Emil und die Detektive (1954) Poster

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8/10
Saturday matinée
larry1-122 May 2005
A charming Saturday matinée film. As a learner of German I watched it for that purpose, but was well entertained by the plot and action, a children's/family film, it avoids being sickly 'Disney'. Naturally the viewer has the choice of English subtitles.

The acting of the children is good. It is quite free and not self-conscious or cool. The scenes of hundreds of children on foot, roller skates and with scooters and bikes, chasing after the 'bad guy' through central Berlin is well directed.

The shooting beautifully captures the centre of Berlin in the mid fifties and shows something of life at the time. A visitor to Berlin today would find many of the locations familiar. A lot of the scenes have some really nice shots.

Some may find the music a little overpowering at times, but representative of the orchestration of films of the era and therefore fitting.

There have been earlier and later film versions. Most recent is 2001. After the remake of Wim Wenders 'Wings of Desire' (Der Himmel Über Berlin) I am a bit reluctant to race out and view the latest version.

Watching the post-wall, cooler 'children' of Berlin 2001, using mobile phones and computers in their quest, would have a very different feel to it.

In contrast, the 1954 version is set in a post-war Berlin several years before the wall and refreshingly long before it's now just as omnipresent and depressing Graffiti.

Have some fun and do your German homework at the same time!
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7/10
Worthwhile remake
suchenwi31 December 2008
Warning: Spoilers
Common wisdom says remakes are rarely better than the original. In this case, the 1954 version can stand up proudly against the 1931 version.

There are more: in addition to the 2001 latest German version, Emil has been put to film in Argentina, Brazil, Japan, UK (1935) and US (1964). Makes eight. Such world-wide attention is not so frequent, for a children's book no less.

But back to 1954. It sticks quite close to the 1931 script (by Billie Wilder), but pads it - love interests are added for Emil's mother and Grundeis, and parents for Polly. The subplot of the sleeping pills in the coffee (dangling in 1931) was brought to comedic conclusion.

But what made this movie most lovable for me were the period details, especially street scenes - both in 1931 and 1954. The 1954 version gains much by using the ruins of Kaiser-Wilhelm-Gedächtniskirche as backdrop (briefly seen, intact, in 1931). Interesting that the money amounts (140 marks stolen, 1000 marks reward) needed not to be updated.

All in all, a well-done update, and at 54 years of age a venerable museum piece itself. I had seen it years ago, but enjoyed a re-watch (and that an hour after watching the 1931 version). Both are very good, for different reasons.
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My first film in 1956! I liked it.
dvd-26 December 1998
Erich Kastner wrote the story about a young boy who is drugged and robbed of some money which was pinned into his clothing by his mother. He is, of course, horrified, and rather than tell her the truth, he enlists the help of an army of young detectives. It reminds me of the pursuit of the psychotic child killer Peter Lorre in M, 1931. Later remakes are universally boring and tepid.
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5/10
Nice Berlin views, but stretched and old-fashioned
emkarpf9 February 2008
Warning: Spoilers
This movie follows the script of the 1931 version, but stretches it with additional scenes to 90 minutes. I wasn't happy with this movie, since it changes e.g. the whole beginning - we all know how Emil was afraid of going to the police because he had "decorated" a statue in his hometown. Now in this movie he does something completely different, and so at first I didn't even recognize which of the boys was supposed to be Emil. Then the movie adds a love story between Emil's mother and Wachtmeister Jeschke. Erich Kästner actually married them off in his second "Emil"-book, but in the novel neither Emil nor his mother are quite happy with this Vernunftehe (prudent marriage), while in the movie it's all fun and happiness. I also found the dialog somewhat forced, the villain downright stupid and the police festival completely superfluous. Still, the movie gets five points for showing off 1950s Berlin. Notably the modern apartment buildings and the ruin of the Gedächtniskirche make very good backdrops for the storyline. Note how Pony Hütchen asks for the "Interzonenzug" - how nice that we've overcome the zone-era!
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