|Die Frankfurt-Tipp Bewertung:|
|Laufzeit:||Approx. 99 min.|
|FSK:||From 6 years|
The financial crisis did not stop at the Bavarian province either. Many of the citizens of Neufurth have seen better times, such as the passionate amateur filmmaker Hans A. Pospiech (Gerhard Polt). Abandoned by his wife and on the brink of financial ruin, Pospiech finances his passion only by selling World War memorabilia from his father's estate over the Internet. But then the tide seems to turn. In order to get his balance sheets back to where his boss wants them to be, the local Sparkasse director Faltermeier (Michael Ostrowski) comes up with the grandiose idea of bringing cultural sponsorship to Neufurth. A film competition is to take place, but the winner has already been secretly determined: the highly indebted Pospiech. However, he thinks less about his debt reduction than about finally being able to write film history. Together with his nephew Alfons (Maximilian Brückner), the innkeeper Grete (Gisela Schneeberger) and the music retailer Fleischbauer (Robert Meyer), the amateur filmmaker is tackling an ambitious and controversial project: he wants to shoot a film about the private man Adolf Hitler…
"…Und Äktschn!" finally brings the universal artist Gerhard Polt back to the screen after eleven years. Together with director Fredrick Baker he wrote the script for a comedy about "the power of mediocrity", as he himself calls it. A film about banks, Hitler and the love of cinema. A little social satire, a little poetic melancholy and a pinch of cabaret are some of the ingredients that make this film. He is just as unlikely to be put into a drawer as Gerhard Polt himself. But what worked really well during Polt's almost 40-year career leaves a somewhat bland aftertaste in the case of "…Und Äktschn!".
When you think of the grandiose Mai Ling sketch from "Da schau her" from 1979, you know with how much bite and political incorrectness Polt can put his finger into the wounds of our society. Here and there it comes through in his new film. But exactly in those moments in which the script could have taken much more satirical bite, Polt suddenly becomes tame and serves up some old-fashioned humor, in which also the timing seems a bit sluggish. In addition, there are some moments that end up in the void. In the course of the film, protest signs are faded in again and again, pointing to the problem of aircraft noise. But in the actual story, this topic no longer plays a role. It may be that this is intended to illustrate the general situation in the community, but as often as allusions are made to the aircraft noise protest, viewers simply expect this to play an even more central role.
The film about the private individual Hitler also has a lot of potential to offer. There are good approaches available that reveal intelligent cleverness and a pleasing amount of bite. But in the end these scenes usually fizzle out in flaccid punch lines, which at best cause the viewer to smile tiredly. Only from time to time does humour hit the bull's eye and reveal what could have become a subtle social satire "…Und Äktschn! Surely, in the moments when Hans A. Pospiech films himself and speaks directly to the audience, Gerhard Polt is in his element and often shows himself of the class you are used to from him. But all in all his cinema comeback seems too undecided and too reserved to live up to the expectations of his fans. Since "…Und Äktschn!" has rather become a tired provincial posse with a few small highlights than a satirical fireworks display, it is enough in the end to only one thing: with some cutbacks for Polt lovers still worth seeing!
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