|Die Frankfurt-Tipp Bewertung:|
|Laufzeit:||Ca. 91 min.|
|FSK:||From 6 years|
It will be a relaxed dinner to which Elisabeth (Caroline Peters) and her husband Stephan (Christoph Maria Herbst) have invited Elisabeth's brother Thomas (Florian David Fitz), whose fiancée Anna (Janina Uhse) and René (Justus von Dohnányi), a childhood friend of the family. There is also a reason to celebrate, as Thomas and Anna are expecting their first baby. But when Thomas reveals what first name they want to give the child, a heated discussion breaks out. This soon takes on unexpected proportions as long hidden secrets and suppressed emotions are uncovered in the midst of passionate debates…
As early as 2012 Matthieu Delaporte and Alexandre De La Patellière adapted their successful play "The First Name" for the cinema. Now Sönke Wortmann has taken up the subject again. And at first it seems as if he has staged a 1:1 copy of the French original. For his film also begins with the amusing opening sequence of the French version, which accompanies a pizza delivery boy on his way through the city and already incorporates the meaning of names into the quickly edited events. And even after that, in principle everything remains the same. With one decisive difference.
Wortmann has updated the story a little bit, so that now also the AFD or Donald Trump are thematized in the sometimes wonderfully biting dialogues. And he has intensified the whole problem that would arise if somebody would actually want to call his son Adolf by the fact that the story now takes place in Germany. And here, of course, this would be even more explosive than in France. Wortmann knows how to use this well to give the well-known story his very own touch.
The fact that the events are almost completely confined to the living room of Elisabeth and Stephan does not attract further attention. Despite the spatial minimalism, the entertainment value grows enormously in the course of history. Because the word battles, which the small group here deliver, are so cleverly and entertainingly written that the public may amuse itself on very high level in the best way. This is also supported by the fact that there is an extremely good chemistry within the wonderful ensemble.
"The First Name" works especially in those moments when the characters reveal universal shortcomings, when the masks fall and normal people become recognizable with all their mistakes, corners and edges. And it is precisely in these, often very, very funny moments that it becomes clear once again how great the stage model was already - and how well it has been adapted for this German cinema version. That's what it's all about: Absolutely worth seeing!
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