Hilla Höfer

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Hilla Höfer

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Die Fledermaus Die Fledermaus (1937) Character: Mädchen bei Eisenstein
The delightful Johann Strauss comic opera Die Fledermaus was mercilessly lampooned in this truly bizarre production. For starters, a framing device has been added: After appearing in 300 consecutive appearances of Fledermaus (which translates as The Bat) the lead tenor (Georg Alexander) imagines that he's seeing bats everywhere. Driven a bit over the edge by all this, he falls asleep and has a nightmare about the opera, with a group of non-singers cast in the leading roles. The original libretto about romantic assignations, political imprisonments and mistaken identity is burlesqued to the hilt: at one point, the hero finds out that his prison cell is surrounded by rubber tubes!
Diskretion – Ehrensache Diskretion – Ehrensache (1938) Character: Tänzerin
Nazi era depiction of decadent British aristocracy: A madcap country heiress was betrothed to a Lord but runs off with a young inventor after she is found in a compromising position, to avoid a scandal.
Ehe in Dosen Ehe in Dosen (1939) Character: 2. Tänzerin
Nora and Peter constantly fight and wish to divorce. Nora's uncle Eberhard, however, believes the two belong together and comes up with a plan to bring the two back together again: as a lawyer, who is processing the divorce, he explains to them that the paperwork for the divorce is completed, but will only go into effect once they undertake a reconciliation attempt. For the first reconciliation meeting, Eberhard enlists the help of his friend Christa and together, they turn Nora into such a hot tamale, that Peter burns with jealousy that any other man might look at her. At the second meeting of the two, which takes place a year later (how long do divorces in Nazi Germany take?!?!), Nora plays the girl abandoned by everyone. In the interim, she's given birth to Peter's son -- which apparently does not count as a reconciliation -- and Peter has become a successful composer. When Nora again disappears after this meeting, Peter does all he can to win her back.
Männer müssen so sein Männer müssen so sein (1939) Character: Ursula
Young Beatrice has trained as a dancer against her father's wishes. At the circus, she meets the famous tamer Ruda and falls in love with him. But the next day, Ruda disappears with the circus. Beatrice gets a new engagement with another circus and makes a career as a dancer among live tigers.
Der letzte Zeuge Der letzte Zeuge (1960) Character: N/A
Director Wolfgang Staudte who left East Germany in 1953 to make movies in West Germany, takes a few swipes at the West German judicial system in this fairly effective courtroom drama about the murder of a four-month-old baby. Police almost immediately arrest the mother Ingrid who is the mistress of the father, a rich business VIP married to another woman. His position and wealth keep him insulated from suspicion. A hot-shot lawyer has to overcome the unaccountably biased perceptions of the police, the judge, the prosecutor and almost everyone else in the judicial system. The defence lawyer, driven to an extreme, knows he has to find the real killer or his client will be convicted.
Josefine - das liebestolle Kätzchen Josefine - das liebestolle Kätzchen (1969) Character: Philomena Schmalstich
Schoolgirl Josefine learns from an early age to use sex to gain advantages. The school's gym teacher is arrested and accused of indecent behavior but the court dismisses the case when Josefine uses her female charm on the jurors.
Verwehte Spuren Verwehte Spuren (1938) Character: Sekretärin Poquets
Séraphine and her mother arrive in Paris to visit the 1867 World Exhibition. In an overcrowded city they must be accommodated in separate hotels. During the night the mother, who wasn't feeling very well, gets suddenly worse. When next morning Séraphine goes to meet her every trace of her presence has disappeared and everybody denies having ever met her. The bewildered young woman must find someone who believes her. Previous version of So Long at the Fair (1950).



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