Original Title: Glück über Nacht. Musical 1933; 100 min.; Director: Max Neufeld; Cast: Magda Schneider, Hermann Thimig, S.Z. Sakall, Anni Markart, Hans Junkermann, Julius Falkenstein, Paul Otto, Kurt Fuß, Wolfgang Klein; H.M.-Tobis-Klangfilm.
A space rocket inventor deceives his investor by pretending to have a wealthy fiancée to persuade him to invest more money. He is aided in this scheme by a woman who fakes a love letter from a wealthy American. However, complications arise when the investor insists on meeting the supposed wealthy father-in-law, leading to a series of misunderstandings and comedic situations. In the end, the woman, who has developed genuine feelings for the inventor, reveals the truth, and they reconcile.
Summary
Berlin is buzzing with excitement. Tomorrow, the long-prepared but repeatedly delayed launch of the first stratosphere rocket is finally set to take place. The whole city is abuzz with talk of the rocket launch. The song “Visit Me on Mars” (“Besuch mich mal am Mars”) is on everyone’s lips. The rocket’s inventor, Robert Wenk, is being interviewed by a radio reporter, and his explanations are followed with interest in homes, restaurants, and other public places. Occasionally, the interview is humorously interrupted by Wenk’s financier, Mr. Haase, a somewhat impulsive and restless businessman who can hardly wait for the launch. After the interview, Wenk and Haase eagerly await the final weather report, as the next day’s launch depends on it. The weather bureau’s forecast—“clear, calm, cloudless”—excites them greatly, but their enthusiasm is soon dampened by the absence of calls from interested parties. Due to a mistake by Haase in drafting the press release sent to authorities, the press, and other stakeholders, all the calls are mistakenly directed to a young woman who is continuously disturbed in her sleep. Finally, the error is cleared up, and Miss Werner reluctantly allows the inventor to take the intended calls at her apartment.
Once again, the weather forecasters have been wrong. Pouring rain and strong winds lead Wenk, who has arrived at the launch site with Edith, to consider postponing the scheduled launch once again. However, he faces fierce resistance from his financier, who insists that the rocket must launch. As expected, the launch fails. Mocked by a few spectators and scolded by his partner, Wenk leaves the site in despair. Edith tries to comfort him. Robert admits to her that he is completely penniless and doubts Haase will ever again provide funds for another rocket. Edith, who has already developed a strong interest in Robert, comes up with a plan. She suggests faking a love letter from a wealthy American woman to convince Haase to provide more funds for the rocket’s construction. Edith’s plan works. After reading the cleverly planted letter, Haase is completely transformed and grants Robert the funds to build a new rocket.
However, Haase, shrewd as he is, wants to play it safe by getting Robert’s supposedly wealthy future father-in-law, Jim Schwab from Milwaukee, involved financially. A response from Schwab’s company—informing them that Jim is currently in Locarno at the Hotel Imperial—spurs Haase to rush there with Robert, leaving Robert no time to say goodbye to Edith, with whom he is secretly engaged. At the bustling Hotel Imperial in Locarno, Robert realizes with dismay during dinner why Haase has dragged him there. Reluctantly, he is forced to continue the farce. While Haase quickly establishes a connection with Mary’s father and praises the virtues of his supposed son-in-law, Robert receives a sharp slap from the young American woman during his first attempt to approach her. Robert wants to leave, but Haase, who has now reached an agreement with Mary’s father, holds him back. Eventually, Robert convinces Mary to join in the charade after explaining the situation, especially since Mary herself has her own reasons for playing along. Haase is overjoyed, believing he has succeeded in his plans. However, his euphoria is short-lived when he learns of a family-organized collection to fund Mary’s dowry, as her father is a gambler who has squandered his wealth.
Meanwhile, an unexpected twist unfolds. Edith Werner has also arrived with her uncle, Jim Schwab, who truly is the wealthy American. She finds Robert in a compromising situation with Mary. Another sharp slap serves as the ritual confrontation between Robert and Edith. Now, nothing can keep Robert in Locarno. After a heated argument with his partner, during which Robert finally vents his frustrations over everything he has endured from Haase in recent months, he leaves. Mary uses her “fiancé’s” departure to convince her father to allow her engagement to Charlie Schwab.
Broken, Robert returns to Berlin. But at last, after all his misfortunes, luck smiles upon him. Early in the morning, the new rocket—on which his engineers had been making the final adjustments—accidentally launches. As Robert returns, he is greeted with calls and congratulations from all sides. A new altitude and world record has been set. However, his greatest reward is that Edith, who has been informed by her cousin Mary about what transpired in Locarno, joyfully throws her arms around his neck.
Georg Herzberg’s review in Film Kurier No. 6 (January 6, 1933)
“No — S.Z. Sakall is just too funny!” This unanimous verdict echoed through the stairs and corridors of the Gloria-Palast, from an audience whose good spirits were plain to see. The film’s purpose, to offer an hour of amusement, is fulfilled one hundred percent. Herbert Rosenfeld’s screenplay, based on an idea by Charlie Roellinghoff, is very up-to-date. The concept of rocket flight is parodied almost immediately after its introduction. In fact, by the end, the rocket launch accidentally succeeds, making the film “rocket-positive.” Earlier, however, an official launch with much fanfare ends in total failure — looking exactly like the recent newsreel footage of the experiments in East Prussia.
In the final acts, the writers deliver a delightful comedy of errors with a universally satisfying conclusion. Max Neufeld’s direction once again stands out for its masterful handling of comedic effects. Neufeld brings the screenplay’s ideas to life, ensuring they have the desired impact on screen. None of the punchlines fall flat under his direction; the ability to communicate with the mass audience is one of the primary skills required of a film director — a skill that is far from universally met.
One particularly charming scene involves a late-night telephone conversation on a balcony, which stirs up rebellion throughout the entire neighborhood. Before the failed rocket launch, Neufeld skillfully builds tension in the audience — making the laughter that follows all the more intense. In a hotel lobby, brilliantly constructed by Max Heilbronner, Neufeld sets off a fireworks display of humorous episodes.
Hermann Thimig, rarely so relaxed and in good spirits, portrays all the anxieties of an inventor worried about success and a lover grappling with misunderstandings. Magda Schneider, beautifully captured by Heinrich Gärtner’s camera, plays a pretty, clever young woman who firmly propels the often discouraged Thimig forward. The couple’s chemistry is ideal, and theater owners will understand how crucial this element is.
Sakall’s inventive comedy once again triumphs here. Every entrance, every gesture elicits cheers. Hans Junkermann and Julius Falkenstein also provide plenty of amusement. Paul Otto plays a very distinguished uncle from America, while Anni Markart’s charming blonde presence is well-received. Also featured are Kurt Fuß, Wolfgang Klein, Anneliese Dobat, Else Schönborn, Erich Fiedler, Hans Lippschütz, Erich Dunskus, Heinz Wemper, and Alfred Martins.
Paul Abraham envelops the entire film in charming melodies. The song “Lied vom Mars” has a strong chance of becoming a hit. Ernst Seeger’s sound work is flawless. With this film, Deutsche Universal is sure to provide many audiences with an enjoyable evening.
