: Spoilers
Finding Masquerade in Vienna and Operette to be outstanding creations, along with the 1947 adaptation of the book to be wonderful (and even finding the 2012 version interesting)the chance to see auteur film maker Willi Forst bring Guy de Maupassant's book Bel Ami has been one I've been saving for the perfect moment. Joining in a poll on ICM for the best movies of 1939,I prepared to meet Forst's Bel Ami.
The plot:
Returning from Morocco,George Duroy goes to a Paris nightclub and spends the night with singer Rachel,who gives Duroy the "ladies man" nickname: Bel Ami. At the club Duroy meets newspaper editor Charles Forestier. Hearing all the ladies praise him,Forestier hires Duroy as a reporter for his paper. Along with being Forestier's wife, Madeleine is a mistress to a government minister who uses Madeleine link to Charles to have the paper "direct" foreign affairs. Getting with Madeleine after Charles divorces her over their closeness,Duroy begins playing a bigger role in the newspaper,and in government.
View on the film:
Slyly going for a loose adaptation of Guy de Maupassant's book, co- writer/(with Hans Fritz Beckmann and Axel Eggebrecht) lead actor/directing auteur Willi Forst superbly attacks the power of Goebbels in allegorical satire of Duroy's fake newspaper stories drafting the governments answer to the Moroccan Question, and Duroy's rise to the top being an oily charmer,who uses his charisma to get to the heart of the press and government. Dancing along with the allegorical, the writers weave a Wiener Filme Comedy romance,lit by all the ladies being swept off their feet at the mere sight of Duroy.
Setting the stage for the stylisation shown in his next film Operetta, director Forst continues his gaze at the luxuries of a (spiteful) high-society, in lavish shots that surf on possessions Duroy gains. Along with the physical decadence,Forst follows Duroy's rise to the top in outstanding tracking shots that circle the dazzling nightclub where Duroy gets the Bel Ami name, and runs down newspaper corridors,where real power is gained in the background,as all others look for it in the foreground.
Performing the theme song, (the lyrics of which would appear in the 1947 version) Lizzi Waldmüller (who died in an air raid bombing age 45 in 1945) gives Duroy's nightclub visits a risqué glamour quality as Rachel,whilst Olga Tschechowa dazzles against Forst lavish backdrop as the wonderfully melodramatic Madeleine Forestier. Taking the lead role whilst co-writing and directing, Forst gives an excellent performance as Duroy,thanks to Forst welding Duroy's playful smile with a calculating edge of getting to the top of the private affairs of Bel Ami
The plot:
Returning from Morocco,George Duroy goes to a Paris nightclub and spends the night with singer Rachel,who gives Duroy the "ladies man" nickname: Bel Ami. At the club Duroy meets newspaper editor Charles Forestier. Hearing all the ladies praise him,Forestier hires Duroy as a reporter for his paper. Along with being Forestier's wife, Madeleine is a mistress to a government minister who uses Madeleine link to Charles to have the paper "direct" foreign affairs. Getting with Madeleine after Charles divorces her over their closeness,Duroy begins playing a bigger role in the newspaper,and in government.
View on the film:
Slyly going for a loose adaptation of Guy de Maupassant's book, co- writer/(with Hans Fritz Beckmann and Axel Eggebrecht) lead actor/directing auteur Willi Forst superbly attacks the power of Goebbels in allegorical satire of Duroy's fake newspaper stories drafting the governments answer to the Moroccan Question, and Duroy's rise to the top being an oily charmer,who uses his charisma to get to the heart of the press and government. Dancing along with the allegorical, the writers weave a Wiener Filme Comedy romance,lit by all the ladies being swept off their feet at the mere sight of Duroy.
Setting the stage for the stylisation shown in his next film Operetta, director Forst continues his gaze at the luxuries of a (spiteful) high-society, in lavish shots that surf on possessions Duroy gains. Along with the physical decadence,Forst follows Duroy's rise to the top in outstanding tracking shots that circle the dazzling nightclub where Duroy gets the Bel Ami name, and runs down newspaper corridors,where real power is gained in the background,as all others look for it in the foreground.
Performing the theme song, (the lyrics of which would appear in the 1947 version) Lizzi Waldmüller (who died in an air raid bombing age 45 in 1945) gives Duroy's nightclub visits a risqué glamour quality as Rachel,whilst Olga Tschechowa dazzles against Forst lavish backdrop as the wonderfully melodramatic Madeleine Forestier. Taking the lead role whilst co-writing and directing, Forst gives an excellent performance as Duroy,thanks to Forst welding Duroy's playful smile with a calculating edge of getting to the top of the private affairs of Bel Ami
a good non propaganda German film classic
cynthiahost6 January 2010
Warning: Spoilers
I just got the it . Even though the dates for the American released version wasn't mentioned. It was released in the U. S. A. After the American remake. United artist must of saw the movie first before it was remade. Why didn't this encourage them to shoot it in full Technicolor? George Sanders wasn't big enough. So only a few minutes of color was used in a painting seen. The first version was made under Goebbels and it had a happy ending .The remake was made under the production code and George Sanders character had to be punished. the first version Clotilda was played by Angela Landsbury being a younger character. The first version is played by an older Hilde Hidebrand. I don't remember but i don't think that the remake had the same song neither.Willi Forst both directs and stars as George Duroy.After he seduces Rachel the maid, who aspires to be a singer in which he met on amateur night at a cabaret played by Lizzie Waldmuller. He seduces her boss ,Clotile.The wife of journalist Forestier, both played by Olga Tschechowa and Will Dom. Till he get's ahead at the news paper and after seducing the daughter of the prime minister,I think. Ilse Werners character helps him to take her daddy's place as a prime minister. I'm getting a suspicion ,although I might be wrong, that the book George Duroy gets punished any way. Could this version of George Duroy was suppose to be Adolph Hilter in disguised? Was this the propaganda? May be not. It was nerveless a good film classic of Ilse Werners
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