Thomas Gottschalk and Mike Krüger continued this legacy in the following decade. At the beginning of the 1970s, Rudi Carrell and Ilja Richter joked around in half a dozen silly "Old Auntie-Films". This method was soon modified and continued – but instead of radio, now television provided the talent pool.Įven those who were only show hosts, like Lou van Burg, Peter Frankenfeld, Robert Lembke and the trained actor Hans-Joachim Kulenkampff, were put in front of a camera, after becoming known to a wide audience via TV. The cinema of the 1930s used the enormous popularity of the famous voice imitator and parody artist Ludwig Manfred Lommel, as well as instrumentalizing the fame of Heinz Erhardt after the war. Karl Valentin probably owed much of his national popularity rather to his records than to the short films based on his theater sketches, which were cranked out by largely uninterested filmmakers. Right at the beginning of the 21st century, film comedy "made in Germany" is booming, and it's noteworthy that nearly all exponents of this cheerful trade are recruited from television.Įver since the emergence of sound film, there has been a continuing interaction between radio and cinema: not only were popular hits disseminated through both mediums, but also were well known radio humorists and comedians brought in front of the film camera. Yet, the individual artistic, dramaturgical, directorial and acting qualities are not taken into account by this assertion, neither are questions concerning the quality of comedy. The fact is, of course, that there have always been German films aiming to make their audiences laugh. Declarations announcing the renaissance of our film comedy are as numerous as commonly heard statements, which assert that Germans have no sense of humor. As soon as German producers have made a film comedy which is halfway successful, the press and film industry always start to proclaim the supposed return of an allegedly long neglected genre.
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