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Mensch, ärgere dich nicht (1972)





Cast overview, first billed only:
Uschi Glas ... Ulla Wendt
Beppo Brem Beppo Brem ... Horst Vogel
Georg Thomalla ... Ewald Fröhlich
Karl Lieffen Karl Lieffen ... Max
Chris Roberts Chris Roberts ... Thomas Conrad
Christiane Hörbiger ... Frl. Glöckner
Corinna Genest Corinna Genest ... Mathilde Kühlborn
Gerlinde Döberl Gerlinde Döberl
Bruno Hübner Bruno Hübner ... Clusius
Max Grießer Max Grießer ... Katzinger
Klaus Dahlen Klaus Dahlen ... Alois
Veronika Fitz Veronika Fitz ... Frau Linsinger
Hans Korte ... Paul Wegmann
Erni Singerl Erni Singerl ... Zenzi Vogel
Margot Mahler Margot Mahler ... Frl. Quecke


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West Germany



Release Date:

15 December 1972 (West Germany) See more »

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Did You Know?


Mein Schatz du bist 'ne Wucht
Composed by Werner Twardy
Text by Lilibert
Performed by Chris Roberts
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User Reviews

Unfunny and dated comedy
21 August 2002 | by SMK-4See all my reviews

Despite the considerable talents of Georg Thomalla as a physical comedian this is yet another very poor effort. Mostly to blame are the writers. While the main story line of someone secretly photographed for an advertising campaign merely stretches credibility, the supporting story of everyone brown-nosing the suspected lottery winner (and then rejecting him once this turns out to be an error) just does not ring true. Or rather - it sounds like a story from a different era, and I have the slight suspicion that the writers raided some piece of (say) 19th century literature (perhaps a play), I just cannot say which. One could still have placed this in the Germany of 1952, but in the much more prosperous place Germany was 20 years later it does not make much sense any longer.

To make matters worse, the film makers felt the need to add (young) romance to the film, because that's what all German comedies of the period had, for better or worse. Here it's for worse - Ulla Wendt (Uschi Glas) is just too sweet, and Thomas Conrad (Chris Roberts) has really nothing to do but be a love interest.

The humour is generally heavy-handed, of the kind that works reasonably well on stage but much less well on celluloid. What makes it appear even more dated are some fleeting moments of almost Chaplinesque melodrama.

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