|Die Frankfurt-Tipp Bewertung:|
|Laufzeit:||Ca. 88 Min|
|FSK:||From 12 years|
Sammy (Bülent Ceylan) has actually everything: talent, motivation and beautiful hair - and still it doesn't want to work out with your career as a musician. But now he has had enough of appearing as a Schlager-Hansel in the retirement home. With his application for a casting show, he wants to finally take off as a rocker. It's just too bad that the makers of the show are not looking for a solo artist, but a band. Sammy only stays a few days to recruit more musicians for his band - but he was supposed to take care of his brother's Hamam (Kida Khodr Ramadan). Despite all adversities, he succeeds with his sister Jessi (Josefine Preuß), the temporary masseur Wolle (Paul Faßnacht) and his buddy Mahmut (Özgür Karadeniz) in creating a more or less talented troupe. But now the problems really start…
What's it like to say: Cobbler, stick to your last. Somehow even the most successful German comedians never really succeed in convincing in cinema films. Mario Barth thrilled millions of viewers on his tours and on television, but his cinema comedy was at least artistically a catastrophe. Kaya Yanar celebrates great successes on TV and on stage, but nobody wanted to see his Ranjid in the cinema. And Rene Marik was able to finance his cinema trip with the help of the fans through crowdfunding, but the result was still no box-office hit - and that although his mole was still an absolute cult at the time.
Now Bülent Ceylan, undoubtedly one of the most likeable comedians in Germany, is also trying to transfer his success as a stand-up comedian to the cinema. And as much as I like Ceylan, as funny as I find many of his live numbers, I can hardly say anything good about this comedy. "Fuck off, Snow White" is a dramatic and acting disaster. Not only are most gags simply not funny, but the few that could work are presented so flatly that the laughter that is just coming up dies away immediately.
It is not the case that only the acting performance of unskilled actors such as Bülent Ceylan or Sabrina Setlur shows clear deficiencies. Also otherwise really reliable actors like Josefine Preuß deliver here only completely exaggerated representations, which let any talent miss. But this is by far not the most serious point of criticism. It becomes really annoying when attempts are made to give history something like depth or relevance when xenophobia is addressed. A commendatory attempt in itself, but the realization is served with a wooden hammer in such a way that the viewer can only shake his head in despair.
There is the competitor band with the name Frei.Staat - no, how subtle - which stands out due to its extremely right appearance. Of course the stupid audience doesn't notice this and cheers the boys on like crazy. Only when the singer insults a dark-skinned employee of the show in front of running cameras does it become clear to the last idiot that Nazis were cheered here. Oh, my God! Oh, my God! It really doesn't work flatter and more clichéd.
There are moments that suggest that director Cüneyt Kaya approached the project with the right intentions. But unfortunately the implementation is stuck at every corner and end. And so "Fuck off, Snow White" must also be seen as another failed attempt to make a comedian a movie star. Perhaps it would be worthwhile to take a look at Great Britain or the USA, where this is always very successful. Or just let it go and concentrate on the next stage program. Because Bülent Ceylan is simply much better off there.
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